the conflict..." For Roger Luckhurst, the closing of New Worlds magazine in 1970 (one of many years it closed) "marked the containment of New Wave experiment with the rest of the counter-culture. The various limping manifestations of New World across the 1970s... demonstrated the posthumous nature of its avant-gardism." By the early 1970s, a number of writers and readers were commenting about the differences between the winners of the Nebula Awards, which had been created in 1965 by the SFWA and were awarded by professional writers, and winners of the Hugo Awards, awarded by fans at the annual World Science Fiction Convention, with some arguing that this indicated that many authors were alienated from the sentiments of their readers: "While some writers and fans continued to argue about the New Wave until the end of the 1970s – in The World of Science Fiction, 1926–1976: The History of a Subculture, for instance, Lester Del Ray devotes several pages to castigating the movement – for the most part the controversy died down as the decade wore on." Impact In a 1979 essay, Professor Patrick Parrinder, commenting on the nature of science fiction, noted that "any meaningful act of defamiliarization can only be relative, since it is not possible for man to imagine what is utterly alien to him; the utterly alien would also be meaningless." He also states, "Within SF, however, it is not necessary to break with the wider conventions of prose narrative in order to produce work that is validly experimental. The 'New Wave' writing of the 1960s, with its fragmented and surrealistic forms, has not made a lasting impact, because it cast its net too wide. To reform SF one must challenge the conventions of the genre on their own terms." Others ascribe a more important, though still limited, effect. Veteran science fiction writer Jack Williamson (1908–2006) when asked in 1991: "Did the [New] Wave's emphasis on experimentalism and its conscious efforts to make SF more 'literary' have any kind of permanent effects on the field?" replied: After it subsided -- it's old hat now -- it probably left us with a sharpened awareness of language and a keener interest in literary experiment. It did wash up occasional bits of beauty and power. For example, it helped launch the careers of such writers as [Samuel R] Chip Delany, Brian Aldiss, and Harlan Ellison, all of whom seem to