Ellison's Dangerous Visions featured American writers inspired by British writers as well as British authors. Among the stories Ellison printed in Dangerous Visions were Philip José Farmer's Riders of the Purple Wage, Norman Spinrad's "Carcinoma Angels", Samuel R. Delany's "Aye, and Gomorrah" and stories by Brian Aldiss, J. G. Ballard, John Brunner, David R. Bunch, Philip K. Dick, Sonya Dorman, Carol Emshwiller, John Sladek, Theodore Sturgeon, and Roger Zelazny. Alfred Bester was championed by New Wave writers and is seen as a major influence. Thomas M. Disch's work is associated with the New Wave, and The Genocides has been seen as emblematic of the genre, as has the 1971 Disch anthology of eco-catastrophe stories The Ruins of Earth. Critic John Clute wrote of M. John Harrison's early writing that it "...reveals its New-Wave provenance in narrative discontinuities and subheads after the fashion of J. G. Ballard". Brian Aldiss's Barefoot in the Head (1969) and Norman Spinrad's No Direction Home (1971) are seen as illustrative of the effect of the drug culture, especially psychedelics, on New Wave. On the topic of entropy, Ballard provided "an explicitly cosmological vision of entropic decline of the universe" in "The Voices of Time", which provided a typology of ideas that subsequent New Wave writers developed in different contexts, with one of the best instances being Pamela Zoline's "The Heat Death of the Universe". Like other writers for New Worlds, Zoline used "science-fictional and scientific language and imagery to describe perfectly 'ordinary' scenes of life", and by doing so produced "altered perceptions of reality in the reader". New Wave works engaging with utopia, gender, and sexuality include Ursula K. Le Guin's The Left Hand of Darkness (1969), Joanna Russ's The Female Man (1975), and Marge Piercy's Woman on the Edge of Time (1976).:82-85 In Robert Silverberg's story The Man in the Maze, in a reversal typical of the New Wave, Silverberg portrays a disabled man using an alien labyrinthine city to reject abled society. Samuel R. Delany's Babel-17 (1966) provides an example of a New Wave work engaging with Sapir-Whorfian linguistic relativity, as does Ian Watson's The Embedding (1973).:86-87 Two examples of New Wave writers using utopia as a theme are Ursula K. Le Guin's The Dispossessed: An Ambiguous Utopia (1974) and Samuel R. Delany's Trouble on Triton: An Ambiguous Heterotopia (1976),:74-80 while John Brunner is a primary exponent of dystopian New Wave science fiction. Examples