M. John Harrison

Michael John Harrison (born 26 July 1945), known for publication purposes primarily as M. John Harrison, is an English author and literary critic.

Harrison was born in Rugby, Warwickshire, in 1945 to an engineering family.

His father died when he was a teenager and he found himself "bored, alienated, resentful and entrapped", playing truant from Dunsmore School (now Ashlawn School).

An English teacher introduced him to George Bernard Shaw which resulted in an interest in polemic.

He ended school in 1963 at age 18; he worked at various times as a groom (for the Atherstone Hunt), a student teacher (1963–65), and a clerk for the Royal Masonic Charity Institute, London (1966).

His hobbies included electric guitars and writing pastiches of H. H. Munro.

His first short story was published in 1966 by Kyril Bonfiglioli at Science Fantasy magazine, on the strength of which he relocated to London.

He there met Michael Moorcock, who was editing New Worlds magazine.

These stories do not appear in any of Harrison's own collections but do appear in the Nature of the Catastrophe and New Nature of the Catastrophe. Other early stories published from 1966 were featured in anthologies such as New Writings in SF, edited by John Carnell, and in magazines such as Transatlantic Review, The Magazine of Fantasy & Science Fiction, New Worlds, and Quark.

A number of Harrison's short stories of this early period remain uncollected, gathered neither in his first collection The Machine in Shaft Ten, nor in his later collections.

He began writing reviews and short fiction for New Worlds, and by 1968 he was appointed books editor.

Harrison was critical of what he perceived as the complacency of much genre fiction of the time.

From 1968 to 1975 he was literary editor of the New Wave science fiction magazine New Worlds, regularly contributing criticism.

He was important to the New Wave style which also included writers such as Norman Spinrad, Barrington Bayley, Langdon Jones and Thomas M. Disch.

As a reviewer for New Worlds he often used the pseudonym "Joyce Churchill" and was critical of many works and writers published using the rubric of science fiction.

One of his critical pieces, "By Tennyson Out of Disney" was initially written for Sword and Sorcery Magazine, a publication planned by Kenneth Bulmer but which was never published; the piece was printed in New Worlds 2.

Amongst his works of that period are three stories utilising the Jerry Cornelius character invented by Michael Moorcock.

During 1970, Harrison scripted comic stories illustrated by R.G. Jones for such forums as Cyclops and Finger.

His work includes the Viriconium sequence of novels and short stories (1971–1984), Climbers (1989), and the Kefahuchi Tract trilogy, which consists of Light (2002), Nova Swing (2006) and Empty Space (2012).

He is widely considered one of the major stylists of modern fantasy and science fiction, and a "genre contrarian".

Robert Macfarlane has said: "Harrison is best known as one of the restless fathers of modern SF, but to my mind he is among the most brilliant novelists writing today, with regard to whom the question of genre is an irrelevance."

The Times Literary Supplement described him as "a singular stylist" and the Literary Review called him "a witty and truly imaginative writer".

An illustration by Jones appears in the first edition of Harrison's The Committed Men (1971).

In an interview with Zone magazine, Harrison said: "I liked anything bizarre, from being about four years old. I started on Dan Dare and worked up to the Absurdists. At 15 you could catch me with a pile of books that contained an Alfred Bester, a Samuel Beckett, a Charles Williams, the two or three available J. G. Ballard's, On the Road by Jack Kerouac, some Keats, some Allen Ginsberg, maybe a Thorne Smith. I've always been pick 'n' mix: now it's a philosophy."

The novel The Committed Men (1971) (dedicated to Michael Moorcock and his wife Hilary Bailey) is an archetypal British New-Wave vision of a crumbling future with obvious debts to the work of Michael Moorcock and J. G. Ballard.

It is set in England after the apocalypse.

Social organisation has collapsed, and the survivors, riddled with skin cancers, eke out a precarious scavenging existence in the ruins of the Great Society.

A few bizarre communities try to maintain their structure in a chromium wilderness linked by crumbling motorways.

But their rituals are meaningless clichés mouthed against the devastation.

Only the roaming bands of hippie-style "situationalists" (presumably a reference to the then contemporaneous situationist group) have grasped that the old order, with its logic, its pseudo-liberalism and its immutable laws of cause and effect, has now been superseded.

Among the mutants are a group of reptilian humans – alien, cancer-free but persecuted by the 'smoothskins'.

When one of them is born of a human mother in Tinhouse, a group of humans sets off to deliver it to its own kind – a search of the committed men for the tribes of mutants.

David Pringle called the novel "brief, bleak, derivative – but stylishly written."

Harrison's first novel of the Viriconium sequence, The Pastel City was also published in 1971.

During 1972, the story "Lamia Mutable" appeared in Harlan Ellison's anthology Again, Dangerous Visions; while this tale forms part of the Viriconium sequence, it has been omitted from omnibus editions of the Viriconium tales to date.

During 1974 Harrison's third novel was published, the space opera The Centauri Device (described prior to its publication, by New Worlds magazine, as "a sort of hippie space opera in the baroque tradition of Alfred Bester and Charles Harness). An extract was published in New Worlds in advance of the novel's publication, with the title "The Wolf That Follows". The novel's protagonist, space tramp John Truck, is the last of the Centaurans, victims of a genocide. Rival groups need him to arm the most powerful weapon in the galaxy: the Centauri Device, which will respond only to the genetic code of a true Centauran.

Harrison himself has said of this book:

I never liked that book much but at least it took the piss out of sf’s three main tenets: (1) The reader-identification character always drives the action; (2) The universe is knowable; (3) the universe is anthropocentrically structured & its riches are an appropriate prize for the colonialist People Like Us.

TCD tried to out space opera as a kind of counterfeit pulp which had carefully cleaned itself of Saturday night appetite, vacuuming out all the concerns of real pulp fiction to keep it under the radar of the Mothers of America or whatever they called themselves.

Harrison would continue adding to this series until 1984.