Here are my classifications of the stories in Dangerous Visions.
“Very sixties” (complimentary):
“Flies,” Robert Silverberg; “The Malley System” (Miriam Allen deFord); “A Toy For Juliette” (Robert Bloch); “The Prowler in the City at the Edge of the World” (Harlan Ellison); “The Jigsaw Man” (Larry Niven); “Sex and/or Mr. Morrison” (Carol Emshwiller); “What Happened to Auguste Clarot?” (Larry Eisenberg); “Go, Go, Go, Said the Bird” (Sonya Dorman); “Auto-da-fé” (Roger Zelazny); “Aye, and Gomorrah…” (Samuel R. Delany)
“Very sixties” (derogatory):
“Riders of the Purple Wage” (Philip Jose Farmer) (sorry, Farmerheads); “Eutopia” (Poul Anderson); “If All Men Were Brothers, Would You Let One Marry Your Sister?” (Theodore Sturgeon); “Ersatz” (Henry Slesar); “The Happy Breed” (John T. Sladek); “Encounter With A Hick” (Jonathan Brand); “The Recognition” (J.G. Ballard)
“Very sixties” (simultaneously complimentary and derogatory):
“Faith of Our Fathers” (Philip K. Dick); “Lord Randy, My Son” (Joe L. Hensley); “From the Government Printing Office” (Kris Neville); “Land of the Great Horses” (R.A. Lafferty); “Judas” (John Brunner); “Carcinoma Angels” (Norman Spinrad)
Not very sixties in either sense:
“Evensong” (Lester Del Rey), “The Day After the Martians Came” (Frederik Pohl), “The Night That All Time Broke Out,” Brian Aldiss; “The Man Who Went To The Moon—Twice” (Howard Rodman); “Gonna Roll the Bones” (Fritz Leiber); “The Doll-House” (James Cross); “Shall the Dust Praise Thee?” (Damon Knight); “Test to Destruction” (Keith Laumer)
“Incident in Moderan” and “The Escaping” (David R. Bunch)
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