*I am featured in Atlanta Blackstar’s blerd’s “Black Speculative Tech – Uses of Technology in Black Science Fiction, Part 2:” “Because of institutional racism and our positions as mere subjects of science, Black people have typically been excluded from the mainstream scientific establishment as actors, practitioners, researchers and policymakers. Black scientific and technological innovation and achievement have gone virtually unrecognized, save for the handful of Black scientists and engineers who get their acknowledgments during Black History Month. Contrary to perceptions of Blackness as divorced from tech and science, we have a long and well-documented history, present and anticipated future of technological development behind and ahead of us. In this series, we continue to explore the expansive realm of Black speculative technologies in music, art and literature.”
*Black Girl Dangerous’ “What Good Is Science Fiction to Black People?:” “But to sci fi? Is this a stretch? Like so many others, I once thought of sci fi as a white man’s genre. But like all literature and virtually all art, while the genre came to me under the cloak of white men’s ownership, I’ve found my own heroes, disproving the dominant narrative that devalues the stories of people like me. Black women like Butler, Nalo Hopkinson, Tananarive Due, and Nnedi Okorafo dismantle and rebuild our world to center black women’s voices where they’re so often silenced. They infuse their writing with ancestral spirits of Africa, fabulist folklore from the Caribbean, and the innovative power of our people.
The imaginative spirit of science fiction lets me know that, in spite of what I’ve heard, the genre is mine to have. My imagination has always been mine and used for everything from dreaming up talking animals to expressing the inexpressible about the trauma of sexual violence and domestic abuse. Science fiction pushes against the constraints of reality, and in order to embrace it, I have to suspend disbelief about many things, including the limits imposed on me.”
*VMF Magazine’s “Afrofuturism in the Time of Renisha and Trayvon:” “Fact: Black people are killed by a culture that doesn’t value them, and degrades and squashes attempts at bolstering communal self esteem.
This is an inconvenient truth, and it is one that many people avoid. But in all the circumvention, the bodies keep piling up, and we are seeing classic examples of misappropriation and erasure all the time. Black people, in a land that is hostile and holistically foreign, have looked back to Africa, like Garvey, to nationalism like the Black Panthers, and into separatism like the citizens of Tulsa and Rosewood, as means of establishing a place where Black pride and Black-centeredness could be viable options for the prosperity of darker peoples. While looking at possibilities on this terrestrial plane…others looked to the stars and the future in a philosophical and aesthetic movement called Afrofuturism. It begins with the works of such visionaries as Octavia Butler, Samuel Delaney, Grace Jones, Basquiat, Sun-Ra, and Parliament Funkadelic and has grown to encapsulate the works of artists like Erykah Badu and Andre 3000. Although heavily dependent on science fiction, fantasy, and mysticism, Afrofuturism is not escapism. It is a realm of re-envisioning and rebuilding.”
*Patheos’ Emerging Voices’ “Black to the Mothership:” Micky ScottBey Jones talks about the intersections between Afrofuturism and theology.
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