Literary Afrofuturism in the Twenty-First Century ed. by Isiah Lavender III and Lisa Yaszek (review)

Abstract

Reviewed by: Literary Afrofuturism in the Twenty-First Century ed. by Isiah Lavender III and Lisa Yaszek Fredrick Douglass Dixon Isiah Lavender III and Lisa Yaszek, eds. Literary Afrofuturism in the Twenty-First Century. Ohio State UP, 2020. 264p. Feminist Stand-Point theory continues to gain acceptance in academic circles amidst a burgeoning scholarly movement dedicated to the demands for inclusivity in higher education. This theory is mainly used to analyze inter-subjective discourse. The overarching premise centers on the thought that knowledge is socially situated, and the most marginalized voices are valuable locales of knowledge production. Literary Afrofuturism in the Twenty-First Century parallels the Stand-Point theory in that it solicits the writings of one the most marginalized populations, black science fiction writers, to define and explain Afrofuturism through a critical black lens. Editors Isiah Lavender III and Lisa Yaszek employ a diverse assemblage of black science fiction writers to provide critical analysis of the systematic layered nuances of racism in the genre of Science Fiction (SF). They contend that: “This anthology is designed to introduce readers to Afrofuturism as an aesthetic practice that enables artists to communicate the experience of science, technology, and race across centuries, continents, and cultures” (1). Literary Afrofuturism offers two fundamental objectives: first, a means to widen the current scope of SF actors, accomplices, and allies; and second, a scathing examination of the historical marginalization of black authors’ ideas and accomplishments in SF. To define one’s identity remains a prerequisite for self-determination. Afrofuturism symbolizes the on-ramp for black authors to “reboot the black identity, challenge white supremacy, and imagine a range of futures in full color” (1). Wrought with an imaginative and exacting posture, Literary Afrofuturism takes on the task of re-defining Afrofuturism that challenges its mainstream definition and origin. Many SF consumers and critiques credit Mark Dey, a white cultural critic, with coining the term Afrofuturism in the early 1990s. According to Dey, “Afrofuturism is a process of signification that appropriates images of technology and the prosthetically-enhanced [End Page 121] future to address the concerns people of color face in contemporary culture” (3). This definition stands as the fundamental pillar of how a significant portion of white artists identify with Afrofuturism. The editors remind readers that a ubiquitous phobia exists within the industry’s central zone of power that believes black writers will ruin SF’s enjoyment by critically examining pressing social justice issues. This anthology underlines how Afrofuturism can become a remedy to disrupt the dominant narrative by embracing a more balanced and inclusive focus on black humanity when defined by progressive black artists. Literary Afrofuturism explores distressing concepts of white privilege in SF by taking readers on a comprehensive excursion by black SF writers who make empirical arguments about the lack of depth and veracity concerning Afrofuturism’s definition. From a medley of skillfully written narratives by prominent SF writers, a core group of notable themes emerges: (1) the current definition marginalizes the diverse paradigms, theories, and talents of black SF artists; (2) it is a filter that systematically excludes individuality; and (3) it does not possess the propensity to liberate the dominant pop-culture consciousness from its racist nature. Minister Faust provides an analysis that uncovers the lack of pragmatic utility of the term Afrofuturism, “much of Africentric fantasy is set in the past or the present, not in the future, which makes the term Afrofuturism a failure from the start” (27). Nisi Shawal finds the term a convenient marketing tool, while Nick Wood deems it a conceptual umbrella that encompasses the “African diaspora in North America” (28). Although Afrofuturism finds considerable public criticism from black SF practitioners, it directly holds value for black authors. It widens the customary roster of contributors by giving palpable agency to women writers. Andrea Hariston and others now wear the title “Dangerous Muses” due to their devotion to adding an all-important aesthetic lens that eradicates the traditional boundaries assigned to women SF authors. “They are dangerous to the status quo, destroying the old temple images of the golden past, and are stealthily building the world anew in their own remarkable image” (36). The thread that links the...