Reviewed by: The Dreamer and the Dream: Afrofuturism and Black Religious Thoughtby Roger A. Sneed Ruth Myers Shaping God and Shaping Change. Roger A. Sneed. The Dreamer and the Dream: Afrofuturism and Black Religious Thought. Ohio State UP, 2021. xiv+ 181 pp. $99.95 hc, $29.95 pbk & ebk. Roger A. Sneed's The Dreamer and the Dream: Afrofuturism and Black Religious Thoughtis an important contribution to the critical scholarship that addresses Black science fiction and spirituality. Given his academic background, Sneed offers a corrective to traditional forms of Black spirituality found in Black liberation theology. For scholars such as bell hooks, James Cone, and Cornell West, Black spirituality remains tied to Christian ideology, [End Page 401]limiting the possibilities for Black queer identities and thought. Sneed's perspective, however, is unbounded by previous ideas regarding Black religious thought. Necessarily, then, he begins his book by making a distinction between Black religion and Black church in order to clarify his terminology. Distinguishing himself from traditional schools of Black spirituality, Sneed likewise encourages readers to broaden their views of Black spirituality to encompass the imaginative properties essential to Afrofuturism. Free from the limitations of rigid theological confines, the Afrofuturist can engage in all modes of spirituality, which is inextricable from both "nam[ing] (and shap[ing]) God" (3). Mirroring the spiritual endeavors of Lauren Olamina in Octavia Butler's Parable of the Sower(1993), Sneed likewise contends that "God is change. Change is God. We shape that change, and that change shapes us" (2). For Olamina and Sneed alike, institutionalized forms of spirituality often "rob us of the creative possibilities inherent in the encounters with God-as-world" (2). According to Sneed, regardless of their spiritual backgrounds, human beings are critically involved in shaping God and shaping future possibilities for Black people. Afrofuturism is an eschatological endeavor in which humans create a future that, if we are to have any hope, does not mirror the horrors of a collective racist history. Despite the fact that theological training comprises much of his educational background, Sneed asserts that he is "not writing theology" (xii). Yet his writings are not entirely agnostic either. In opposition to spiritual binaries, Sneed offers an alternative space by bringing Black spirituality together with Afrofuturism, a combination he sees as productive and helpful for imagining future possibilities freed from oppressive bounds of racist thinking. For Sneed, engaging in Afrofuturism is inherently both prophetic and imaginative (3). Afrofuturism resists not only the religious circumscription of former modes of Black spirituality, but is also an important tool of resistance against white supremacy that delimits the potential possibilities for Black life. Although Afrofuturism counters the racist ideology of white supremacy, "racism is not necessarily Afrofuturism's central concern" (151). Likewise, as a formidable counter to narratives that center white characters and marginalize Black ones, Afrofuturism is unabashed in its assertions of Black centrality: "Afrofuturistic consciousness yields a vision of Blackness that … is not bound by whiteness" (2). Afrofuturism not only represents Black concerns but also centers on the power and triumph of Black hope. In this way, Afrofuturism maintains a focus both on Black characters and Black audiences. Sneed defines Afrofuturism as "Black people throughout the African diaspora taking science fiction, horror, fantasy, and other forms of speculative fiction and repurposing them into the service of more fully describing Black lives, experiences and concerns" (20). As such, Afrofuturism can be seen as a mechanism to expose the systems of oppression that have historically (and presently) function to threaten and exploit Black lives. According to Sneed, Afrofuturism at its best is intersectional, providing space for a multitude of [End Page 402]Black identities. In contrast to both the white straight males pictured in much of traditional sf and the heteronormative Blackness inherent in Black liberation theology, Sneed argues that Afrofuturist writers often write, sing, and envision characters with expansive, intersectional identities. For example, as Sneed suggests, all of Octavia Butler's protagonists are Black women who often hold non-traditional beliefs and/or orientations. Following this model, Afrofuturism is concerned not just with representing peoples of various races and genders, but also those who maintain different modes of being in the...