In her new science fiction book ‘The Memory Librarian,’ the artist and Afrofuturist icon creates an apocalyptic—and hopeful—vision of the future.
answer, and a fiercely inspiring one: a deepening of Afrofuturism’s potential to weaponize our dreams for a freer, more joyous world.is that Black people can control their own futures and that, moreover, they can escape the suffocating limits of time itself. Past becomes future becomes present; memory becomes prophecy becomes reality. Freedom is not just a dream for the future but a history we know we’ll relive once more.
In resistance to this, Black speculative fiction often blows up linear or chronological time: a way to move forward while keeping hold of the past. Perhaps the best example is Butler’s 1979 novel, in which Dana, a young Black woman and writer, travels between 1970s California and an antebellum Maryland plantation, where she meets her enslaved ancestors.
Despite its current cultural ubiquity, Afrofuturism has no singular definition. The genre has become associated with a diverse set of Black creatives, including writer and activist adrienne maree brown, comedian and filmmaker Jordan Peele, and novelist Jesmyn Ward, all of whom make art with a political bent. In her 2013 book, Ytasha L. Womack locates Afrofuturism at “an intersection of imagination, technology, the future and liberation.
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