Dominion: An Anthology of Speculative Fiction from Africa and the African Diaspora. Edited by Zelda Knight and Oghenechovwe Donald Ekpeki
Reviewed by Fiona Moore
This review first appeared in The BSFA Review.
It’s become almost a cliché of conversations in sf circles: someone says that they would love to read more works by authors from non-Western, non-White, and/or postcolonial origins, but, they add, “I don’t really know where to start.” While the recent rise to prominence of African and African-diaspora authors like NK Jemisin, Nnedi Okorafor and Tade Thompson has been welcome, potential readers might still wonder where to look for writers in other sub-genres of sf, such as horror, Weird fiction, or post-apocalyptic fiction.
Dominion: An Anthology of Speculative Fiction from Africa and the African Diaspora provides a suitable answer to this question, being a sampler of a diverse range of stories by established African and African Diaspora authors, covering a startling range of genres that provides something for everyone. At the same time, however, there is plenty for those with a good understanding of Afrofuturism and Africanfuturism to appreciate.
All the stories were, however, at the very least interesting and in most cases very enjoyable to read. Some fit comfortably within familiar sf categorisations. “Trickin’”, by Nicole Givens Kurtz, is a Hallowe’en-set horror piece which develops both the vampire and demonic-possession subgenres. “Sleep, Papa, Sleep” by Suyi Okungbowa Davies is also on the conventional horror spectrum, a Lagos-set story involving necromancy and revenant corpses to explore family relationships. On the science fiction side, “Red_bati” by Dilman Dila, about a former robot pet now repurposed as a mining robot after the death of its human owner, fits into the growing genre of stories exploring the morality of creating AI for human use; this example does a good job of handling the balance between making the AI sympathetic and not obscuring his non-human mindset.
Other stories engage more directly with colonialism and postcolonialism. “A Maji Maji Chronicle” by Eugen Bacon is a fantasy about a mage who meddles with African colonial history, exploring questions about power, corruption and legitimate leadership. “To Say Nothing of Lost Figurines” by Rafeeat Aliyu is a mixed genre SF/fantasy, giving us a wizard from Earth tracking a magical object to an alien society and retrieving it with the aid of a half-human-half-alien woman. The idea of magic-as-science, a feature of much postcolonial sf including that from Africa and its diaspora, arises both as an embracing of the indigenous logics dismissed as superstition in a colonial context, and a challenge to the idea of “Western” science as hegemonic and objective. Here, it is counterpointed by the narrative of a mixed species character finding an escape from her oppressive birth society.
“The Unclean” by Nuzo Onoh is a genuinely terrifying horror fantasy about an Igbo woman in the 1950s in an abusive marriage; the best horror for me is always that which works as a metaphor for real-life issues, and the way in which the protagonist struggles against not just her husband and his family but the patriarchy of 1950s Nigeria in general is both reflected and amplified by the supernatural terrors she encounters (and sometimes brings into being herself). Mame Bougouma Diene’s “The Satellite Charmer” engages directly with Chinese neo-colonial activities in Africa, the background involves two Chinese mining companies using satellite technology for resource extraction in Senegal, our foreground is the life of one man, Ibrahima, affected by the satellites in unexpected ways and how he, and they, converge to an explosive meeting.
History, and more specifically the loss of (and recovery of) history, also emerges as a key theme. “A Mastery of German” by Marian Denise Moore is a near-future hard-science story whose protagonist is an American project manager tasked with evaluating (and possibly cancelling) a project meant to enable the transfer of human memory for profit; at the same time, we have the counter-narrative of the protagonist’s father attempting to trace the family history, thwarted by the invisibility of Black, enslaved and working-class people. The end result explores the meaning of individual and social memory not just in the USA, but any postcolonial country. “Emily,” also by Marian Denise Moore, is the shortest piece in the book, a poem starting with a historical advertisement for the return of an escaped enslaved girl and imagining different parallel futures for her, picking up on the theme of lost history in Moore’s earlier piece for the volume. “Thresher of Men” by Michael Boatman is a deeply satisfying revenge narrative: as a goddess takes vengeance on the White residents of an American town for past atrocities, we see the hidden history of the seemingly idyllic community emerge, beginning with a recent police shooting of a young Black man but going deeper into the past as the story unfolds, revealing the murder as one horror in a long chain of atrocities extending back decades, if not centuries.
Finally, some stories in this collection cross genres or defy classification. “Convergence In Chorus Architecture” by Dare Segun Falowo is a strange and surreal Weird fiction piece involving quests, boneships, human-arthropod fusions; the prose is beautiful and haunting and the imagery lingers. “Clanfall: Death of Kings” by Odida Nyabundi is a post-human post-apocalyptic adventure story, which reads like the setup to what could be a very interesting series, and one hopes the author develops this universe further. Finally, “Ife-Iyoku, The Tale of Imadeyunuagbon” by volume coeditor Ekpeki Oghenechovwe Donald tells the story of a society undone by its own essentialism; as the narrative twists and turns unexpectedly, so the story shifts genre, beginning as an epic heroic fantasy, before shifting into a postapocalyptic story with echoes of The Chrysalids, and shifting again into another divine revenge narrative.
Dominion is a worthy addition to volumes like Walking the Clouds and So Long Been Dreaming which serve as introductions to postcolonial and indigenous science fictions and fantasies. The interesting range of stories, genres and themes provides a clear guideline for people looking for new work by African and African Diaspora writers in their favourite subgenres. However, the exploration and development of themes of colonialism, history, and memory, as well as the re-interpretation of colonialist sf tropes such as vampires and AI through African and/or Afrofuturist lenses, means that the volume also contributes to the ongoing dialogue on decolonising science fiction.