I Went Looking for AfroSF 

In this article, Eugen Bacon reflects on her journey of discovery into AfroSF. Meanwhile, Ivor W. Hartmann’s groundbreaking AfroSF anthologies are currently included in the African Speculative Fiction bundle from Story Bundle.

By Eugen Bacon

It was a love and hate relationship with M. The brusque and direct nature of this editorial colleague of mine every so often came across as pomposity, and I knee-jerked. So much that I nearly fell in wonder when M approached me asking for a favour. 

“How about a pitch?” he said. “I’ve seen this AfroSF thing on Amazon a couple of times, it would be great to write an article.” 

M was offering an olive branch. He wanted me to write for his nonfiction section of a popular magazine. And I had just the title for this piece: “What is AfroSF?” To put it in context, this was a few years ago. 

It was a journey of discovery that led me to a community. The African Australian in me was curious to unearth AfroSF, an inquisitive quest to decipher this literary movement, this subgenre of science fiction—what was it exactly? Yes, I anticipated that it had some derivation from hard or soft science fiction, cyberpunk, mutant fiction, dystopian or utopian fiction, pulp, space opera, and the like, and that it had something to do with Africa. What else would I discover?

An online search steered me to a 406-paged anthology published in December 2012 by StoryTime, a micro African press dedicated to publishing short fiction by emerging and established African writers. The StoryTime magazine was formed in 2007 in response to a deficit of African literary magazines.

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Some readers described it as a ‘ground-breaking anthology’ of diversity and hope, an ‘African Genesis’ that was intense and varied in its fresh viewpoints. Editor and publisher Ivor W. Hartmann spoke of his dream for an anthology of science fiction by African writers, and his realisation of this vision in a call for submissions that birthed original stories published as AfroSF. Illuminating his fascination with the collection, Hartmann said, ‘SciFi is the only genre that enables African writers to envision a future from our African perspective.’

Bravo, I thought of this Zimbabwean writer, editor, publisher, visual artist and author of Mr Goop (2010)—an award-winning post-apocalyptic short story of a boy who struggles with coming-of-age concerns like bullies and scholarly performance, in a science fiction society called the United States of Africa, guarded by robots and chaperoned by humanoid genoforms.

Continue reading “I Went Looking for AfroSF “

Becoming Visible: The Rise of Black Speculative Fiction

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Eugen Bacon is an award-winning writer of speculative fiction and non-fiction. Her works include Claiming T-Mo (Meerkat Press 2019), Writing Speculative Fiction: Critical and Creative Approaches (Macmillan 2020), Inside the Dreaming (NewCon Press, 2020) and Hadithi and The State of Black Speculative Fiction, a forthcoming collaboration with Milton Davies (Luna Press, 2020). In this essay, she reflects on some of her favourite black speculative fiction.

 As an African Australian who’s grappled with matters of identity, writing black speculative fiction is like coming out of the closet. It’s a recognition that I’m Australian and African, and it’s okay—the two are not mutually exclusive. I am many, betwixt, a sum of cultures. I am the self and ‘other’, a story of inhabitation, a multiple embodiment and my multiplicities render themselves in cross-genre writing. As a reader, writer and an editor, I’m increasingly noticing black speculative fiction, and it’s on the rise.

Continue reading “Becoming Visible: The Rise of Black Speculative Fiction”

Deconstructing the King of the Katz

By David John Beesley

King of the Katz Title shot

Making art can follow many differing paths: allowing the subconscious to do its thing; waiting for inspiration to strike alongside the time to realise craft, developing pleasure in process and deeper understandings of the self. The Neo Liberal market’s force for establishing one’s own name as a brand is a powerful psychological vortex, and for some, it is also imperative to follow the academic establishment’s call for deep research and being precise in defining one’s conceptual intentions. For myself, a commitment to the process of assemblage seems appropriate in an age of polarised economical ideologies; I see this as a way of presenting stratified social critiques –  an ethical choice. 

My favourite indulgence in developing ideas is a long walk or deep soak in the tub – establishing time for reflection. I came up with a draft for my film in about two or three hours… I was twitchingly excited, as I’d conceived an idea to make a Cli Fi Western. 

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Mushrooms: The Art, Design and Future of Fungi

By Seana Gavin

Reviewed by Bethany Garry

Mushrooms: The Art, Design and Future of Fungi, curated by Francesca Gavin, can be seen at Somerset House until the 26th of April. It is part of The Charles Russell Speechlys Terrace Room Series and is free to visit. 

Mushrooms and fungi have a specific place in the imagination as strange and otherworldly, often associated with the fantastical or magical, but Gavin’s exhibition on the “future” of fungi posits them as significantly more science-fictional than fantastical. They are a technology – for use in the future of fashion, biotechnology or ecological industries, or an alien – an unexpected invader via decay or rot, part of the aesthetic that makes a landscape feel truly not of this world. The exhibition achieves this through the mix of mediums, beginning with some of Beatrix Potter’s botanical illustrations of mushrooms and fungi, and progressing through dance (in video form), textile arts, sculpture, collage, fashion, and an extensive display of books. 

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The effect is an exhibition that feels unfinished, if visually engrossing. Amanda Cobbett’s sculptures of mushrooms, perfectly rendered in thread and paper, are an illusion good enough to trick you, and Seana Gavin’s collages are alien worlds where mushrooms form otherworldly buildings, or fungi have unsettling human features. The small setting of the exhibit gives little room for in-depth exploration, and its high goal is undermined a little by the content. A display of mushroom-focused non-fiction literature amounts mostly to a display of book covers, which maybe spark thoughts but ultimately feel superficial. However, for a mushroom lover or for those interested in how the natural world can be positioned in a futurist mindset, it’s a fun way to explore how many different artists have used many different mediums to explore the world of mushrooms and fungi. 

While the first two rooms of the exhibit largely explore mushrooms as an aesthetic or fascination, the final ‘Futures of Fungi’ room positions mushrooms as a future technology, one that humanity has not yet fully exploited, with potentials unexplored, with displays including experimental leather made from mushroom, and a typeface generated to ‘spore’ organically as mushrooms do. The strangeness of mushrooms, their in-betweenness between plant and animal, their interconnectedness, are all ways in which they challenge humanity to experiment with their potential. Not all science-fiction, after all, is an exploration of an alien world. Some are discoveries of the strange in our deep seas or our high peaks. Perhaps the next frontier is neither, but instead will be the forest floor.

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Mars By Design

Photo credit: Felix Speller

A review of the exhibition “Moving to Mars” held at The Design Museum, London from 18 October 2019 to 23 February 2020.

By Allen Ashley

The Design Museum used to be tucked away somewhere on the south bank of the Thames but since relocating to Kensington in 2016 has established itself as a premier cultural venue in the capital. Those of us a little longer in the tooth would recognise its newish home as having once held the Commonwealth Institute. Today the array of flags has gone but the building is still nestled next to parkland. It’s drizzling on the longish walk from the tube station. It’s the final week of “Moving to Mars” and it’s also half-term; which, as a sometime supply teacher, I should have taken into account. Let’s face it, what do kids love most? Dinosaurs. And second most? Space. (Witches are third, in case you’re wondering.)  Continue reading “Mars By Design”

From the editor of Focus: Best of the Year 2019

By Dev Agarwal

Image result for watchmenThere was a lot to try to keep up with in 2019.  As usual my attention was split between what was new, what I’d missed and what I revisited.  As this is the regular review of the new, I’ll keep my attention squarely there — though I’ll confess to missing key releases that will doubtless prove to be among the best of the year.

As 2019 was also the end of a decade, this is a moment to note that over the last ten years we’ve seen a number of new writers establish themselves as major names in the genre.

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Conference Report: Utopian Acts 2018

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By Sasha Myerson

Organised by Katie Stone and Raphael Kabo, ‘Utopian Acts’ was a one-day mix of art, activism and utopia hosted by Birkbeck at the beginning of September. The conference provoked us to explore ideas set out by Ruth Levitas in ‘Utopia as Method’ and consider utopia as an act. Aiming to challenge the dystopian pessimism of our current moment, it asked whether examining the intersection of academia and activism might provide a way forward, out of our current impasse, towards a better future. Such thinking informed the structure of the conference, which included a mix of interactive workshops alongside talks by artists, activists and more conventional academics. In a welcome break from the norm at conferences, the event was free and substantive effort was made to ensure inclusivity and accessibility. This included grants to reimburse speakers, step free access to the building, gender-neutral bathrooms, a policy on pronouns and encouragements to keep academic language clear and intelligible. Overall, the conference made an ambitious attempt to relate its content to its form, putting some of its ideas into practice.

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Utopian Acts 2018: Ayesha Tan Jones

Indigo Zoom: The Awakening

Film Screening at Utopian Acts 2018

Set in a future with no safe oxygen left to breathe, the big business corporation Yonivel.co has commodified air and is selling it to the masses. We follow a wayward hydrogen hacker on their quest to #breathefree
Written, directed, edited, produced by
Ayesha Tan Jones
2016/2017

Indigo Zoom : The Awakening (full movie) from ayesha tan-jones on Vimeo.

Virtual Futures: Tomorrow’s Wars

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Losers by Phil Jones

Virtual Futures: Tomorrow’s Wars – 17th April 2018

Inspiration & Terror by Andrew Wallace

Virtual Futures began in the early 1990s, when writers, thinkers, performers and scientists got together at Warwick University to grapple with the implications of technological changes sweeping society. Now that we are in that feared and fabled future, a new incarnation of Virtual Futures has been taking place in London. At the inception, one of the most popular elements of the events, or ‘salons’ as they are known, proved to be a short piece of science fiction written and read by science fiction author Stephen Oram. These pieces were so popular that science fiction got its own night within Virtual Futures, with Stephen as the curator. Mixing fiction specially written around the evening’s theme with keynote introductions by noted speakers often prominent scientists in the relevant field, the nights are unlike any other science fiction event in London.

April’s Salon explored the future of warfare, asking these crucial questions:

War has, so far, been inevitable throughout human history but what will the future of conflict or cooperation look like? Will the discoveries of the future lead us to a world without violent disagreement, or just result in us killing one another in more creative ways?  Continue reading “Virtual Futures: Tomorrow’s Wars”

History of Science Fiction on Audio

Here are a few of the recent history of science fiction overviews that are available in audio format.

Gary K. Wolfe’s 24-lecture series as also available as video lectures. David Seed’s introduction is the most succinct – it is about 5 hours as opposed to about 12 hours for each of ‘The Great Courses’ series.

James Wallace Harris, reviewing Wolfe’s lectures, rearranged in a chronological order the main texts that Wolfe covered in his thematically ordered lectures, it makes for an insightful visual history of the genre: