Africanfuturism: An Anthology

Africanfuturism: An Anthology edited by Wole Talabi, Brittle Paper, 2020

Includes stories by Nnedi Okorafor, T.L. Huchu, Dilman Dila, Rafeeat Aliyu, Tlotlo Tsamaase, Mame Bougouma Diene, Mazi Nwonwu, and Derek Lubangakene.

Reviewed by Alexander Buckley

With a short introduction to African science fiction by Wole Talabi, himself a Nommo Award winning writer, Africanfuturism: An Anthology contains eight stories and boundless insights into what Africanfuturism actually is, what it should look and read like. The anthology is freely available from Brittle Paper, a literary magazine established in 2010 that champions upcoming African artists and writers. The stories invite the reader to delve into imaginative futures of African societies, all of them conjuring up a range of compelling ideas, some offering novel interpretations of dystopian ways of living. 

The anthology opens strong with a short, hospitable story by T.L. Huchu, a Zimbabwean writer, known for his debut novel The Hairdresser of Harare (2010) and his many award-nominated short stories. Huchu’s “Egoli”, written in the second person, details the life of an aged Shona woman living between the past and the future in her small village; her grandson is away working as a miner in space, meanwhile, this woman uses a smartphone and finds solace in the BBC World Service on the radio. The nostalgic inspection into the past is warm and balmy, contrasted with the introspective world of tomorrow that’s slowly encroaching, attempting to sever this woman from the life she tirelessly tries to hold on to. It’s beautiful. The writing is neat and immerses the reader in this woman’s life that seems so lonely and distant from everything around her. It’s one of the most interesting and developed stories in the anthology and is a fantastic introduction for anyone interested in Africanfuturism.


The second story is “Sunrise” by Nnedi Okorafor, whose definition of Africanfuturism, a term she coined, is featured at the beginning of the anthology. Okorafor’s “Sunrise begins with a famous Nigerian-American science fiction writer being harassed while trying to board a flight with her sister. It then shifts into a narrative about the erratic uncontrollable nature of the Artificial Intelligence on her phone and the spoilt visit to her uncle’s house. The story doesn’t seem to know which way it wants to go, and the writing doesn’t help the confused nature of the storyline. The part at the beginning, about Nnedi’s self-insert being harassed by ‘Ian Scott’ who struggles to pronounce her name correctly is strong enough to be a standalone story. Everything afterwards felt tacked on and a little needless.

Ugandan filmmaker and science fiction writer Dilman Dila’s “Yat Madit” tells the story of Amaro, whose ex-president father is released from prison. Her father visits his smart, tech savant daughter to seek advice about using the voter’s online avatars to get himself re-elected. Yat Madit is the hardware that hosts everyone’s avatar and fosters interconnectedness, the nature of which remains enigmatic. The worldbuilding is very compelling, inspiring many questions about what Yat Madit is and how it works. Yat Madit means ‘a big tree.’ There are hints that a stormy family drama is buried underneath the narrative layer, but it’s unable to emerge through the text. The father tries ludic ways to reconcile with Amaro, but the back-and-forth trial does not suffice to banish the shadow of his criminal past. The writing struggles to support the plausibility of attempts to resolve the emotional conflict between Amaro and her father. “Yat Madit”’s main strength is its science fiction novum and worldbuilding. There’s a whole future happening within the story and it would have been great to explore more of the history of the avatars. This is a case where the science-fictional ideas are more interesting and involving than the emotional story they are embedded in.  This is unfortunate because the characters want to do so much and be given the same treatment as the science that is being foretold. 

Mazi Chiagozie Nwonwu is co-founder of Omenana, an essential Nigerian-produced magazine dedicated to speculative fiction from Africa and the African diaspora. Nwonwu’s “Rainmaker” is about a young boy named Bama who must perform a Raindance to bring rain to the dry, dusty planet of Arid. “Rainmaker” is a fun, short adventure story with a simple premise. It begins with an exciting encounter with ‘dust devils’ as Bama and his friend Katma are heading to school. From there, the story doesn’t let go of its sense of adventure and vision. On Arid, it’s believed that anyone who stands up to a dust devil is granted a wish. The story is wholesome and earnest. A journey on this strange arid planet is filled with bright characters and an involving mythos. Mazi Nwonwu’s writing is clear and hospitable and he serves the planet and its inhabitants to us like a tasty, filling meal. 

Tlotlo Tsamaase is a Motswana writer of fiction, poetry and architectural criticism. Her work is featured in The Best of World SF (2021) edited by Lavie Tidhar, and appeared in Strange Horizons and the quarterly British magazine Wasafiri. Her story “Behind Our Irises” details the day in the life of a graphic designer working for a depressing corporate business to keep her life afloat after years of unemployment. This sinister company installs new technology into their employees, fitting holes into the back of their necks, draining them of their freedoms and exploiting them for profit. Although the company is based in and runs throughout Africa, one of the higher-ups is a “European man with a balding hairline, stocky fingers and a certain kind of confidence that intimidated me.” The various themes explored throughout the story are subtle and may not be so apparent on a first reading. Towards the end, the protagonist, against her will and quite suddenly, is forced to undergo ‘maintenance’ work on her ‘ports’. She is approached by “a man in blue coveralls that looked like a cross between a doctor and mechanic.” She tries to evade the procedure but finds she cannot move. She can’t even yell for help, and the man in blue coveralls nonchalantly takes what he came for then lets her go. This dystopian, sad, almost borderline horror short is well made and thought out. This story is a great addition to the anthology, reflecting on emerging issues in labour relationships between workers and corporations. 

Derek Lubangakene, whose work has appeared in Omenana and Strange Horizons, brings “Fort Kwame” to the anthology, named after the orbital city that suffers the consequences of a failed rebellion. Its protagonist, Jabari Asalur, “acknowledged his dread.” Fort Kwame, and the inhabitable planet it floats above, is a deep and detailed world, full of exciting science-fictional ideas and entertaining characters. Lubangakene’s exploration of this futuristic orbital city is quite an adventure. The workings of Jabari’s “thermskin” are particularly well imagined and tickle a certain sci-fi itch. “Fort Kwame” fits perfectly into the anthology. 

On her website, Rafeeat Aliyu’s describes “Fruit of the Calabash” as being “something I initially dreamed of, I recall hastily jotting down memories of the creepy dream before it faded”. In the story, Maseo fertilizes artificial wombs in her lab. The development of a fetus for the local senator doesn’t go as planned and she heeds the advice of a wise, judicious woman to help gain insight into the reason behind the fiasco. The plot develops with an urgent pace; elements of Maseo’s world are immersive and plausible, the characters are believable, the story feels like it could become a reality. It’s a delight to read and get lost in.  

Mame Bougouma Diene, whose novella Hell Freezes Over which was nominated for a Nommo Award, blends mysticism with science fiction in “Lekki Lekki”, the final story of the anthology. Huge trees contain “engines” that connect humans to a giant network of seemingly everything. Humanity had harmed nature, and now it must painfully adapt. This story conjures up interesting imagery for the mind and the story’s lyrical ecocritical otherworldliness is noteworthy. 

The anthology is a host to a range of wonders and imaginative worlds. Judging by what is contained within these digital pages, it’s regrettable that some of these writers have yet to become as widely read as their Western peers. This anthology is a brilliant introduction to Africanfuturism and hopefully its free PDF edition will attract new readers to the genre. I think it’s important that all serious fans of science fiction are conscious of the emerging talent in African science fiction. Publishers around the world should snap their stories quickly before they get beaten to it. 

Wole Talabi: My Favorite African SFF Short Fiction of 2020

By Wole Talabi

This post first appeared here.

2020 started out dangerously for me. A volcano erupted near Manila just as I was flying into the city to transit back to Kuala Lumpur and we all watched with concern as the pilot had to dodge the dust and volcanic ash cloud to get us into the city. Exciting. Or not. We were the last flight to land before the airport was shut down for 3 days for safety so we were stuck there. It was a mess. One could say it was an omen of what was to come because what followed that in quick succession within the first few weeks of the year was political turmoil, an oil price crash, and then the pandemic and all that followed it.

What a difference a year makes.

Despite all that though, some good things did happen and I look forward to 2021 with cautious optimism that things will get better by the end of it.

Although I didn’t have any new stories published in 2020 (I was just far too busy with personal life and work and research and other things) I did sow the seeds of things that could/should pay off in the future, especially for my writing. I signed with the excellent Van Aggellen African Literary Agency and edited a book I’m quite proud of – Africanfuturism: An Anthology with the good folks at Brittlepaper and it includes stories by some excellent authors: Nnedi Okorafor, TL Huchu, Dilman Dila, Rafeeat Aliyu, Tlotlo Tsamaase, Mame Bougouma Diene, Mazi Nwonwu, and Derek Lubangakene. Its gotten (two!) great reviews from Locus and I personally think it contains some of the best African SF stories of the year. I suppose that makes me eligible for best editor (Short Form) for the Hugo awards and stuff so that’s nice. It is available for free download and you can also read the individual stories online.

Africanfuturism: An Anthology is just one of several places to find excellent African SFF in 2020. There was a lot to choose from. If you want a working list of (almost) everything that came out last year, check out THIS link. (I’d also like to encourage you to please fill this form with any works that might have been missed out, it is growing increasingly difficult to keep up with everything published – which is a good problem to have – but with constraints on my time tightening, its also a problem that’s getting worse). This gives us all plenty of material to be considered for this year’s Nommo awards. Especially in the short fiction category which I have repeated multiple times is the category I enjoy writing, reading and keeping up with most because I basically grew up on SF short fiction – Asimov’s Hugo winners collections and Dozois’s Years Best SF kept me tethered to the field even when I went through the valley of the shadow of my SF reading-death. So as it is now a tradition of sorts, I’d like to highlight the African speculative fiction short stories I read and enjoyed most from the wildly disruptive year gone by.  

[Before we begin, as always, a few notes: these are my personal favorites or those that left a lasting impression on me based on my own tastes. They are largely stories I’d personally recommend. Also, while I’ve read a lot of the African SFF short work put out this year, I’m sure I haven’t read everything. I am also really restricting myself to just 10 in this list, as difficult as that is, unlike in previous years where I would use ties to sneak more works in by pairing them with others that are thematically similar. And finally, I usually don’t include my own stories published that year for obvious bias and while Africanfuturism: An Anthology easily contains many of my favorite stories of the year, given how involved I was in shaping those stories, I have decided not to include any of them on this list. So without further ado, here are my 10 favorite African speculative fiction short stories of 2020, in no particular order.]

Continue reading “Wole Talabi: My Favorite African SFF Short Fiction of 2020”

“The big idea”: An interview with Wole Talabi

Back in August, Louisa Egbunike caught up with award-winning SFF author Wole Talabi to chat about his work. This interview was first published in Vector 289.

Earlier you mentioned feeling like you were outside of literary circles, and being dragged in. By who? Who’s dragging you?

I don’t know. For a long time, my writing was just about blogging, writing stories from random ideas, and selling to these obscure science fiction magazines. Well, not obscure … but still, I never had any sense of belonging to a generation of writers, you know? The “it” people, or should I say “lit” people right now, are all people I hadn’t met before, hadn’t heard of, and probably hadn’t read much of. Until maybe last year, when I started meeting them after the whole Caine Prize nomination.

So I guess maybe the Caine Prize dragged me into the whole literary circle thing. Before that, I was just like, “I have an interesting idea, there’s some cool robots, and what if the world was like this? Okay, that’s it.” Now, it’s like I have actual fans, and other writers are saying, “There’s all these layers, meanings, and themes in your work.” I was like, “Okay, cool. I mostly thought the robot was cool, but that’s it.”

They see things in your work you didn’t see yourself?

It’s not like I ignore themes or whatever. It’s just, for me, they’re kind of secondary – which is almost the opposite of most writers I know. Most writers I know focus on character and theme. But for me, the idea comes first, and everything else is secondary. A lot of my stories come from just studying things. I see some interesting science thing, and I’m like, “Oh, OK. How would that really work?”

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Vector #289

Cover art by Ronnie McGrath

Vector #289 (August 2019) is a special issue on African and Afrodiasporic SF, guest edited by Michelle Louise Clarke. It includes articles by Michelle Louise Clarke, Anwuli Okeke, and Chinelo Onwualu on the state of contemporary SFF across Africa and the African diaspora; Jonathan Hay on clipping.’s Splendor & Misery; Kate Harlin on Afrofuturism and Afro-Pessimism in Black Panther and the short fiction of T.J. Benson; Päivi Väätänen on Nnedi Okorafor’s short fiction; Lidia Kniaź on African SFF cinema by Miguel Llansó and Wanuri Kahiu; Andy Sawyer on AfroSF Vol. 3 ed. Ivor W. Hartmann; Gemma Field on Nnedi Okorafor and ecological crisis, Nick Wood on South African comics; Masimba Musodza on the experience of writing SFF in ChiShona; plus Polina Levontin interviewing Dilman Dila, Louisa Egbunike interviewing Wole Talabi, and Joan Grandjean interviewing Mounir Ayache.

Cover: Ronnie McGrath