Make Shift

by Gideon Lichfield

  So many of the core issues go back to our nation’s Civil War and the creation of the Constitution itself. I found myself doing a lot of ad hoc history lessons. I had several conversations with friends about how the Founding Fathers were quite comfortable with the institution of slavery when they were creating the Constitution. There were a number of people quite uncomfortable with its end and not supportive of the protests for civil rights that followed or the BLM [Black Lives Matter] protests today.

  Nevertheless, it became overwhelmingly obvious that many Americans in the midst of the BLM protests just didn’t know history. Many were clueless around the history of Africans in the Americas in a way that was shocking. The Iroquois Nation was heavily borrowed from in the creation of the US Constitution but you almost have to be in a graduate-level history course to know that. Unless you’re a history major in a school that values diversity or a life-long reader on a quest, one can completely miss the basics, and become quite defensive about it. Then you have others who present history in this bizarre propagandized fashion that has people ready to fight you when you tell them it’s not true.

  For many, pop culture is the lens for understanding history, which means that Black history for much of the populace hinges on the rise of a new music subgenre created by Black people or an unknown moment like [the] Tulsa massacre referenced in a popular television show like Watchmen. Fortunately, the Internet is a great source to get the basics if you can follow the social media bread crumbs that led you there. Many people are looking for references for books, films, and documentaries to get some framing for what’s going on. I started doing history lessons on my Utopia Talks because you can’t talk about futures without knowing histories, which were futures for their predecessors. However, in Afrofuturism, time is treated as nonlinear, so it becomes a healthy way to explore histories, futures, and resilience.

  Nevertheless, I’ve had daily conversations around everything from the philosophy behind the politicization of masks to Indigenous frameworks to marketing pivots to mass manipulation to Maroon societies of Africans in the enslaved Americas. In some ways, this period was about processing everything you’d ever learned, reassessing philosophical frameworks, and getting grounded in what’s important.

  That said, I’ve become vegan for the season. Between work, Zoom birthday parties, and virtual lectures, I’ve developed quite a few story ideas. I completed my graphic novel Blak Kube for Megascope. I did the edits in June 2020, miraculously. When June was over so much had happened from protests to looting to Juneteenth to virus surges nationwide, I couldn’t believe it all happened in four weeks. I’ve been watching a lot of Korean cinema with my best friend and making an unusual amount of soups with garlic and ginger. I just learned that the current president is sending troops to my city. I prayed about it and I’m fine.

  WR: You’re both a practitioner of science fiction and futurism, in the form of works like the Rayla 2212 books and your Bar Star City film project, and a chronicler of the field through your groundbreaking survey Afrofuturism. In your mind, what good can sci-fi and futurism do for readers and audiences in the here and now? And do these forms of expression take on a different importance in times of crisis?

  YW: I would like to see more visions that reflect what a healthy society looks like. I would love to see more schools of thought around healthy futures that were created as worlds that people can read [about] in a book or watch in a film. Healthy societies can have issues, conflict, and all the drama required of a story. I’d like to see more that reflects a kind of world we’d like to live in. I’d like to read a sci-fi story and say, “Gee, I’d like to live there. This place seems like it treats people fairly or at least values doing so.” I’d like to see more stories where resilience tools from the past are put to use. Obviously, there’s sci-fi that does this, but I’d like to see more. Perhaps that’s why I write in the genre, as a way of problem-solving futures, or as Toni Morrison said, to write stories you’d like to read.

  I understand that a world moving through or in a dystopia makes the hero’s journey a fundamentally high-stakes one. I think many creators are more inclined use history to frame their dystopias than to frame utopias or protopias. But for many, writing in a dystopia is a form of problem-solving, and for others it’s a release valve.

  WR: COVID-19 deaths among African Americans have been two to three times higher than what you would expect based on their share of the US population. It’s not as if the SARS-CoV-2 virus has revealed disparities in healthcare and health outcomes; rather, it’s exploiting this longstanding form of injustice and making it worse. Can sci-fi writers and other artists and creators do anything to help call attention to this nightmare?

  YW: I don’t know if they need to call attention to it. The news, the protests, the outrage, and the data are doing a great job of exposure. If someone doesn’t feel a gut reaction to at least say, “I don’t want this in our society,” then it’s not a question of exposure to information, it’s a question of empathy. It’s a question of, well, if you’re not Black, Latino, a front-line worker, living in a nursing home, or a crowded city, why should you care? It’s a question of why should I wear a mask to protect someone else? It’s a question of why are so many in our society quick to otherize people as if we aren’t connected? This is beyond individualism. Is it mass narcissism? In that respect, sci-fi does write about otherism and how it functions using both the alien and cyborg metaphors. I would love to read more sci-fi that demonstrates how we are all connected. I would like more stories on protopias or with idealized societies in the backdrop. We need more visions of the future that aren’t so reliant on technological innovations but also reevaluate human organizing systems and the philosophies that undergird our world.

  WR: When you published Afrofuturism back in 2013, part of what made the field so exciting was that, as you wrote, it “combines elements of science fiction, historical fiction, speculative fiction, fantasy, Afrocentricity, and magic realism with non-Western beliefs,” often in the service of a message of self-determination. But 2013 already feels like a different era, when we’d somehow leapt into the future by electing and reelecting an African American president. It turned out we had no idea what challenges were coming, all building up to the traumas of 2020. Do you feel like current events are changing the conditions under which Afrofuturist work gets produced?

  YW: Afrofuturism existed long before the term was created and will exist beyond this period. I don’t see the times as dictating its necessity. People of African descent and the African diaspora will have a relationship with the future, space, and time and will pull from culture, experiences, and the resilience tools to navigate it in part because that’s what humans do.

  WR: Has it become harder to sustain the genre’s trademark mix of “imagination, technology, the future, and liberation,” as you described it in the book?

  YW: Black people don’t have the luxury of abandoning hope and dreams because of shifts in politics. W. E. B Dubois wrote the sci-fi story The Comet in the 1920s, and while there was a literary cultural renaissance afoot, I wouldn’t call that the best of times for Black Americans. Ezekiel’s wheel as a spaceship reference was in Black spirituals during enslavement. People looked to hope because they had to. Sojourner Truth in the early 1880s said she’s “going home like a shooting star.” When François Mackandal led a six-year rebellion of self-emancipated Maroons against plantation owners in Haiti in 1752, nearly forty years before the Haitian Revolution, people claimed that during his capture he turned into an animal and flew away.

  Many African cosmologies from the Dagara to the Yoruba are inherently interdimensional, as evident in the symbolism of the art and architecture. The narrative of hope that often threads the tougher times is about moving forward. That said, I think Afrofuturism, the term itself, was popularized during Barack Obama’s presidency in part because it gave some people context for him existing. Shortly before his presidency the idea of a man of African descent being president
of the United States for too many felt like some distant utopia or creative science fiction. To paraphrase a quote in Afrofuturism by longtime activist Jesse Jackson, Sr., you can’t move forward with cynicism. That said, there’s a big demand for more stories and works by Afrofuturist creators.

  WR: From your standpoint, is it getting any easier over time for people of color and LGBTQ voices to find an audience and make a living in sci-fi? And under sci-fi, let’s count TV, movies, books, comics, music, and all the forms through which the future is explored. Is the publishing and editing establishment in sci-fi becoming any less white and less male?

  YW: There’s definitely a greater interest in diverse stories because the audience of sci-fi lovers are demanding it. People want to see stories that provide other insights into the human experience and the realm of the imagination. Independent creators on both the comics and literary side have been self-publishing works with diverse voices consistently to new audiences for the past decade or so. Publishers are responding to that demand.

  WR: I’m a Marvel fan, so I have to ask you a question about Black Panther (2018), which had a Black director and a nearly all-Black cast and introduced mainstream audiences to Afrofuturism in spectacular and dazzling fashion. Has Black Panther made it easier to explain what Afrofuturism is?

  YW: The success of Black Panther has made life easier for Black sci-fi creators. It was a gamechanger and gave everyone’s work a bump up. All these creators who were viewed as niche or fringe were suddenly at the center of this fascinating conversation around “Afrofuturism.” Creators could make very edgy experimental music, like composers Nicole Mitchell, Moor Mother, or Angel Bat Dawid, and could flourish in new ways because new audiences had a way to frame their work. Visual artists, writers, and theorists suddenly had a larger world to play in with their works.

  WR: Do you ever worry that in the hands of a giant media conglomerate like Marvel/Disney, Afrofuturism might become too mainstream and begin to shed its more radical or leftist elements?

  YW: We’ll see more mainstream works utilizing Afrofuturist ideas and creatives. There will be more people with a desire to create pulling from ideas in that arena. We’ve seen that in the past two years with both Marvel and DC. Whether people are doing work with large corporations or independently, both scenes ultimately complement one another. Black people will have a relationship to space, time, and the future regardless. Every Afrofuturist story isn’t Black Panther and I don’t think people expect it to be.

  WR: Outside the United States, which regions and communities are producing the most notable and exciting science fiction? Are there any international sci-fi authors or books you’re enjoying right now?

  YW: Brazil has a robust Afrofuturismo scene of theory and works. There’s a book called Afrofuturismo written in Portuguese that I’ve just ordered. I’ll have to translate it via Google until an English edition comes out. I spoke at a virtual conference of Brazilian Afrofuturists recently and I’m really excited by the depth of their work. Jelani Nias of Toronto, Canada, has a cool book called Where Eagles Crawl and Men Fly. Toronto has a robust scene and is home to the annual art show Black Future Month curated by Danilo McCallum and Quentin Vercetty. It’s also home to A Different Bookstore which has a great Black sci-fi and fantasy selection.

  Afro SF: Science Fiction by African Writers edited by Ivor W. Hartmann is a good anthology. The book came out a few years ago and has a wide range of works from authors across the African continent, including Nigerian American Nnedi Okorafor. I’ve seen some great Afrofuturist short films and features from African creators from Kenya, Nigeria, and Cameroon. I’ve had some great conversations about dance theory as Afrofuturism with dancers from Ivory Coast, Senegal, and Cuba. The ideas in Afrofuturism are fairly understood within the African continent/diaspora, it’s just a question of whether people utilize the term to frame their works or not. In many parts of the world, the United States included, many within the diaspora just see what we’re calling Afrofuturism as life.

  WR: Is Afrofuturism a potential template for other culturally inflected futurisms—say, Latinofuturism or Sinofuturism?

  YW: I don’t want to say it’s a template. People all over the world have relationships to space, time, and the future with a unique cultural lens. However, the term has created ways to narrow the focus on literary works, music, and more from specific cultures. I think it’s given rise to conversations on the shared aesthetic and philosophical thought within other cultural lenses. It’s pretty exciting. Within African/African diasporic communities, the term “Afrofuturism” helped people to anchor and frame the works they were creating or ideas they were tossing about. I think terms like “Indigenous Futurism” and others are doing the same for Indigenous creators and helping audiences to find them.

  WR: George Floyd’s killing became the tipping point in a national movement for police reform and seems to have led to a recognition that in this country, racism and policing are two sides of the same coin. Can Afrofuturism or other forms of sci-fi help us imagine a world where policing isn’t necessary, where mass incarceration is a thing of the past, or where the law is finally enforced equally without regard to skin color?

  YW: Yes.

  WR: In Afrofuturism, you quote activist Adrienne Maree Brown, who says abandoned urban communities like her home town of Detroit or post-Katrina New Orleans can feel like the post-apocalyptic places we see in sci-fi. But she adds that if you look deeper, you see how communities are rebuilding from within. She writes, “It’s not the end of the world, it’s the beginning of something else.” At the risk of sounding like a Pollyanna—since there’s nothing redeeming about a pandemic, or police killings—I wanted to ask whether you think there’s a prospect that the traumatic events of 2020 will challenge American communities to find creative ways to repair inequality, rebuild the healthcare and public health infrastructures, and end racism once and for all?

  YW: To quote goddess practitioner Lettie Sullivan, a veil was broken during this period. Many have awakened to the fact that there are grave disparities and that they could consciously or inadvertently be contributing to [them]. In a very real way, people are thinking on how they are contributing to systems with hierarchies that kill people or complicate their lives. The widespread protests and the demands for more books to give historical framing around how we got here are all a part of that.

  One lesson from COVID-19 is that yes, there are racial disparities in treatment and stress. However, walls, gentrified neighborhoods, and gated communities can’t protect people from a virus. It’s literally our ability to care for other people by wearing a mask that protects us all. The same can be said about racism. No one, in the end, benefits. Minneapolis is not a highly diverse city, and this mostly white city was in the midst of protests, fires, looting, and police attacks when people challenged the murder of a Black man by police officers. Who benefits from that?

  A white, Midwestern science fiction professor told me once that he prided himself on going to the best schools, reading the best books, and later in his adult years stumbled across Octavia E. Butler. He fell in love with her works and was disgusted that he’d never heard of her before. Why hadn’t he studied her in his classes coming up? Why was she not mentioned as one of the greatest writers of his time in his literature classes? He literally said that all this time he thought he’d been to the best schools and was introduced to the best writers only to discover that there was a whole world of amazing Black creatives alive during his lifetime from the same country he’s come from that he’d never heard of. Were these schools the best? Did he receive a good education? He can’t even call himself well read due to racism, and this is just the tip of the iceberg.

  Frantz Fanon said that racism didn’t benefit the victim, perpetuators, or those who found themselves complicit in it all. Martin Luther King, Jr. said that injustice anywhere is injustice everywhere. Why? Because we’re all human beings living on a shared planet. Yes, this is a moment to create or enhance
our systems so that they care about the well-being of people. It’s an opportunity to center humanity and the planet.

  Yet, I do see people caring for one another. There’s an abundance of “neighborliness.” I had three neighbors pass away during this period. After one neighbor’s funeral, the procession of cars came to my block. The cars were led by a purple and gold carriage carrying the body. Yes, I wrote that correctly. A carriage. A fairytale Cinderella-style carriage with gold trim. A minister on a remote microphone asked if any neighbors wanted to say a few words. Some said prayers. One guy came to the mike and gave this rousing inspirational prayer for the block, all followed by a balloon launch. Over a hundred balloons were sent into the sky in honor of this man who most in our society would describe as ordinary. Despite this, he made an impact. Here we were, literally two days after the first wave of protests and looting, and we’re doing a balloon launch. People who didn’t even know the guy were participating in this shared respect for life. This moment of humanity was heartwarming. We did this as a celebration of life. We did this as a recognition of a new ancestor. But the collective acknowledgment of life elevated us all. We, as a block, were all uplifted. In that moment, I said, “We’re going to be okay.”