Tag: africanspecfic

The African Speculative Fiction StoryBundle curated by Ivor W. Hartmann

Hey everyone! Here’s a press release regarding the latest African Speculative Fiction bundle curated by Ivor Hartmann. Its pretty much a great list of Speculative Fiction by Africans at a steal. I own four of these works, and regularly read Omenana, so I highly recommend it, especially at the price. You can get the rest of the information below, from a press release provided by Ivor himself. Also, proceeds go to the hardworking folk at the African Speculative Fiction Society!

 

All Covers Large

The African Speculative Fiction StoryBundle curated by Ivor W. Hartmann

Welcome to the African Speculative Fiction Bundle!

This is the most comprehensive collection of African speculative fiction authors ever assembled. With the complete bundle containing nearly 100 authors and over 145 works it stands both as an excellent introduction to the rapidly evolving canon of African SF and a unique one-time collection of their works. From established stars you might know such as Nnedi Okorafor, Tade Thompson, and Sarah Lotz, to upcomers like Wole Talabi, Chinelo Onwualu, Nerine Dorman, Dilman Dila, and so many more.

The bundle starts in 2012 with the first AfroSF and goes right through to 2020 with the first special edition anthology from Omenana magazine, providing a healthy cross-section of African SF over eight years and in some cases the development of individual authors from their first publication onwards. And it is precisely for these reasons I have selected anthologies over novels in this inaugural bundle so as to better represent the full scale of African SF, though you will find too the bonus individual collections Kabu Kabu by Nnedi Okorafor and A Killing in the Sun by Dilman Dila.

The road to this bundle has been paved by the work of countless African writers, editors, publishers, and most importantly readers. For too long was the African experience, imagination, and insight, held captive and until relatively recently only glimpsed through the thick lens of other cultures and their inherent biases. In a big way this is what the new wave of African Speculative Fiction is about: telling our own stories, revealing our vibrant cultures from within, sharing our unique perspectives, and writing ourselves into futures that for so long seemed to spell our doom by virtue of our absence.

Indeed, our progress over just the last eight years has been phenomenal. We have not only won international awards like Arthur C. Clarke, World Fantasy, and Nebula, etc., but gone on to create our own like the Nommos now in its fourth year, the SSDA Award now in its eight year. African publishers such as Jalada Africa, Seven Hills Media, StoryTime, Short Story Day Africa, DADA books, Pan African Publishers, and Black Letter Media, all of whom contributed to make this bundle, have actively encouraged and published more speculative fiction than ever before, and we have only just begun.

In this vein, the charity giving chosen for this bundle is the African Speculative Fiction Society, to help with the tireless unpaid work of this collective NPO. The ASFS was formed in 2016 and primarily at present is focused on the Nommo awards. The awards are nominated and voted upon by ASFS members for excellence in four Speculative Fiction categories. The importance of these independent awards and the ASFS as a part of building a robust and diverse homegrown African SF canon cannot be overstated nor underestimated.

Thank you for taking the time to read this, and I trust you will enjoy all the works in this bundle as much as we did in writing and publishing them for you. I hope you will be introduced to new authors to look out for, new ideas about the world from our perspectives, and see an inclusive future that proves we are so much stronger together than we can ever be apart, especially in these trying times and the times still ahead.

A massive big thanks goes out to all the authors, editors, and publishers, who made this possible, and especially Jason Chen of Storybundle for giving us this chance to present our works to you. – Ivor W. Hartmann

* * *

For StoryBundle, you decide what price you want to pay. For $5 (or more, if you’re feeling generous), you’ll get the basic bundle of four books in any ebook format—WORLDWIDE.

 

  • AfroSFv1 edited by Ivor W. Hartmann
  • Lagos_2060 edited by Ayodele Arigbabu
  • Terra Incognita by Nerine Dorman
  • Jalada 2: AfroFuture(s) by Jalada Africa

 

 

If you pay at least the bonus price of just $15, you get all four of the regular books, plus six more more books, for a total of ten! That’s a total of five StoryBundle exclusives!

 

  • A Killing in the Sun by Dilman Dila
  • Kabu-Kabu Stories by Nnedi Okorafor
  • AfroSFv2 edited by Ivor W. Hartmann
  • AfroSFv3 edited by Ivor W. Hartmann
  • Omenana to Infinity by Omenana
  • Imagine Africa 500 edited by Billy Kahora

 

 

This bundle is available only for a limited time via http://www.storybundle.com. It allows easy reading on computers, smartphones, and tablets as well as Kindle and other ereaders via file transfer, email, and other methods. You get multiple DRM-free formats (.epub, .mobi) for all books!

It’s also super easy to give the gift of reading with StoryBundle, thanks to our gift cards – which allow you to send someone a code that they can redeem for any future StoryBundle bundle – and timed delivery, which allows you to control exactly when your recipient will get the gift of StoryBundle.

Why StoryBundle? Here are just a few benefits StoryBundle provides.

  • Get quality reads: We’ve chosen works from excellent authors to bundle together in one convenient package.
  • Pay what you want (minimum $5): You decide how much these fantastic books are worth. If you can only spare a little, that’s fine! You’ll still get access to a batch of exceptional titles.
  • Support authors who support DRM-free books: StoryBundle is a platform for authors to get exposure for their works, both for the titles featured in the bundle and for the rest of their catalog. Supporting authors who let you read their books on any device you want—restriction free—will show everyone there’s nothing wrong with ditching DRM.
  • Give to worthy causes: Bundle buyers have a chance to donate a portion of their proceeds to the African Speculative Fiction Society!
  • Receive extra books: If you beat the bonus price, you’ll get the bonus books!

StoryBundle was created to give a platform for independent authors to showcase their work, and a source of quality titles for thirsty readers. StoryBundle works with authors to create bundles of ebooks that can be purchased by readers at their desired price. Before starting StoryBundle, Founder Jason Chen covered technology and software as an editor for Gizmodo.com and Lifehacker.com.

For more information, visit our website at storybundle.com, tweet us at @storybundle and like us on Facebook. For press inquiries, please email press@storybundle.com.

Dilman Dila’s ‘The Trouble With Afrofuturism’

I just read Dilman Dila’s ‘The Trouble with Afrofuturism’ and found it quite poignant. It touches on a number of things that scratch around my mind when I hear the term. Such as, what does it actually mean? Really though? What does it mean? How broad is this thing, and as Dila notes, there’s almost a fanciful, one size fits all approach, where the definition varies according to what the user wants to describe as Afrofuturistic.

Definition arguments aside though Dila’s piece also made me think of the ‘one-way transaction’ style I feel Afrofuturism sometimes falls victim too. These are mostly behind the scenes, niggles, that industry personnel would be aware of, but consumers probably aren’t paying too much attention to.

For example the issue of Lina Iris Viktor, vs Black Panther & Co.  For those unaware, Viktor alleges her artworks were stolen for use in the music video ‘All The Stars’ by Kendrick Lamar and SZA. I would say she has a very strong case here, as she was contacted twice to participate, and declined.

If you’re not schooled on Entertainment Industry Bullshit 101, the general stealing process operates in this manner. First, you, Leviathan Artist Inc. contact lesser known artist and ask them to participate for A. Exposure or B. Peanuts. Said person declines your ridiculous offer, as they actually want to pay the rent, and/or highly value their work (as they should, they made it!). You, Leviathan Artist Inc. then hire other, probably even lessor known artist, and ask them if they can make something ‘similar’, usually taking precaution to remain in the grey area of copyright infringement just in case someone notices. This is mostly to avoid bad publicity. You don’t really have to worry about the legalities as you probably have more lawyers, and you can run a smear campaign claiming the artist is a bitter hater, whose own self-pity and mental illness is the reason they’re suing you. I’m not saying this is what went down in this case, it’s just how it generally goes down.

Anyway, industry politics (bullshit) aside, as noted in the piece:
“In an interview, Ms. Viktor said what matters to her most is the principle, not compensation. “Cultural appropriation is something that continually happens to African-American artists,” she said, “and I want to make a stand.”

Things get very strange here. A team consisting of African-Americans, making a movie that’s supposed to represent black excellence, and Afrofuturism I suppose, rip-off (allegedly…) a British-Liberian’s artwork? I find no better way to describe this scenario other than: a complete mindfuck.

There’s also that slightly colonial smell of claiming intellectual property, and narrative merely because you have the bigger gun. I don’t like that I sometimes observe a weird colonial type thing going on in the creation of Afrofuturist works. I also find myself constantly seeing the “I Have the Bigger Gun” phenomena in the juxtaposition between what African Spec Fic authors (or movie directors in Dila’s case) living in Africa can achieve versus what those living in more developed nations can.

It largely boils down to access: social capital; funds; decent infrastructure. The world has a hierarchy (even with the internet), so on average, there’s generally going to be more infrastructure to take advantage of, off the African continent. It is what it is. There’s just something very painful in that fact. Despite these optimistic Afrofutures (Afrofuturies? Afrofutury? Afrofuture`?) we might like to see, most Africans still have to leave the continent, and access Western infrastructures, in order for those very Afrofutures to reach your computer screen in the first place. It’s a biting irony…

This goes onto Dila’s discussion of the difficulties of imagining and ingesting Utopian Afrofutures when you actually live in Africa. Most of the daily experiences living in Africa are so far removed such Utopian concepts that you find yourself with Schizobrain, walking between fantasy ideals and real world realities. Dystopia might be a dead genre, but dystopia is largely what I see when walking the insanely unequal streets of South Africa, hence why I write a lot of it.

 I’m definitely on the fence about this whole Utopian Afrofuturism thing. I prefer a more Mamdani inspired interpretation. In a post from last year, I noted, contrary to what is often a Black African knee-jerk reaction to decolonization, that Mamdani suggests the future of Africa may not be a revert to traditional beliefs, and a throwing away of all Western influences. Instead he suggests, it may be a convergence of the two, which creates something new and unorthodox.

I feel somewhat the same about Afrofuturism at times. It may also be the South Africa in me, as we’re such a mishmash of Afro and Euro centrism, I find it difficult to turn off that lens. I was also not born in South Africa, so that strange limbo place between African and African diaspora is pretty much my comfort zone.

Either way, I believe a more realistic Afrofuturism might speak to the convergence of our current realities, and how we hope things might be. Maybe an African does create a new amazing technology that defies all expectations, and could save the entire continent, and turn it into a Utopia. But then again, maybe the West steals it from us, with the help of our limp politicians and we reap none of the benefits. Who knows?