In Speculative Blackness, André M. Carrington analyzes the highly racialized genre of speculative fiction—including science fiction, fantasy, and utopian works, along with their fan cultures—to illustrate the relationship between genre conventions in media and the meanings ascribed to blackness in the popular imagination. Carrington’s argument about authorship, fandom, and race in a genre that has been both marginalized and celebrated offers a black perspective on iconic works of science fiction. He examines the career of actor Nichelle Nichols, who portrayed the character Uhura in the original Star Trek television series and later became a recruiter for NASA, and the spin-off series Star Trek: Deep Space Nine, set on a space station commanded by a black captain. He recovers a pivotal but overlooked moment in 1950s science fiction fandom in which readers and writers of fanzines confronted issues of race by dealing with a fictitious black fan writer and questioning the relevance of race to his ostensible contributions to the 'zines. Carrington mines the productions of Marvel comics and the black-owned comics publisher Milestone Media, particularly the representations of black sexuality in its flagship title, Icon. He also interrogates online fan fiction about black British women in Buffy the Vampire Slayer and the Harry Potter series. Throughout this nuanced analysis, Carrington theorizes the relationship between race and genre in cultural production, revealing new understandings of the significance of blackness in twentieth-century American literature and culture.
In Speculative Blackness, André M. Carrington analyzes the highly racialized genre of speculative fiction--including science fiction, fantasy, and utopian works, along with their fan cultures--to illustrate the relationship between genre ...
André M. Carrington, Speculative Blackness: The Future of Race in Science Fiction (Minneapolis: University of Minnesota Press, 2016), 2. 37. Carrington, Speculative Blackness, 15. 38. Carrington, Speculative Blackness, 13. 39.
The theorizations of race and disability that emerge from these works, Pickens demonstrates, challenge the paradigms of subjectivity that white supremacy and ableism enforce, thereby pointing to the potential for new forms of radical ...
Through analyses of works by Octavia Butler, Walter Mosley, Nalo Hopkinson, Melissa Tantaquidgeon Zobel, and others, the book illustrates how ideas about fungibility, fugitivity, carcerality, marronage, sovereignty, placemaking, and ...
This collection enters the global debate on the emerging field of Afrofuturism studies with an international array of scholars and artists contributing to the discussion of Black futurity in the 21st century.
Speculative Blackness reads “Black subjects [as emblematizing] the generative quality of marginality in the popular imagination.”133 Carrington's meditation on (not definition of) “speculative fiction” is intentionally loose, ...
André M. Carrington, Speculative Blackness: The Future of Race in Science Fiction (Minneapolis: University of Minnesota Press, 2016), 73–74. 16. Bernardi, Star Trek and History, 130. 17. Carrington, Speculative Blackness, 74. 18.
Carrington, Speculative Blackness,180. 17. Carrington, Speculative Blackness, 26. 18. Womack, Afrofuturism,158. 19. Commander, Afro-Atlantic Flight, 54, 33. 20. See Dale, “Stranded.” 21. Carrington, Speculative Blackness, 190. 22.
... part of a progressive tradition of literature—in which writers supposedly experiment with increasingly complex, diverse, and nuanced styles—he cannot symbolize a step back, say, from Alexander Hamilton's defense of Black equality.
Reality is made up of absolute and casualty ideals. This book analyzes the lower aspects of absolute ideals that result in personal and social dysfunction and the ultimate end of civilization.