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This dissertation interrogates the ecological purposes behind representations of indigenous and t... more This dissertation interrogates the ecological purposes behind representations of indigenous and traditional myths in contemporary Anglophone novels, specifically David Mitchell's Cloud Atlas (2004), Margaret Atwood's MaddAddam trilogy (2004-2014), Nnedi Okorafor's Lagoon (2014), Alexis Wright's Carpentaria (2010) and Susanna Clarke's Jonathan Strange and Mr. Norrell (2006). These novels, I contend, use myths to argue that climate change is not an inevitable result of human nature but rather the product of one cultural story — what I call the Enlightenment myth — which asserts humanity's need to dominate nature. Conversely, the Yorùbá, Waanyi Aboriginal, Celtic and new age science/spiritualist myths depicted in these novels understand humanity as incapable of mastering nature without dire consequences for both the world and ourselves. Challenging the longstanding—and frequently racist—dichotomy between civilized science and irrelevant or mystifying folk belief...
Resilience: A Journal of the Environmental Humanities
Science Fiction Studies, 2020
Abstract:In the contemporary crisis of race relations two schools of thought pursue the project o... more Abstract:In the contemporary crisis of race relations two schools of thought pursue the project of Black liberation: Afrofuturism and Afropessimism. Through a close reading of Neill Blomkamp's Afropessimist film District 9 (2009) and Nnedi Okorafor's Afrofuturist novel Lagoon (2014), written in response to the film, this article analyzes these projects' futures. While Afropessimism offers incisive critiques of historic and contemporary racism, the future it imagines is either a repetition of the past or a violent revolution. Afrofuturism, in contrast, imagines a future that breaks from colonially inherited racism by emphasizing traditional and indigenous African cultures. By narrating human being through something other than the framework of an imposed colonialism, Afrofuturism can imagine an end to the alienation District 9 depicts as largely inevitable. In order for Afrofuturism's future to be realized in white majority or white dominated societies (such as South Africa), however, the burden of eliminating these racist conceptions falls on white people. Afrofuturism can provide this much needed alternative model of African diasporic humanity and therefore serve as a conceptual foundation for a future that does not look like the past.
This dissertation interrogates the ecological purposes behind representations of indigenous and t... more This dissertation interrogates the ecological purposes behind representations of indigenous and traditional myths in contemporary Anglophone novels, specifically David Mitchell's Cloud Atlas (2004), Margaret Atwood's MaddAddam trilogy (2004-2014), Nnedi Okorafor's Lagoon (2014), Alexis Wright's Carpentaria (2010) and Susanna Clarke's Jonathan Strange and Mr. Norrell (2006). These novels, I contend, use myths to argue that climate change is not an inevitable result of human nature but rather the product of one cultural story — what I call the Enlightenment myth — which asserts humanity's need to dominate nature. Conversely, the Yorùbá, Waanyi Aboriginal, Celtic and new age science/spiritualist myths depicted in these novels understand humanity as incapable of mastering nature without dire consequences for both the world and ourselves. Challenging the longstanding—and frequently racist—dichotomy between civilized science and irrelevant or mystifying folk belief...
Resilience: A Journal of the Environmental Humanities
Science Fiction Studies, 2020
Abstract:In the contemporary crisis of race relations two schools of thought pursue the project o... more Abstract:In the contemporary crisis of race relations two schools of thought pursue the project of Black liberation: Afrofuturism and Afropessimism. Through a close reading of Neill Blomkamp's Afropessimist film District 9 (2009) and Nnedi Okorafor's Afrofuturist novel Lagoon (2014), written in response to the film, this article analyzes these projects' futures. While Afropessimism offers incisive critiques of historic and contemporary racism, the future it imagines is either a repetition of the past or a violent revolution. Afrofuturism, in contrast, imagines a future that breaks from colonially inherited racism by emphasizing traditional and indigenous African cultures. By narrating human being through something other than the framework of an imposed colonialism, Afrofuturism can imagine an end to the alienation District 9 depicts as largely inevitable. In order for Afrofuturism's future to be realized in white majority or white dominated societies (such as South Africa), however, the burden of eliminating these racist conceptions falls on white people. Afrofuturism can provide this much needed alternative model of African diasporic humanity and therefore serve as a conceptual foundation for a future that does not look like the past.