The structures of Clytemnestra and Essun’s societies are built upon a foundation of subjugation and control of people like them: women and orogenes, respectively.

Yeah, the horizon is broad for African SFF, maybe too broad I fear. Like you intimated, the light is on AfroSFF and us writers are defining and redefining its boundaries every day.

Contrary to dominant post-apocalyptic literature and film, underprivileged groups are likelier to look forward, towards a future time when all they have ever known will change for the better and they can dare to look beyond basic existence and relatedness needs and push for growth. Privileged groups, however, are likelier to yearn more for a return to the old ways, to a time when they were more advantaged. Because the fall from grace will be long and hard for them, this yearning and desire will likelier be top-of-mind and come off stronger in the film and literature presenting these scenarios.

So let’s get down to it: what technologies can we make use of to build our generation ship?

What we call fantasy now was once religious belief, or is still. The appearance of an angel or a djinn in a story means it will likely be classified as fantasy, but if you go by the texts of several world religions, angels and djinns are real.

The writers are here, the stories abound, it’s the telling that only needs to be done.

That oral language is not primary in a film made by abled people, and that interdependence and disabled survival is meant to be important, is revolutionary.

We should be able to write stories and invent technologies and have them be recognized for what they are, instead of worrying about whether they will be counted as steampunk.

What if you find yourself loving what is poison to you, even though you know it is poison?

The Egyptian Society for Science Fiction (ESSF) is a lighthouse that stemmed out of that moment of hope.