Liz is a gutless wonder—a poet without a large intestine, trying to write gut-punching poems. She received her B.A. in English from the University of Alabama in 2016. Currently, she serves as the Managing Editor of The McNeese Review, and organizes MSU’s graduate reading series. She is the first place recipient of the 2019 Joy Scantlebury Poetry Prize, and her poems have been selected as finalists for Jabberwock Review’s 2019 Nancy D. Hargrove Editors’ Prize in Poetry and F(r)iction’s Winter 2018 Poetry Contest, judged by Kwame Dawes. She lives in Lake Charles, Louisiana, with her (very cute) dog, Rocky.
I wanted to ask francophone African speculative authors how they feel, how non-Black francophone African authors relate to the controversy, but also how they position themselves either as Afrofuturists or Africanfuturists, or as neither.
In conclusion, I argue that SF fanzines in China mostly played a transitional role. That is, when no professional platforms were available to publish articles and stories, fanzines stepped in. Though most of those fanzines did not last very long, they played the important role of compiling and delivering information. The key reason why I identify those magazines as fanzines is because all the contributors joined out of their interest in SF and worked for free.
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