Mary McMyne is the author of poems, stories, and essays in venues like Gulf Coast, Apex Magazine, Southern Humanities Review, and Pedestal Magazine. She has won the Faulkner-Wisdom Prize for a Novel-in-Progress, an award from the Sustainable Arts Foundation, and a National Endowment for the Arts Parent Fellowship to Vermont Studio Center. Her debut poetry chapbook, Wolf Skin (Dancing Girl Press, 2014), won the Elgin Chapbook Award.
Ugonna-Ora Owoh is a Nigerian poet and model. He is a recipient of a 2018 Young Romantics Keats-Shelley Prize and a 2019 Erbacce Prize. He is a winner of a 2019 Stephen A. DiBiase International Poetry Prize and a 2018 Fowey Festival short story prize. His recent poems are in Cōnfingō Magazine, The Malahat Review, Space and Time, B Cubed, Leading Edge, The Puritan, Vassar Review, and elsewhere.
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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