Elaine Cuyegkeng was born in Manila, Philippines, where there are many, many creaky old houses with ghosts inside them. She loves eusocial creatures both real and imaginary, ’80s pop stars, and caffeinated drinks with too much sugar. She now lives in Melbourne with her partner and a rose named Blue. She has been published in Lackington’s, The Dark, and Rocket Kapre. You can find her on @layangabi on Twitter and on Facebook.
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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