ARE STEAMFUNK, DIESELFUNK and SWORD & SOUL NECESSARY? Countering Negative Images of Black People in Science Fiction and Fantasy
ARE STEAMFUNK, DIESELFUNK and SWORD & SOUL NECESSARY?
Countering Negative Images of Black People in Science Fiction and Fantasy
We have become so insensitive or desensitized to our own negative typecasting and even dehumanization that we are no longer conscious of what we see, hear and what is going into our minds. We have become a party to our own brainwashing. We have joined in and become our own victimizers.
In the old days, white comedians put on black cork and made a living humiliating and ridiculing Black people. A few years later, their senses dulled by this illusion called “progress”, Black comedians said to the white comedians “Hey, you don’t have to ridicule and humiliate us, we’ll do it. We’ll take it from here, boss.”
And they took it from there…and carried it straight to Hell.
Let’s take the use of the word “nigger”, for example; so talked about now because of its use 110 times in the movie Django Unchained. Black comedians took this wicked, destructive word and took ownership of it as if to call ourselves a nigger was empowering, as if it was a term of endearment and still vehemently defend its use to this very day. And no, saying “the N-word” is no better. It is just foolish and strangely, makes us even less human than our use of nigger does.
“Man, you my N-Word!”
Or Kanye West and Jay-Z’s popular Niggas In Paris, now the politically correct N-Words In Paris:
“What’s Gucci my N-Word?
What’s Louis my killa?
What’s drugs my deala?
What’s that jacket, Margiela?
Doctors say I’m the illest
Cause I’m suffering from realness
Got my N-Words in Paris
And they goin’ gorillas, heh?”
Yeah…that shit cray.
The historian Carter G. Woodson said that Black people have been conditioned to go around to the back door, and if there is no back door, we will insist on one.
If you can get a Black comedian to show up on a late-night talk show and act the clown, it’s comforting to those people who say, “See they are a happy people. They aren’t angry with us for five hundred years of slavery and oppression.” It is like approaching a dog you have abused, neglected and chained up in your kitchen for a week, thinking “Boy, I sure hope it doesn’t bite.” And if, instead of tearing out your throat, the dog starts wagging its tail, you breathe a sigh of relief and say “Whew, good dog.”
We have been conditioned to expect little of ourselves and of each other.
Many Black authors lament that they create great content, but Black people pass by their table at geek conventions and head straight to Jim Butcher’s table to purchase his Dresden Files novels, or to the Marvel Comics booth to pick up the latest X-Man graphic novel.
Don’t lament, Black author. Remember, we have been conditioned to expect little of ourselves and of each other, so most Black people will assume, without any evidence, that your work is wack. You have to reach out and educate them; show them that your work is just as good as – or better than, what they are used to. Most will still flock to the Marvel booth. They love – and have faith in – good ol’ Stan Lee. To chastise them for that will gain you enemies, not friends and certainly not fans.
Now, outside the Black geek community is where I have found my greatest support. There is a hunger among “regular” Black people – those who do not identify as geeks, nerds, or science fiction fans – for speculative fiction written by and about Black people.
At the Westview Festival last year – a neighborhood festival in the predominantly Black, lower-to-middle-class area near Atlanta’s West End – I sold out all of my books in less than a half hour. Mind you, my table was next to a table that sold – at less than half price – mainstream fiction and science fiction and fantasy by authors such as Isaac Asimov, J.R.R. Tolkien, Frank Herbert and George R.R. Martin.
At the recent 3rd Annual Ujamaafest – a festival celebrating Kwanzaa’s principle of Collective Economics – Milton Davis and I shared a table. Once again, Black Speculative Fiction sold like hotcakes. At this festival, the participants were mainly culturally conscious Black people from all walks of life.
At both festivals, most of the people who purchased books said that if Black authors were writing Science Fiction and Fantasy, with Black heroes, when they were young, they would have been into it, but they were eager to get their children and grandchildren into Black Speculative Fiction.
Are Steamfunk, Dieselfunk, Sword & Soul and other Black Speculative Fiction necessary? Damn right, they are.
While many of us want to see ourselves as the heroes and sheroes and recognize the need for Black Speculative Fiction, many of us cannot fathom ourselves as star-spanning, evil-crushing, saving-the-world heroes. The horse wrangler for the Steamfunk feature film Rite of Passage told me he never imagined we could be the heroes in a Fantasy or Science Fiction story, or that such a movie would ever be created.
The media is directly responsible for this. The perpetuation of stereotypes is always done through print, television, film, radio, music and, now, the internet.
Flip the channel or turn the page and there are the “baby mamas” and “baby daddies” so ubiquitous in common American culture that they become plot points or titles for mainstream comedies and movies.
The syndicated television program Maury, hosted by Maury Povich, is known for its “Who’s Your Daddy?” segments. Much of the content is based on issuing paternity tests to teens and young adults in hopes of determining fatherhood.
Many of Maury’s guests are Black, and the sheer number of these cases is damning. Shows like these, along with court television shows that promote the same dysfunction, are very popular.
Even Black millionaire housewives, doctors and business moguls are portrayed as argumentative, catty, incapable of being unified and downright ig’nant.
Millions of viewers are indoctrinated by these images of Black family chaos. And we watch these programs like a gory highway car wreck because they involve so many people who look like us.
And we accept and share these perceptions without question, qualm or quarrel.
At a very young age, Black men and women are inundated with messages that they cannot trust or depend upon one other. Children see images of – and hear comments and jokes about – lazy, greedy, irresponsible, or otherwise flawed Black adults.
Black characters have appeared in American films since the beginning of the industry in 1888, but Black actors were not even hired to portray Black people in early works. Instead, white actors and actresses were hired to portray the characters while in “blackface.”
In addition, Black people have, for nearly a hundred years, been purposely portrayed in films with negative stereotypes that reinforce white supremacy over us. Since motion pictures have had more of an impact on the public mind than any other entertainment medium in the last ninety years, this has had a tremendous effect on society’s view of Black people.
The media sets the tone for the morals, values, and images of our culture. Many people in this country believe that the degrading stereotypes of Black people are based on reality and not fiction. Everything they believe about us is determined by what they see on television. After over a century of movie making, these horrible stereotypes continue to plague us today, and until negative images of Black people are extinguished from the media, we will be regarded as second-class citizens and will regard ourselves as such.
We have not come that far since 1914, when Sam Lucas was the first black actor to have a lead role in a movie for his performance in Uncle Tom’s Cabin.
1915 is a significant date in motion picture history because D.W. Griffith released The Birth of a Nation, which supported the Ku Klux Klan and is possibly the most anti-Black film ever made.
The Birth of a Nation – with its vicious portrayal of Black people as subhuman compared to the glorified Ku Klux Klan – was important because it led to the creation of a new industry that produced “race films” for Black People. These films portrayed us in a positive light and addressed many social concerns of the community.
Before “race films,” Black people in films were nothing more than shuffling, shiny-faced, head-scratching simpletons with bugged out eyes who leaned on brooms and spoke bad English, but after the introduction of “race films,” we were depicted with more dignity and respect.
In order for Black people to ensure that they would have positive roles and stop reinforcing negative stereotypes through film, we had to make our own movies. The same holds true today.
I am asked, quite often, if there is such a thing as a Black Science Fiction movie. Supposing by “Black Science Fiction movie”, they mean a science fiction or fantasy movie that features a Black protagonist and majority Black cast and deals with issues that strongly impact Black people, I tell them that Black Science Fiction movies began in 1939, with the release of Son of Ingagi and that filmmakers continue to make quality Black Science Fiction movies today.
Contemplating fictional characters helps us examine the nature of heroism and villainy. Through fiction, film and television, we develop our view of the ideal person; we learn what to expect from good guys and bad guys, even in real life.
What distinguishes a superhero from a supervillain? How do their basic personalities differ — and how has the media affected our perception of ourselves and heroism?
Most people see themselves as being close in personality to their favorite superheroes and mimic their heroes’ characteristics in an effort to live up to that perception.
However, if the fiction you read or see consistently portrays those who look like you as less than heroic; as savage – whether noble, or not – as the eternal sidekick; as the first to die; as the one to sacrifice him or herself so that the real heroes can save the world; as the thug; the pimp; the whore, then how do you see yourself?
In Blueprint for Negro Literature, Richard Wright discussed the problem of Black literature:
“They [Black authors] entered the Court of American Public Opinion dressed in the knee-pants of servility, curtsying to show that the Negro was not inferior, that he was human, and that he had a life comparable to that of other people. These were received as poodle dogs, who have learned clever tricks. … In short, Negro writing on the whole has been the voice of the educated Negro pleading with white America.”
Wright went on to say that every story Black people write “should carry within its lines, implied or explicit, a sense of the oppression of the Negro people, the danger of war, of fascism, of the threatened destruction of culture and civilization; and, too, the faith and necessity to build a new world.”
While such pleading – such “curtsying to show that we are not inferior” – may have been the goal of Black writers during Wright’s time, it is certainly not my goal or the goal of my colleagues.
On the contrary, I seek to show Black people, in general – teens and tweens, in particular – that we are not inferior; that we are heroic; that we are beautiful, courageous, brilliant and strong.
Furthermore, while I appreciate a good story that deals with the ills of racism, sexism, classism and the destruction and rebuilding of Black civilization, I do not feel that every story must, or even should, deal with such issues.
What I do feel Black Speculative Fiction should do is tell our stories, because they have gone untold in Speculative fiction for so damned long. And I feel those stories should feature Black heroes and an occasional Black villain, too…a criminal mastermind, that is; not a damned street thug, or other walking stereotype.
And please, no more Black heroes who begin as gangsters, prostitutes, drug dealers, or dope fiends. Thanks.
If you are seeking a list of works of great Black Speculative Fiction, check it out here. For a list of great Black authors of Speculative Fiction, you can find that here. For a list of Black Speculative events in Atlanta in celebration of Black History Month, look here.
So, do you feel Steamfunk, Dieselfunk and Sword & Soul are necessary? Is there a type of Black Speculative Fiction you’d like to see created or more of? Horror? Dystopian? Young Adult glittery vampires?
Comment and let your opinion be known!
TOP 20 STEAMFUNK, DIESELFUNK, SWORD & SOUL AND URBAN FANTASY BOOKS FOR BLACK YOUTH!
Recently, I wrote about why Black children should read and write Science Fiction and Fantasy. I also wrote about it here. Now I would like to provide you with a list of books for young adults, teens and tweens. A list of books for children aged 2-9 will follow in a later blog.
Young Adult (“YA”) Fiction is fiction marketed to adolescents and young adults, ranging roughly between the ages of 14 to 21. The majority of YA stories portray an adolescent as the protagonist, rather than an adult or a child. The subject matter and story lines are typically consistent with the age and experience of the main character and the stories span the entire spectrum of fiction genres.
Middle Grade (“MG”) Fiction is intended for readers between the ages of 8 to 12, with the protagonist at the higher end of the age range.
MG readers are learning about who they are, what they think, and where they fit in. Their focus is inward and the conflicts in MG books usually reflect this. The themes range from school situations, friendships, relationships with peers and siblings, and daily difficulties that may seem ordinary to the rest of us. The protagonist’s parents are usually seen and have some sort of an influence. Stories are usually fast paced and chapters are short.
In contrast, Young Adult novels deal with underlying themes and more complicated plots. They allow teen readers to examine deeper issues, their roles in life, the importance of relationships, how to cope with adversity and even tragedy and how their actions can impact the world.
YA protagonists are usually searching for their identity, figuring out who they are as an individual and where they fit in. YA books are generally much more gritty and realistic than MG books. Parents have less influence in YA stories and are often not seen at all.
Below is a list of twenty of the most Blacktastic books that are sure to entertain, educate and even empower readers, young and old.
The books are grouped into three categories, by age appropriateness, for your convenience.
While there are many more great books written by and about Black people, this is a good start and more books will be shared in future posts.
YOUNG ADULT (Ages 15+)
A Single Link, by Balogun Ojetade
After suffering a brutal rape at the hands of a martial arts champion, Remi “Ray” Swan decides that, to gain closure and empowerment, she must face her attacker in the first professional fight between a man and a woman.
Join Ray in this powerful, two-fisted adventure as she fights, not just for herself, but for all who have suffered at the cruel hands of those who would wreak pain, oppression, injustice and death!
Step into the cage, where action, adventure, bone shattering fights, and a touch of romance await you!
Damballa, by Charles R. Saunders
The first ever African American 1930s avenger sets out to stop a Nazi plot to subvert a championship fight.
From deepest Africa to the streets of 1930s Harlem, the action is none stop.
Written by famed novelist Charles Saunders, with interior illustrations by Clayton Hinkle and a cover by Charles Fetherolf, this is a history making pulp adventure fans do not want to miss.
Devil’s Wake, by Steven Barnes and Tananarive Due
But this infection goes far beyond disease. Beyond even the nightmare images of walking dead or flesh-eating ghouls. The infected are turning into creatures unlike anything ever dreamed of . . . more complex, more mysterious, and more deadly.
Trapped in the northwestern United States as winter begins to fall, Terry and Kendra have only one choice: they and their friends must cross a thousand miles of no-man’s-land in a rickety school bus, battling ravenous hordes, human raiders, and their own fears.
In the midst of apocalypse, they find something no one could have anticipated . . . love.
Dillon and the Voice of Odin, by Derrick Ferguson
He’s a soldier of fortune gifted with an astonishing range of remarkable talents and skills that make him respected and feared in the secret world of mercenaries, spies and adventurers. A world inhabited by amazing men and women of fabulous abilities that most of us are unaware even exists.
Fueled by a taste for excitement, driven by an overpowering desire to protect the innocent, see that wrongs are righted and assisted by a worldwide network of extraordinary men and women, all experts in their fields, Dillon spans the globe in a never-ending quest for the wildest and most breathtaking adventures of all!
Griots: A Sword and Soul Anthology, Edited by Milton J. Davis and Charles R. Saunders
Magic. Myth. Warfare. Wonder. Beauty. Bravery. Glamour. Gore. Sorcery. Sensuality. These and many more elements of fantasy await you in the pages of Griots, which brings you the latest stories of the new genre called Sword and Soul.
The tales told in Griots are the annals of the Africa that was, as well as Africas that never were, may have been, or should have been. They are the legends of a continent and people emerging from shadows thrust upon them in the past. They are the sagas sung by the modern heirs of the African story-tellers known by many names – including griots.
Here, you will meet mighty warriors, seductive sorceresses, ambitious monarchs, and cunning courtesans. Here, you will journey through the vast variety of settings Africa offers, and inspires. Here, you will savor what the writings of the modern-day griots have to offer: journeys through limitless vistas of the imagination, with a touch of color and a taste of soul.
Griots: Sisters of the Spear, Edited by Milton J. Davis and Charles R. Saunders
Griots: Sisters of the Spear picks up where the ground breaking Griots Anthology leaves off.
Charles R. Saunders and Milton J. Davis present seventeen original and exciting Sword and Soul tales focusing on black women.
Just as the Griots Anthology broke ground as the first Sword and Soul Anthology, Griots: Sisters of the Spear pays homage to the spirit, bravery and compassion of women of color.
The griots have returned to sing new songs, and what wonderful songs they are!
Ki Khanga: The Anthology, Edited by Milton J. Davis and Balogun Ojetade
What is Ki Khanga?
The answer lies in the pages of this amazing anthology.
Balogun Ojetade and Milton Davis define this fascinating world which forms the foundation of the Ki Khanga Sword and Soul Role Playing Game.
Prepare yourself for stories of bravery, tragedy, love and adventure.
Prepare yourself for Ki Khanga.
Moses: The Chronicles of Harriet Tubman, by Balogun Ojetade
Harriet Tubman: Freedom fighter. Psychic. Soldier. Spy. Something…more. Much more.
In “MOSES: The Chronicles of Harriet Tubman (Book 1: Kings * Book 2: Judges)”, the author masterfully transports you to a world of wonder…of horror…of amazing inventions, captivating locales and extraordinary people.
In what is hailed as the world’s first Steamfunk novel, Harriet Tubman must match wits and power with the sardonic John Wilkes Booth and a team of hunters with powers beyond this world in order to save herself, her teenaged nephew, Ben and a little girl in her care – Margaret.
But is anyone who, or what, they seem?
Parable of the Sower, by Octavia Butler
In 2025, with the world descending into madness and anarchy, one woman begins a fateful journey toward a better future
Lauren Olamina and her family live in one of the only safe neighborhoods remaining on the outskirts of Los Angeles. Behind the walls of their defended enclave, Lauren’s father, a preacher, and a handful of other citizens try to salvage what remains of a culture that has been destroyed by drugs, disease, war, and chronic water shortages. While her father tries to lead people on the righteous path, Lauren struggles with hyperempathy, a condition that makes her extraordinarily sensitive to the pain of others.
When fire destroys their compound, Lauren’s family is killed and she is forced out into a world that is fraught with danger. With a handful of other refugees, Lauren must make her way north to safety, along the way conceiving a revolutionary idea that may mean salvation for all mankind.
Steamfunk, Edited by Balogun Ojetade and Milton J. Davis
A witch, more machine than human, judges the character of the wicked and hands out justice in a ravaged Chicago. John Henry wields his mighty hammers in a war against machines and the undead. Frederick Douglass and Harriet Tubman rule a country of freed slaves that rivals – and often bests – England and France in power and technology.
You will find all this – and much more – between the pages of Steamfunk, an anthology of incredible stories by some of today’s greatest authors of Science Fiction, Fantasy and Steamfunk – African and African American-inspired Steampunk.
Editors Milton Davis and Balogun Ojetade have put together a masterful work guaranteed to transport you to new worlds. Worlds of adventure; of terror; of war and wonder; of iron and steam. Open these pages and traverse the lumineferous aether to the world of Steamfunk!
Taurus Moon: Relic Hunter, by Keith Gaston
Taurus Moon is a relic hunter, but the artifacts he searches for aren’t found in the jungles of the Yucatan or the deserts of Egypt. His quests often take him through the grittier parts of urbanized cities where even the toughest of thugs fear to tread. Forgotten relics once thought of as only myths and legends can be found, if you know where to look, and have the guts to go searching into dark and deadly places.
Taurus Moon is hired by a vampire crime lord to locate an ancient artifact that would make the criminal a God. Even though Taurus is no fan of vampires, especially one aspiring to become a Deity, he does love money and despite his misgivings, he begins the treacherous hunt for the artifact. Things become more complicated when a rival crime lord hires a ruthless relic hunter who has no qualms about killing the competition.
YOUNG ADULT (Ages 13+)
Changa’s Safari, by Milton J. Davis
In the 15th century on the African Continent a young prince flees his homeland of Kongo, vowing to seek revenge for the murder of his father and the enslavement of his family and his people.
He triumphs over the slavery and the fighting pits of Mogadishu to become a legendary fighter and respected merchant.
From the Swahili cities of the East African Coast to the magnificent Middle Kingdom of Asia, Changa and his crew experience adventures beyond the imagination.
Changa will not rest until he has fulfilled his promise to his family and his people. The anchors are raised and the sails unfurled.
Let the safari begin!
Fist of Africa, by Balogun Ojetade
Nigeria 2004 … Nicholas ‘New Breed’ Steed, a tough teen from the mean streets of Chicago, is sent to his mother’s homeland – a tiny village in Nigeria – to avoid trouble with the law. Unknown to Nick, the tiny village is actually a compound where some of the best fighters in the world are trained. Nick is teased, bullied and subjected to torturous training in a culture so very different from the world where he grew up.
Atlanta 2014 … After a decade of training in Nigeria, a tragedy brings Nick back to America. Believing the disaffected youth in his home town sorely need the same self-discipline and strength of character training in the African martial arts gave him, Nick opens an Academy. While the kids are disinterested in the fighting style of the cultural heritage Nick offers, they are enamored with mixed martial arts. Nick decides to enter the world of mixed martial arts to make the world aware of the effectiveness and efficiency of the martial arts of Africa.
Pursing a professional career in MMA, Nick moves to Atlanta, Georgia, where he runs into his old nemesis – Rico Stokes, the organized crime boss who once employed Nick’s father, wants Nick to replace his father in the Stokes’ protection racket. Will New Breed Steed claim the Light Heavyweight title … Or will the streets of Atlanta claim him?
Once Upon A Time In Afrika, by Balogun Ojetade
An exciting Sword and Soul tale by Balogun Ojetade, Once Upon a Time in Afrika Tells the story of a beautiful princess and her eager suitors.
Desperate to marry off his beautiful but “tomboyish” duaghter, Esuseeke, the Emperor of Oyo, consults the Oracle. The Oracle tells the Emperor Esuseeke must marry the greatest warrior in all Onile (Afrika). To determine who is the greatest warrior, the Emperor hosts a grand martial arts tournament inviting warrior from all over the continent.
Unknown to the warriors and spectators of the tournament a powerful evil is headed their way.
Will the warriors band together against this evil?
The Scythe, by Balogun Ojetade
Out of the tragedy of the Tulsa Race Riot of 1921, a two-fisted hero rises from the grave!
Inspired by the pulp magazines of the 1930s and 1940s, a tale of action, adventure, thrills and chills await fans of Dieselpunk, die-hard pulp fans and readers who just love a gritty story that packs a mean punch.
Enter a world in which Gangsters, Flappers, vampires, robots and the Ku Klux Klan all roam the same dark back streets; a world of grit, grime and grease; a world of hardboiled gumshoe detectives and mad scientists; a world where magic and technology compete for rule over the world.
Dieselfunk has emerged in The Scythe…and the Roaring Twenties will never seem the same!
The Seedbearing Prince, by DaVaun Sanders
Dayn Ro’Halan is a farmer’s son sworn to a life of plowing on his homeworld, Shard. After finding a lost artifact called a Seed, he’s thrust into an ancient conflict between voidwalkers of the hated world Thar’Kur, and Defenders from a floating fortress called the Ring.
Dayn must become a Seedbearer and learn to use the Seed’s power to shape worlds before the entire World Belt is lost.
Woman of the Woods, by Milton J. Davis
The latest Sword and Soul novel by Milton Davis returns to the land of Meji, the amazing world of Uhuru. It tells the story of Sadatina, a girl on the brink of becoming a woman living with her family in Adamusola, the land beyond the Old Men Mountains. But tragic events transpire that change her life forever, revealing a hidden past that leads her into the midst of a war between her people and those that would see them destroyed, the Mosele.
Armed with a spiritual weapon and her feline ‘sisters,’ Sadatina becomes a Shosa, a warrior trained to fight the terrible nyokas, demon-like creatures that aid the Mosele in their war against her people.
Woman of the Woods is an action filled, emotionally charged adventure that expands the scope of the world of Uhuru and introduces another unforgettable character to its heroic legends.
MIDDLE GRADE (Ages 10+)
Akata Witch, by Nnedi Okorafor
Twelve-year-old Sunny lives in Nigeria, but she was born American. Her features are African, but she’s albino. She’s a terrific athlete, but can’t go out into the sun to play soccer.
There seems to be no place where she fits. And then she discovers something amazing-she is a “free agent,” with latent magical power. Soon she’s part of a quartet of magic students, studying the visible and invisible, learning to change reality.
But will it be enough to help them when they are asked to catch a career criminal who knows magic too?
Amber and the Hidden City, by Milton J. Davis
Thirteen year old Amber Robinson’s life is full of changes. Her parents are sending her to a private school away from her friends, and high school looms before her. But little does she know that her biggest change awaits in a mysterious city hidden from the world for a thousand years.
Amber’s grandmother is a princess from this magical kingdom of Marai. She’s been summoned home to use her special abilities to select the new king but she no longer has the gift, and her daughter was never trained for the task. That leaves only one person with the ability to save the city: Amber! But there are those who are determined that Amber never reaches Marai and they will do anything to stop her.
Prepare yourself for an exciting adventure that spans from the Atlanta suburbs to the grasslands of Mali.
It’s a story of a girl who discovers her hidden abilities and heritage in a way that surprises and entertains.
Interlopers: A Shifters Novel, by L.M. Davis
Make sure to clean up your messes.
Keep the cat in the house.
Fraternal twins Nate and Larissa Pantera know all about strange rules. They’ve grown up with plenty of them, and they have always obeyed those rules without question
However, disturbing things are starting to happen–both at home and at school. And when their parents go missing and a strange messenger appears, they discover that the only way to save them is by breaking all the rules.
Interlopers: A Shifters Novel is the thrilling fantasy adventure. Fans of YA fantasy, such as Harry Potter and Percy Jackson, love this new series about the Pantera twins, who discover that everything they thought they knew is only the beginning of the truth.
I am sure this list will get you well on your way on your Blacknificent journey through the world of Black Speculative Fiction. We end this with a few book trailers to take along as companions on this journey. Enjoy!
Pulp meets the African Martial Arts!
For those new to this page, I am a writer.
For those not new to this page, I am a writer.
Recently, I have expanded my writing into the Pulp genre of Fight Fiction, which was pretty much inevitable because my novels contain lots of exciting action and fight scenes.
What is Fight Fiction. You ask?
Fight Fiction is comprised of tales in which the fighting – whether it happens in a temple in Thailand, a boxing ring in Las Vegas, a cage in Atlanta, or in a bar in New York City – is not merely in the story to make it more exciting; or to add a different spin to it. The fighting must be an integral part of both the story and its resolution. Take the fighting out and you no longer have a story. Think Fight Club; Rocky; Blood and Bone; Kung-Fu Hustle; Million Dollar Baby; and Tai Chi Zero.
Writing fight scenes has always been something I enjoy and that I believe I do fairly well. This is probably due to the fact that I have been a student of indigenous African martial arts for over forty years and I have been an instructor of those same martial arts for nearly thirty years. I am also a lifelong fan of martial arts, boxing and Luchador films.
Recently, I joined a team of stellar authors, who all write under the pen name Jack Tunney (for e-book versions only; paperback versions are in the authors’ names), as part of the Fight Card Project.
The books in the Fight Card series are monthly 25,000 word novelettes, designed to be read in one or two sittings, and are inspired by the fight pulps of the 1930s and 1940s, such as Fight Stories Magazine and Robert E. Howard’s two-fisted boxing tales featuring Sailor Steve Costigan.
In 2013, the Fight Card series published twenty-four incredible tales of pugilistic pandemonium from some of the best New Pulp authors in the business. I am writing under the Fight Card MMA brand and my book, Fist of Africa debuts today.
“What is Fist of Africa about?” You ask?
Here’s a brief synopsis:
Nigeria 2004 … Nicholas ‘New Breed’ Steed, a tough teen from the mean streets of Chicago, is sent to his mother’s homeland – a tiny village in Nigeria – to avoid trouble with the law. Unknown to Nick, the tiny village is actually a compound where some of the best fighters in the world are trained. Nick is teased, bullied and subjected to torturous training in a culture so very different from the world where he grew up.
Atlanta 2014 … After a decade of training in Nigeria, a tragedy brings Nick back to America. Believing the disaffected youth in his home town sorely need the same self-discipline and strength of character training in the African martial arts gave him, Nick opens an Academy. While the kids are disinterested in the fighting style of the cultural heritage Nick offers, they are enamored with mixed martial arts. Nick decides to enter the world of mixed martial arts to make the world aware of the effectiveness and efficiency of the martial arts of Africa.
In Fist of Africa, readers will experience jaw-dropping action on the mean streets of Chicago, in the sand pits of Nigeria and in cages in the “Dirty South” (Atlanta).
2014 also offers a full slate of monthly Fight Card titles along with further Fight Card MMA, Fight Card Romance, and Fight Card Now titles, as well as the debut of the Fight Card Luchadores brand, set in the world of Mexican Masked wrestling.
My first Fight Fiction novella, A Single Link, while very different from Fist of Africa, is set in the same universe, thirty years in the future and some of the characters from Fist of Africa make appearances in it. I will be publishing several other books in this universe, as well and I am even working on a Luchadores Fight Fiction / Science Fiction / Horror mash-up (my homage to Luchador and Nollywood films) set in Mexico, Egypt and Nigeria.
But, for now, enjoy Fist of Africa and please, drop me a line to let me know what you think of it and, if you like it – and you will – help a brother out and give him a review.
BUILDING BLACK YOUTH THROUGH SCIENCE FICTION & FANTASY
Renowned Author, Neil Gaiman (the novel, American Gods; The Sandman comic book series) shared a fascinating fact. While appearing as Guest of Honor at China’s largest state approved Science Fiction convention, Neil decided to inquire why Science Fiction, once frowned upon by the Chinese government, was now not only approved of, but encouraged, with China now the world’s largest market for Science Fiction, with the highest circulation of Science Fiction magazines and the largest Science Fiction conventions.
The answer Neil was given is very interesting.
China is the world’s manufacturing powerhouse. But it doesn’t invent or design most of the things it manufactures. China wants to capture the creativity and imagination of the culture that has produced companies like Google and Apple. So Chinese researchers talked to people involved with those and other Fortune 100 companies to see what factors they had in common. The answer?
All of their CEOs, Presidents and Vice Presidents read science fiction.
The Chinese acted upon this research and today, throughout China, Science Fiction is a thriving and respected genre, read widely; which is very different from the early eighties, when Science Fiction was declared to be “spiritual pollution” and banned by the government. Back then, Science Fiction in China all but disappeared. But it has come back stronger than ever, appealing to a new generation of Chinese who see themselves as part of a world-wide cultural phenomenon, which includes Hip Hop, Fashion, Movies and Science Fiction.
In the past decade, Science Fiction has overtaken fantasy as the popular literary form, even though fantastic fiction is an integral part of the history of Chinese literature.
Science Fiction studies continue at Beijing Normal University, the largest research and editing center of science-fiction theory and criticism in the world. Western authors and scholars visit there often and in the future, this center is expected to be the center of international Science Fiction research.
Science Fiction is an essential influence in the development of top level creative thinkers, especially those dealing with technology. We live in an age of unparalleled technological development, which is creating change throughout society of an unprecedented magnitude. Science Fiction, in all its forms, is a valuable tool for helping train people to creatively work with that change.
Science Fiction does not just show us possible futures, it trains us to anticipate new technology, model how it will impact our lives and exploit that insight.
Aside from Nnedi Okorafor’s Zahrah the Windseeker and the Shadow Speaker; Wendy Raven McNair’s novels, Asleep and Awake; Alicia McCalla’s Breaking Free, Tananarive Due’s and Steven Barnes’ Devil’s Wake and Domino Falls and this writer’s own Once Upon A Time In Afrika and Moses: The Chronicles of Harriet Tubman, it is difficult to find Speculative fiction (Science Fiction and Fantasy) with Black protagonists, or even secondary characters, written for young adults by Black authors.
Middle Grade novels are even harder to find, with L.M. Davis’ Interlopers and Milton Davis’ Amber at the fore.
In their 2003 study of middle school genre fiction, Agosto, Hughes-Hassell, and Gilmore-Clough found that of 976 reviews of youth Fantasy novels, only 6 percent featured protagonists or secondary characters of color, and that of the 387 reviews of youth science fiction, only 5 percent featured protagonists or secondary characters of color.
Yet, as more Black authors of adult Science Fiction and Fantasy – like Charles Saunders, Walter Mosley, Keith Gaston, Valjeanne Jeffers, Milton Davis, Cerece Rennie Murphy and Balogun Ojetade (smile) – grow in popularity and fill a much needed void, more Black writers are getting the opportunity to fill that void in youth literature as well.
As the Chinese have come to realize, filling that void is important for several reasons and is a must for people of color, particularly those of African descent.
Studies have shown that, in the general population, Science Fiction and Fantasy has an impact on the teaching of values and critical literacy to young adults. Science Fiction challenges readers to first imagine and then to realize the future of not only the novel they are reading but, also the future of the world in which they live.
Looking at the most visible popular examples of Epic Fantasy – J.R.R. Tolkien, Robert E. Howard and bestselling authors J.K. Rowling, George R.R. Martin and Robert Jordan – a casual observer might assume that big, continent-spanning sagas with magic in them are always set in some imaginary variation on Medieval – and, sometimes, even modern – Britain. The stories include the common tropes – swords, talismans of power, wizards and the occasional dragon, all in a world where Black people rarely exist; and those who do appear are decidedly peripheral and usually work for the bad guys.
That same casual observer might therefore conclude that Epic Fantasy – one of today’s most popular genres of fiction – would hold little interest for Black readers and even less for Black writers. But that casual observer would be wrong.
Young adults of African descent can – and do – relate to the experiences in Science Fiction and Fantasy. Indeed, they crave these experiences and read speculative fiction just as voraciously as young adults of other races. But the lack of self-images in this literature can have a negative effect on the psyche of young readers and can, indeed, contribute to negative behavior. We derive our perceptions of self by what we hear, see, and read and our perception directly affects our actions.
The Process of Action works as follows:
- Perception (precedes Thought)
- Thought (precedes Impulse)
- Impulse (precedes Action)
If the Perception of ourselves is a person who lacks courage, integrity and goodness – because we do not see ourselves possessing heroic qualities in most books – the Thought creeps into our minds that we lack those heroic qualities, so we are – by default – villains. The Thought grows into a strong Impulse to be the villain; and finally, the Action of villainy takes place.
However, if – through Fantasy and Science Fiction written with Black characters as the heroes – our youth begin to perceive themselves as heroic…as hard working…as good…they will begin to act in accord with how they perceive themselves.
Above, we mentioned authors who have published books of Science Fiction and Fantasy featuring Black youth as protagonists. An analysis of these books reveals plots that are fun and adventurous; Black protagonists who are gifted, insightful youth surrounded by functional, supportive family units; and themes common to the Science Fiction and Fantasy genres, like courage, integrity, and good versus evil. While race and ethnicity are not ignored in these books, the race or ethnicity of a character does not drive the plot.
Our youth need stories that do not deny race or the historical implications of race, while remaining unhindered by the racism that may be present.
On May 5, 2012, in Atlanta, a group of Black authors of speculative fiction – in conjunction with the Auburn Avenue Research Library on African American Culture and History – came together to host The State of Black Science Fiction 2012 Youth Symposium, an amazing and day-long symposium that spotlighted Science Fiction and Fantasy as a signature intersection of science, history, technology, and humanistic studies. Fun was had by all and the students who participated, who ranged in age from 5-15, all eagerly purchased books to read during their lunch break.
The symposium featured panel discussions, workshops and games that inspired the imagination and challenged minds.
The authors involved were Balogun Ojetade, Milton Davis, Alicia McCalla, L.M. Davis, Wendy Raven McNair and Ed Hall. A performance of an interactive Choose Your Own Adventure story, written by the students was featured and famed author Tananarive Due – the world’s first and most popular Black author of horror and suspense – honored us with an inspiring key-note address.
I mention the symposium because I would like to host another such conference in April or May of this year (2014). I invite my fellow authors – and anyone else who would like to become involved – to join me in creating a special event for our youth; our future.
I invite all African-centered, private and public schools who serve and care about Black youth to participate. Bring your students. Have them write works beforehand to share during the performance portion. Make it a weekend field trip. Let’s give them a day of fun, learning and transformation. Let’s give them all that speculative fiction has given us, or what it would have given us if we saw ourselves in it.
So, there it is: a full day of Black speculative fiction workshops, performances, art, games, contests and vending – all for our youth.
Are you down?
The Black Science Fiction and Fantasy Youth Symposium is set for Saturday, April 26, 2014; from 10:00 am – 5:00 pm.!
The WordPress.com stats helper monkeys prepared a 2013 annual report for this blog.
Here’s an excerpt:
The Louvre Museum has 8.5 million visitors per year. This blog was viewed about 94,000 times in 2013. If it were an exhibit at the Louvre Museum, it would take about 4 days for that many people to see it.
AFRICAN PULP: The Spear in Racist Pulp Fiction’s Heart!
Throughout Africa, storytelling has always been an intrinsic part of society, used to recall historical events, impart wisdom, debate and communicate messages from the divine.
Storytellers – called Djele, Sanusi, Babalawo, Iyanifa, Okomfo and other titles, depending on where, on the continent you go – are revered and are usually also skilled in spiritual and healing practices as well.
Tales of powerful heroes, megalomaniacal villains, sorcerers, witches and fearsome creatures abound in African folklore, thus I was not surprised at my recent discovery – thanks to Paul Bishop, author and mastermind behind the Fight Card brand of Fight Fiction books – that Pulp magazines, created by, and about, African heroes were highly popular across the continent in the 1960s through the 1980s.
Sold under the brand names African Film and Boom, these magazines – called photo comics, or “look books” – were illustrated with stunning photographs instead of drawings, giving them the uniqueness, creative flair and do-it-yourself spirit common throughout Africa.
With heroes like the Tarzanesque Fearless Fang (Boom) and the “African Superman”, Son of Samson, children and adults alike waited eagerly every month for latest edition to hit the newsstands.
The most popular photo comic magazine was The Spear (African Film), which featured Lance Spearman, the super-spy / detective whose coolness James Bond and Derek Flint would envy. The Spear drove a Corvette stingray, sported a panama hat and well-tailored suits with a bow tie and smoked expensive cigars. And in true Pulp fashion, he had a bevy of beautiful women at his beck-and-call.
Lance Spearman pursued the bad guys with zeal, outwitting their conspiracies, kicking much ass with his African martial arts and saving the day…all in one issue!
These popular Pulps – a portfolio of black and white photos, complete with speech balloons, narration boxes and all the “bam-pow” sound effects that a kick and a quick upper cut to the jaw makes in any comic book.
Unlike the popular Pulps of the Western world, however, which were rife with racist tropes of uncivilized, uneducated, spear-chucking cannibals, or damn-near naked noble savages, with objectified, ample body parts, Lance Spearman was sharp, stylish and sophisticated.
Even the jungle stalking Fearless Fang was intelligent, witty, brave and well, cool.
Combining Western references with a distinctly African cultural identity, these amazing African Pulps presented a critique of colonialism and a significant variation in how the genre classically figured normality and otherness.
And they were entertaining as hell!
Published first by publisher Drum Publications in Nigeria in the early 1960s and later also published in Kenya and Ghana the photo comic had a powerful and lasting influence in fostering postcolonial pride and identity.
Its combination of extreme violence, melodrama, romance and glimpses of the glamorous life preceded and influenced the Blaxploitation craze in American cinema in the 1970s and its use of inventive DIY tactics to overcome budget constraints influenced the booming Nollywood film industry.
“Ok, you’ve told us about the photo comics, but how, and why, were they created?” You ask? “
Well, Drum Publications of Nairobi, Kenya – tired of the clichéd racist images of Black people in contrast to the heroic images of white soldiers and superheroes in Western comics – decided to create comic books that would appeal to Black men. They began photographing black men in adventures that were designed to appeal to the Black African population.
Drum would buy stories and then send the scripts to Swaziland, where a photographer would takes pictures of a cast of Black actors. They would then send the photographed strips to London, England, where the magazines were printed. Finally, the photo comic magazines would be distributed in West, East and South Africa.
The Lance Spearman title was the most popular publication, with circulation figures estimated at 100, 000 in West Africa, 45,000 in East Africa and 20,000 in South Africa. In fact, Lance Spearman had a greater circulation in Kenya than any of the local daily newspapers at that time.
The writers of these look-books were Black Africans, who were paid $65 – equivalent to approximately $508.00 today – for every script they produced.
Expected in the scripts were lots of fistfights and the bad guys always losing in the end.
The readership of these photo comics included men, women, boys and girls from small rural towns to sprawling urban cities; from the barely literate to highly educated professionals.
The man, who played the character of Lance Spearman, was Jore Mkwanazi, originally employed as a “houseboy” in Durban, South Africa, scrubbing the floors of an apartment for $35 a month and as a musician, playing the piano in a nightclub for $1.50 a night, when photographer Stanley N. Bunn discovered him and decided he had the tough, cynical, sophisticated face that was needed for The Spear. In the role of the super-spy, Mkwanazi earned $215 a month.
Here is the original Drum Publications information, found in every issue of their photo comic magazines:
Drum Publications (E.A.) Ltd
P.O Box 43372
Editor: J. Singh
Printing and Packaging Corporation Ltd
P.O Box 30157,
But the story of photo comic magazines does not stop here.
In fact, it is just beginning.
In the summer of 2014, I will publish my first photo comic book, The Siafu: Revolution.
The Siafu is about escaped prisoner, Jamil Brown, who suffers a virus-induced myostatin deficiency that gives him enhanced strength, speed and endurance. Jamil is hunted by his makers, while gathering others like him to help fight against the corrupt system that made him.
For those of you who don’t know, siafu are army ants that, while small, are powerful and – in large enough numbers – can bring down an elephant.
So, be on the lookout for this amazing new graphic Pulp science fiction novel in a few months.
Get ready for The Siafu.
Get ready for Revolution.
A SINGLE LINK IS HERE!
I am excited – and proud – to announce that the action adventure, fight fiction, New Pulp book is available in paperback and ebook!
A Single Link is sure to keep your eyes popped, your jaw dropped and your fingers turning the pages as you step into the cage with Remi Swan, who becomes the first woman to fight against men in professional mixed martial arts on her quest for justice and closure after suffering a brutal assault by a pro fighter.
I loved writing this Rocky meets Enough story, which is filled with heart, grit and pulse-pounding, two-fisted action and I know you’ll love it too!
The action adventure New Pulp novel A Single Link is now available in paperback and ebook!
Make it a REAL “Black” Friday!
Buy Black Speculative Fiction!
Also, try out these Blacktastic Books you will absolutely love:
Imaro by Charles Saunders – A masterwork from the father of Sword and Soul. Imaro is the definition of great Heroic Fantasy.
The Parable of the Sower by Octavia E. Butler – Widely considered Butler’s best work, this is an incredible story of a dystopian future and a heroine with hyper-empathy.
Immortal by Valjeanne Jeffers – The first in a series of exciting books that takes place in the world of Tundra. Jeffers deftly combines Science Fiction, Horror and Romance in telling the story of Karla, a shapeshifter who fights the forces of evil of which she dreams.
Wind Follower by Carole McDonnell – This epic fantasy romance explores race, ethnicity, and imperialism in a beautiful – and sometimes brutal – ancient African setting.
A Darker Shade of Midnight by Lynn Emery – Mystery, Horror and Romance combine to give you this masterpiece that is a first in an incredible series. LaShaun Rousselle – the protagonist, who uses her paranormal abilities to solve the mystery of who killed her cousin and what lives in the woods on her family’s land – is one of the most interesting heroine’s in fiction.
Order of the Seers by Cerece Rennie Murphy – This thrilling tale of discrimination, love, retribution, lust for power and the great potential that lies dormant in us all follows the life and struggle of Liam and Lilith Knight – a brother and sister duo who are hunted by a ruthless and corrupt branch of the U.N., which seeks to capture and exploit Lilith’s unique ability to envision the future.
Hayward’s Reach by Thaddeus Howze – a series of short stories told by Mokoto, the last survivor of an unexpected cataclysm. Mokoto, even in his current state of in-humanity, learns what it means to be truly human.
Steamfunk edited by Milton Davis and Balogun Ojetade – This is the definitive work of Steamfunk – a philosophy or style of writing that combines Black culture and approach to life with that of the steampunk philosophy and / or steampunk fiction – featuring fifteen masterfully crafted stories by fifteen amazing authors.
Woman of the Woods by Milton Davis – A powerful Sword and Soul tale, set in Davis’ intriguing Uhuru universe, first experienced in his seminal series, Meji. Woman of the Woods draws us into the world of demon-hunter, Sadatina and her “sisters”, a duo of twin lionesses who aid her in her battle against the vicious Mosele and their demon allies, who seek to destroy her people.
Redeemer by Balogun Ojetade – This is an edge-of-your-seat adventure that is both gangster saga and science fiction epic. A tale of fatherhood and of predestination versus predetermination. An entertaining mash-up that Science Fiction, Urban Fantasy and Urban Fiction fans alike will enjoy.
If you are interested in finding more authors of Black Speculative Fiction check out Black Speculative Fiction Reviews.
Do Black People Need Black Superheroes…or Just Black Heroes?
Stories about the heroes and superheroes in speculative fiction, film and comic books capture essential truths about human nature. We relate to – and identify with – the characters and themes in these stories; we empathize with the dilemmas and problems that superheroes face, and we admire – and often mimic – their heroic acts.
What, exactly, is a superhero, you ask?
What is the difference between a superhero and a hero?
I would say that every hero in a work of Black speculative fiction – and least the works I have read, which is pretty vast – is a superhero.
The definition of a hero is someone who rises above his or her fears and limitations to achieve something extraordinary. A hero embodies what we believe is best in ourselves. By definition, a hero would include entirely fictional characters, such as Batman, Brotherman, or Storm; characters who are real, but surrounded by legend, such as John Henry, Bass Reeves, or ‘Black’ Mary Fields; and “real world” firefighters, teachers and parents.
The clearest difference between a hero and what we tend to consider a superhero is that superheroes possess fantastic powers, fight their battles with advanced technology, or possess uncanny beauty, bravery, skill, or luck. Superheroes are heroes who cannot possibly exist in our own world today.
Unlike ordinary heroes, superheroes must have abilities that normal people do not and cannot have. A superhero like Brotherman – a great comic book hero and protagonist of a comic book series of the same name, brilliantly realized by writer, Guy Sims and his brother, artist Dawud Anyabwile – has no super powers. He belongs to the uncanny beauty, bravery, skill, or luck camp.
Brotherman is also larger-than-life and his stories are timeless; eternal.
Would this make Harriet Tubman a superhero? The great freedom fighter, spy and warrior of history is certainly a hero, however, while she possessed a supreme amount of bravery, endurance, skill, luck and the gift of accurate visions, her abilities were attainable by anyone – except, maybe those accurate visions. They were not uncanny, or otherworldly.
However, Harriet Tubman – protagonist of the Steamfunk novel Moses: The Chronicles of Harriet Tubman and one of the protagonists of the Steamfunk feature film, Rite of Passage – is a superhero. She possesses the ability to heal from massive damage to her body at ten times the rate of a normal person; she has the strength of several men; and she can cast illusions.
Milton Davis’ Changa, of the Sword and Soul series, Changa’s Safari, fights monsters, sorceresses and men and has the ability to see malevolent spirits.
Remi ‘The Single Link’ Swan, hero of the fight fiction novel, A Single Link, is the first woman in history to fight men in professional co-ed mixed martial arts.
These are all superheroes – larger than life; powerful beyond the normal realm of human ability; fearless, lucky, or talented beyond measure.
And, like Brotherman, all their stories are timeless; eternal.
No costume is necessary; but it is cool.
But, how do we relate to and identify with characters with such amazing attributes?
Is the reason why the most popular stories in comic books are origin stories because they show us the exact moment when a normal man or woman goes from being just an average Joe or Josephine to being somehow better, faster, smarter, or stronger?
I believe it is not the attributes, but the altruism, we identify with – or at least we aspire to.
It is also the trauma superheroes suffer at their becoming. Many have told me that they love the origin story of The Scythe, who readers will get to see more of when the novel is released in summer, 2014. What they have said they love is how Dr. A.C. Jackson makes a bargain with the sentient scythe of death to return to earth and exact revenge on his murderers. Dr. Jackson is, literally, a tortured soul; the victim of racism and brutality during the Tulsa, Oklahoma Race Riots of 1921.
Readers also identify with the life-altering force of destiny found in origin stories. In the film Rite of Passage, Harriet Tubman gathers several Guardians – those endowed with supernatural powers to fight men, machines, monsters, demons and the undead. One such Guardian, Harriet Tubman’s young pupil, Dorothy Wright, is reluctant to accept her destiny, yet she rises to the occasion and becomes one of the protectors of the Black-owned town of Nicodemus, Kansas. Many of us identify with Dorothy’s challenge of assuming a great responsibility that forces her to grow up sooner than she wants to.
Finally, there’s sheer chance; or the illusion that it was chance – I am not inclined to believe in coincidence – that readers love about origin stories. In the Rite of Passage tie-in, the short film The Dentist of Westminster, the protagonist, Osho Adewale, travels to Nicodemus, Kansas to put his deceased grandmother to rest, but is introduced to a world of darkness in which he gains the power to bring the light. His heroism is an example of how seemingly random, adverse events cause many of us to take stock of our lives and choose a different path.
Good writers of speculative fiction are keen observers of nature, in general and specifically, human nature. They are able to express those observations as captivating stories; they are able to tell the stories of self through the stories of their superheroes.
So, pick up a great comic book, like Dusu (issue #1 is free), Watson and Holmes (also free), the Chronicles of Piye, or Sword and Soul Adventures; or great books, such as Moses: The Chronicles of Harriet Tubman, Changa’s Safari, Damballa, or A Single Link (which releases at the end of this month). Soar with the superheroes within.
Capes aren’t necessary.
But, they are cool.
BLACK HEROES OF PULP FICTION (and we don’t mean Samuel L. Jackson or Ving Rhames)
Some of you are saying “If not the movie by Quentin Tarantino, then what the in the hell is Pulp?”
Is it that nasty, fibrous stuff I hate in my orange juice, but my wife always buys, because – for some odd reason – she loves it?
What is Pulp?
Is it that early 80s British alternative rock band who sounded like a hybrid of David Bowie and The Human League?
What is Pulp?
Think adventure, exotic settings, femme fatales and non-stop action. Think larger-than-life heroes, such as Doc Savage, The Shadow, Marv, from Sin City and Indiana Jones.
The genre gets its name from the adventure fiction magazines of the 1930s and 1940s.
Pulp includes Horror, Science Fiction, Fantasy, Mystery, Western, Fight Fiction and other genres, but what sets pulp apart are its aforementioned fast-pace, exotic locales, linear – but layered – plots, its two-fisted action….and those characters! As author Thaddeus Howze describes them: “I like the larger than life heroes of the pulp era, loud, bombastic, often arrogant, sexy, outrageous and oh so violent…”
The first pulps were published in the late 1800s and enjoyed a golden age in the 1930s and 1940s.
And – like most genre fiction of the day…and today – Black heroes were absent. Like most genre fiction of the day, if a Black person was found in pulp fiction at all, they were the noble savage…or just the savage.
Coffin Ed Johnson and Grave Digger Jones
However, in 1957, we saw our first Black pulp heroes with the duo of Coffin Ed Johnson and Grave Digger Jones, violent and vicious Harlem police officers, who operated more like private detectives, often going beyond police protocol to solve their cases.
A true master of the pulp aesthetic, Chester Himes – an accomplished author and screenwriter before going to prison – discovered the work of popular pulp author Dashiell Hammett while serving eight years in an Ohio penitentiary for armed robbery. Himes vowed to write pulp books that would, in his words, “tell it like it is”.
Upon his release from prison, Himes moved to Paris and – true to his word – wrote a string of what he called “Harlem domestic detective stories”, all but one written in French and later translated into English.
His first novel, A Rage in Harlem (1957) – first published in French as La Reine des Pomme and also known as For Love of Imabelle – which won the prestigious French literature award, Grand Prix de la Litterature Policière, gave us our first taste of the fearsome Coffin Ed Johnson and Grave Digger Jones.
Fans begged for more of these pulp bad boys and Himes delivered, with a total of seven more bestsellers and one unfinished novel that was published posthumously: The Crazy Kill (1959), The Real Cool Killers (1959), All Shot Up (1960), The Big Gold Dream (1960), Cotton Comes to Harlem (1965), The Heat’s On (aka Come Back, Charleston Blue)(1966), Blind Man With A Pistol (1969), Plan B (1993).
While the duo frequently uses physical brutality, psychological torture and intimidation to solve their cases, Gravedigger and Coffin Ed have deep and genuine sympathy for the innocent victims of crime. They frequently intervene – even putting their own reputations and lives on the line – to protect Black people from the vicious and truly pointless brutality of the white, openly racist police officers in their precinct. Jones and Johnson generally go easy on – and even tolerate – numbers runners, madames, prostitutes, junkies and gamblers; but they are extremely hostile to violent criminals, drug dealers, con artists and pimps.
It can be said that Coffin Ed Johnson and Grave Digger Jones were the darkest heroes in pulp…and not because they’re Black…well, that too.
The next Black hero in pulp did not come on the scene until 1983. Who was he? Aubrey Knight, a lightning quick mountain of muscle, trained to be a Null Boxer who fights in brutal matches while locked in a zero-gravity bubble.
Aubrey Knight is the protagonist of Street Lethal (1983), a jaw dropping pulp thrill ride, penned masterfully by veteran science fiction, fantasy and horror author, Steven Barnes. Street Lethal is set in a near-future dystopian Los Angeles in which Aubrey Knight must battle genetically engineered New Men, drug kingpins, brutal prison guards, a ruthless femme fatale and brainwashing similar to the horrific Ludovico Technique from the classic novel A Clockwork Orange.
Barnes, an accomplished martial artist himself, gives us a pulp hero who is one part Luke Cage Noir and two parts Iron Fist…only cooler, savvier and more…well, street lethal.
Damballa (2011) is an incredible pulp adventure written by author Charles R. Saunders, the founder of the subgenre of Fantasy fiction called Sword and Soul and creator of the Fantasy icon Imaro. The action does not stop as the titular hero uses his vast knowledge of Western science, African science and martial arts to expose and neutralize the Nazi threat.
Set in 1938, Damballa is a shining example of what Pulp is when it is at its very best: thrilling, visceral, tightly-plotted, well-written, fast-paced fun.
And the hero Damballa is a shining example of what a pulp hero in the hands of a master can be: a hero the reader can actually stand up and cheer for; a hero with qualities and with a story other authors do their damndest to echo in their own creative and original ways.
Equal parts James Bond, Indiana Jones, Doc Savage and The Saint, Dillon – by his creator Derrick Ferguson’s account – first came to attention of the world a decade ago, when he began hiring himself out as a soldier of fortune. Dillon possesses remarkable talents and gifts that make him respected and even feared in a world of mercenaries, spies, adventurers, powerful technology and mystic artifacts.
Actually, Dillon first came to our attention in the Pulp fiction masterpiece, Dillon and the Voice of Odin (2003).
Dillon’s actual age is unknown, but what is known is that he was born on the technologically advanced, doomed island of Usimi Dero. After the Destruction of his home, twelve year old Dillon and his mother fled to Shamballah, a monastery hidden in the Himalayas. Dillon was adopted by Shamballa’s Warmasters of Liguria, who spent the next seven years training him in various martial arts and other physical and mental disciplines. After those seven years, Dillon elected to leave Shamballah and return to the world.
Once back in the world, Dillon wandered, learning various skills that would help him in his chosen profession as an adventurer and seeking out those who destroyed his homeland.
This adventurer is the hero of four of his own books – the aforementioned Dillon and the Voice of Odin; Dillon and the Legend of the Golden Bell (2010); Four Bullets for Dillon (2011) and Dillon and the Pirates of Xonira (2012) – and appears in the anthology Black Pulp (2013).
First seen in the often hilarious and always exciting, Taurus Moon: Relic Hunter (2011) and now returning in the recently released, equally exciting sequel, Taurus Moon: Magic and Mayhem (2013), Taurus moon is a complex Pulp hero who walks a complex world of mythic creatures, gangsters and even mythic gangsters and gangling creatures.
The morally conflicted hero, Taurus Moon is often compared to another famed relic hunter, Indiana Jones. Unlike popular relic hunter Indiana Jones, however, the artifacts Taurus Moon hunts are not found in the deserts of Iskenderun Hatay, or in the tropical rainforests of Brazil. Taurus Moon’s quests take him through the grittier parts of urbanized cities; settings where Indiana Jones would get that whip and fedora shoved up his…well, you get the picture. Also unlike Indiana Jones, Taurus Moon’s clientele includes vampire crime bosses and other individuals of ill-repute.
Taurus Moon is straight up mercenary, motivated by money; yet he is imbued with nobility, which keeps him from being completely amoral.
If Indiana Jones and Blade had a clone created from both their DNA strains, with a dash of Thomas Edison and Henry Ford sprinkled in, that little GMO fella would be Taurus Moon.
2014 will see the premiere of at least three more pulp heroes.
In early 2014, my character Nick ‘New Breed’ Steed, the indigenous African martial arts expert turned MMA fighter will enter the world with a bang in my novella, which is part of the Fight Card Series, Fight Card MMA: A-Town Throwdown. A second novella starring Nick Steed, Fight Card MMA: Circle of Blood is likely to follow shortly behind it.
2014 will see another MMA fighter, Remi Fasina [ray-MEE fah-SHEE-nah] – a woman – battle men and women fighters – and her inner demons – on her quest to defeat the MMA champion who sexually assaulted her seven years in her past in my Pulp action novel, A Single Link.
Finally, the Pulp hero Black Caesar – a former slave, imbued with enhanced intelligence, strength, endurance and agility by dark forces run amok upon a stone slave ship – debuts in the first Rococoa novel, Black Caesar: The Stone Ship Rises.
I have also created the Pulp hero The Scythe, the resurrected Dr. A.C. Jackson, who was murdered in the Tulsa Race Riots of 1921 and returns to reap vengeance upon his murderers and their kin. It is likely that I will expand his story into a novel in 2015.
What other Black Pulp heroes and sheroes do you know of? What Pulp heroes or sheroes are you in the process of developing or creating?
INGLORIOUS BASTARDS: Is Independent Filmmaking illegitimate?
Last week, in the State of Black Science Fiction group, another minor kerfuffle – oh yeah, Black speculative fiction authors and fans do love their heated discourses – occurred after Milton Davis – oh yeah, fifty-something chemist / author / publishers do like to set it off – posted this status:
“Apparently if you are self published you are not a legitimate writer. Wow.”
This statement was made in regard to another author, who said he was looking for Black women speculative fiction authors for a documentary he is doing, but only wanted “legit” authors: “I need MORE AFRICAN-AMERICAN WOMEN WRITERS of Science-Fiction, Fantasy or comics!!! To be considered for the documentary you need to have: been published by a legit publishing company (no self-publishers).”
The aftermath was – to put things lightly – passionate…yeah, that’s it. Passionate.
I will say, the “offending” author did try to clear things up – kind of – and even went so far as to contact me personally to explain he meant “traditional”, not “legit,” which perplexed me a bit because my only comment on Milton’s status was “Name NAMES, Milton!” Y’all know me…I’m a researcher and researchers, by nature, are a curious lot.
Anywho, i know you’re dying to see what was said in response to Milton’s comment. Here are a few of those responses – the names, however, are not included to protect the (not so) innocent:
“So if I’m an indie singer, I’m not legitimate? If I’m an indie film maker, I’m not legitimate? If I’m Indie Jones, I’m not a legitimate archaeologist and college professor?”
“They’re just mad because we won’t go away–and we’re stealing away their readers.”
“That’s just bougie perpetraters using their status to over inflate their already bloated egos, to the detriment and baseless shaming of others.”
“ Hmmm…that’s funny. My royalty checks seem to be legitimate.”
In response, the “offending author” had this to say:
“For the sake of clarity and common sense, I must make something known – Earlier today I posted a call for Black Women writers for my documentary Brave New Souls. I used the word “legit” instead of “traditional” when describing the criteria for my interview subjects. Somehow, that has been construed as a slight against self-publishers and that isn’t the case at all. So let me be as clear as possible here:
1) I want to use Black creators who have mainstream credits because there is a great misconception and lack of awareness about the presence of Black writers within the mainstream entertainment industry. I wanted to show aspiring talent that they CAN make it in the mainstream industry and that it doesn’t require “selling out” or compromising your value system.
2) Roughly 60% of my extremely limited literary entertainment budget is spent on self-published and independent material from Black creators. Let me repeat, 60%. If you don’t believe me ask the hundreds of Black creators I’ve met at conventions over the last 15 years whether or not I put my money where my mouth is. Ask folks like Thaddeus Atreides, Ray Height, Daniel McNeal, Jaycen Wise, etc.
3) I also spend a ton of time mentoring people behind the scenes. I have an entire FB group dedicated to the mentoring of writers of all backgrounds and I rarely talk about what I do because I don’t need to pat myself on the back.
4) Brave New Souls is my documentary, and I can do whatever I wish with the material.
I hope that clears things up, otherwise, most of you know how to find me, and if you still have a problem, I will be at the Hollywood Black Film Festival from Oct 2 – 6 and at NY Comic Con hanging around the Lion Forge booth from Oct 10 – 13. Feel free to approach me to discuss the matter.“
So, this is what was said by a few of his associates and friends:
“Whenever someone steps up, someone else has to find something wrong.”
“4) Brave New Souls is my documentary, and I can do whatever I wish with the material.” That’s all you needed to say.”
“Did E*****n just pull a ‘Tony Stark from Iron Man 3′-move? ‘Here’s my address, come find me!!’”
“You haven’t seen his arsenal yet…”
“Seems nowadays people are in search of reasons to be pissed–not ways to make things work well… leaping beyond these words in order to give yourself (an in-general “yourself”) a perpetual underwear knot–& ignoring an avalanche of counter-balancing evidence–is small-minded. I’m less & less patient with this approach to life as I get older.”
This little skirmish set my thoughts in motion and, since I am in nearing the end of production on the Steamfunk feature film, Rite of Passage, I pondered whether the same beef – indie vs. mainstream – exists in the world of film?
As early as 1908, independent film has been paving the way for filmmakers to fight the corporate way of creating their art form. Around 1924, a group of independent filmmakers in Europe created the London Film Society. This group was the first to preserve the artistic nature of filmmaking. Some of the founding members included H.G. Wells and Charlie Chaplin, film directors who began a revolution with their movie making.
In a short time, independent filmmakers all over Europe were introducing new and exciting genres to their movies, such as horror and suspense. After World War II, science fiction was introduced by independent filmmakers to the American audience.
A new wave of American filmmakers began creating films outside of the control of the corrupt major studios and a Golden Age of independent films began.
For these independent filmmakers, the best way to showcase their work was at local film festivals.
One such festival, The Sundance Film Festival, run by Robert Redford’s Sundance Institute, began as the Utah / U.S. Film Festival in 1978. The festival – founded by Brigham Young University Film School graduate, Sterling Van Wagenen and Utah Film Commissioners, Cirina Hampton Catania and John Earle – showcased independent films created in the United States.
In 1985, Redford’s institute took over management of the festival and changed the name to Sundance. In 1991, the Sundance Institute bought the rights to the festival and officially changed the name to the Sundance Film Festival. Since then, Sundance has included international independent films in its screenings and has launched the careers of some of today’s hottest directors such as, Quentin Tarantino, Robert Rodriguez, James Wan and Jim Jarmusch.
Viewed as the leader in independent filmmaking, the Sundance Film Festival innovates ways to help small productions gain mainstream notoriety.
Last year, this festival brought Utah $92 million dollars in revenue, further cementing both the importance of the festival and the films that it showcases.
But what, exactly is an “independent film”, you ask?
An independent, or indie, film is one that is primarily funded outside of the major studios, also known as “the Big Six” – Warner Brothers, Paramount, Walt Disney, Columbia Pictures, Universal Studios and 20th Century Fox.
Independent films have the freedom to explore many subjects in society that are seen as taboo or unmarketable by the Big Six.
Most independent films achieve nothing more than critical acclaim at film festivals, but every once in a while, an indie film creates such a loud buzz at a film festival that it is purchased by a major film studio and screened in major theaters all over the world. One such film is The Blair Witch Project, which screened at the Sundance Film Festival on January 23, 1999. Writers-Directors Daniel Myrick and Eduardo Sanchez, who made The Blair Witch Project for $25,000, had sold their movie, by the end of the festival, to Artisan Entertainment for 1.1 million dollars. Artisan then went on to make $248 million with this “little” independent film!
However, when an indie film hits the “big time”, like The Blair Witch Project, it is no longer considered to be an independent film because, even though the film was produced on a shoestring budget, the marketing budget that Artisan Entertainment implemented when they purchased the film put The Blair Witch Project way over the 50% funding category.
While, technically, the Blair Witch Project is no longer considered an indie film, it possesses one characteristic that most certainly sets it apart from “mainstream” films, a characteristic that films produced by the Big Six will never have – the willingness to take risks with their storytelling.
The Big Six film studios are large corporations, and corporations of that size do not allow risk-taking in their business practices.
They will only invest in actors and stories that have already been proven to make a lot of money. This may lead to financial success, but also leads to creative stagnation.
Independent films are about original and creative story-telling by filmmakers who are not afraid to try new techniques or put their creative and financial necks on the line.
Are they legit? Hell yeah!
Are they traditional? Well, since the definition of traditional is ‘existing in or as part of a tradition; long-established‘, “Hell yeah,” to that too!
I will be at the Alien Encounters Black Speculative Fiction, Film and Art Conference October 25 – 27. Feel free to approach me to discuss the matter.
Did I, like that “offending author”, just pull a ‘Tony Stark from Iron Man 3′-move?’
Well, we Black speculative fiction authors do love our heated discourses.
“IT’S LIKE STEAMPUNK BUFFY THE VAMPIRE SLAYER…WITH BLACK FOLKS!”
Well, that is sort of paraphrasing a description of Rite of Passage, the Steamfunk feature film, by Professor Lisa Yaszek, Director of Undergraduate Studies. School of Literature, Media and Communication and one of the Associate Producers of the film. Her actual description: “When people ask what Rite of Passage is about, I tell them to think Buffy the Vampire Slayer, set in Victorian times, with Black superheroes.”
Jadon Ben Israel, filmmaker and veteran actor of such films as Fast Five and Champion Road: Arena – who plays Vampire-Lord and martial arts master, Joe in Rite of Passage – describes the film as a “Black Steampunk Avengers.”
Milton Davis, author, publisher, Executive Producer of Rite of Passage and writer of the original story upon which the film is based, describes the film as “A Steamfunk movie collaboration destined to change the perception of historical fantasy. It’s the tale of the city of Nicodemus, Kansas and the special souls that have gathered to protect it. Rite of Passage blends history, fantasy and Steamfunk into an exciting action movie that gives a glimpse of the adventure yet to come.”
And, of course, accurate.
In the Rite of Passage universe, the Orisa (oh-REE-sha) – forces of nature that serve and guide humans and animals alike – have given several powerful artifacts to Oluwo (“Master Teachers; possessors of secret powers”), who are to keep those artifacts until their rightful possessors – known as Guardians – come along. The Oluwo are to help their Guardian transform, so that they are worthy to possess the artifact.
In the film, the Guardians are Dorothy Wright, Black Dispatch, Conductor on the Underground Railroad and pupil of Harriet Tubman; famed lawman, Bass Reeves; and John Henry, the legendary “steel drivin’ man.”
Harriet Tubman – who is an artifact, given to the world to protect it – gathers the Guardians around the globe to prepare them for the coming of a powerful entity she calls Jedidiah Green, an ancient and dark being who feeds on the power of the artifacts and is drawn to their possessors.
We also learn a bit about the other Guardians, such as the brutal – and somewhat insane – Dentist of Westminster and Sherlock Holmes.
Jedidiah Green also has his team of “supervillains”, if you will: the Piper, the Blood-Kin (vampires) and the Night-Kin (zombies, ghouls, ghasts, Night Howlers and other undead).
African American rodeo owner, Nat (pronounced “Nate”) Love flees to Nicodemus, Kansas – the small town destined to be the final battlefield in the war against Jedidiah Green and home to the Guardians – after his business rival, P.T. Barnum, tries to have him murdered.
Barnum dispatches a special team of assassins to Nicodemus to retrieve Nat Love by any means and to kill the Guardians if necessary.
And thus begins the film.
We have been in production since August 18, following the production of the tie-in, Rite of Passage: The Dentist of Westminster.
Production is going very well, although filming on a budget of fumes has proved very challenging and we had to forgo shooting once because we just did not have the money to purchase the costumes for that scene. This of course, is our biggest obstacle, so please donate and help us out. Steampunks, we would definitely appreciate any donations of old costumes and or props…oh, and we have great perks, too!
The actors are phenomenal, really bringing their characters to life.
Recently, actor Maurice Johnson, who portrays – no, who is – John Henry, received a call from E. Roger Mitchell, who has had starring roles in Flight, alongside Denzel Washington, Battle Los Angeles, S.W.A.T. and The Crazies – and who portrayed John Henry in the short masterpiece, John Henry and the Railroad. Mitchell told Maurice that he has been following what is going on with Rite of Passage and told him “Now, you are the real John Henry!”
The crew is amazing and makes my job easy. Director of Photography, John Thornton, who is also Professor of Film Production at GA-Tech, brings his experience as a Director and Cinematographer for several independent and Disney films to Rite of Passage. Imed “Kunle” Patman, Cinematographer, brings his experience and artistic genius to the film, as does Assistant Director and Editor, Brandon Davis.
“We have really been blessed to have such talented and intelligent people working with us,” Akin Danny Donaldson, Producer of Rite of Passage, said. “We are making history as we make a film about our history.”
WE’RE HERE III: Black Science Fiction & Fantasy Websites and Social Media
In this third installment of the We’re Here Series, we examine the best websites for all your Black Science Fiction and Fantasy needs.
While there are others, these are the sites considered to be at the cutting edge of Black Speculative Fiction.
We’re here, y’all. In a BIG way.
Black Sci-Fi.com is the premier site for the latest updates on Sci-Fi, Sci-Fact and Fantasy entertainment, news, people, places, and events and the measure of their impact on the African-American community.
We seek to inform and inspire the imagination of individuals who aspire to live beyond the boundaries of everyday life.
This site is a social network dedicated to the reading, writing, researching, dispersing and enjoyment of Sword & Soul.
Create your own page; share photographs, videos and your own blog; and join groups and engage in live chat with other members.
The AfroFuturist Affair is a community formed to celebrate, strengthen, and promote Afrofuturistic and Black Scifi culture through creative events and creative writing.
The Tumblr page is a collection of the best writing, event announcements, art and videos in one place.
This blog is a dialogue between the past, present and future, placed in an afrofuturist and afrosurrealist context. It explores African diasporic cultures that are often not given as much mainstream attention and re-examines popular cultures of the Black Diaspora through the afrofuturist and afrosurrealist perspectives.
Key purposes of the blog are Media Literacy; Art, Media and Cultural Criticism/Analysis; and promotion of Afrofuturism and Afrosurrealism.
World of Black heroes is a website dedicated to following the portrayal of Black heroes.
This blog brings features Black characters in comic books, movies, books and on TV and the creators who bring them to us.
Black Superhero comic Reviews, Black Superhero News, Black Superhero Previews, and character Bios for mainstream and independent comics alike can be found here.
The premier Facebook group where creators and fans of Black Science Fiction, Fantasy and Horror meet.
Join the group and participate in their Black Science Fiction activities and discussions; their State of Black Sci Fi presentations and performances throughout the year; their contests and giveaways; and meet some Blacknificent people too.
This is the group that spearheaded the founding of Black Speculative Fiction Month, which is celebrated worldwide every October.
This website is dedicated to the promotion of Science Fiction and Fantasy books for Teens and Young Adults of Color.
There are many great books, graphic novels and comic books to choose from. To simplify your search, Ruth de Jauregui has sorted the main characters of each book into ethnic / racial categories – such as Black, Asian and Native American – and then by author within those categories.
According to the sites founder, Chelsea Medua, “I follow many cosplayers on the Internet who I see at times get crude comments and remarks for just being black. [I wanted to] let other black cosplayers out there know that they shouldn’t feel insecure about cosplaying because of their skin.”
As we continue the We’re Here Series, which introduces people to creators and creations within Black Science Fiction, Fantasy and Horror film, fiction, fashion, artwork and social media, your feedback is always welcome and encouraged.
WE’RE HERE II: Black Creators of Science Fiction, Fantasy and Horror in Film & Fiction
In my last post, I provided a listing of popular fandom events with a major Black presence.
I now offer you We’re Here, part II.
Coincidentally (?), friend and fellow speculative fiction author, SR Torris, asked me, shortly after I scheduled this article to post, to check out a video in which the narrator launched a scathing attack on Black writers for our “lack of a literary capacity or intellectual competence to write such stories [Science Fiction and Fantasy]“ and “Because most Black writers have no knowledge of anything other than pimping hoes and hearing women complain about not being able to find a man.”
As I have said before, I do not believe in coincidence; I know this post is right on time and much needed.
The lack of knowledge of the existence of great Black writers of speculative fiction by the narrator of that video – a man who calls himself “theblackauthOrity” – proves that.
I would like to introduce you to just a few of the people who – at present – are on the cutting edge of creating works that attract fans from throughout the geekosphere and who are regular guests of honor, vendors and panelists at fan conventions, festivals and symposiums around the globe, or regular bloggers on all things Black and Nerdy.
We’re here, theblackauthOrity.
Born in Elizabeth, Pennsylvania, near Pittsburgh, in 1946, but living in Canada since 1969, this brilliant African American author and journalist has, during his long career, written everything from novels to screenplays and radio plays to magazine articles on boxing.
Charles is also the founder and father of Sword & Soul – African-inspired epic and heroic fantasy.
I first read a work by Charles in 1987 in Dragon Magazine #122, entitled Out of Africa. Unaware that Charles was Black at the time I said “This white guy got it right, but one day, I’ll do better. As a brother, I have to!”
Ah, the blissful ignorance of youth.
Of course, by the time I discovered Charles – who is now at the top of the list of my favorite authors – he had already published his first Imaro story over a decade earlier and had released the first Sword & Soul novel, Imaro, six years before that Dragon Magazine article.
In addition to the mega-popular Imaro series of books, Charles is also the author of the Dossouye series of novels about the adventures of the titular woman-warrior and Damballa – a pulp novel about a scientist / shaman / warrior who fights against Nazis in 1930s Harlem.
His latest work, “Mtimu”, can be read in the anthology Black Pulp.
A pioneer of the modern black film movement, creating such successful and influential movies as House Party, Boomerang and the animated Bebe’s Kids, Reginald Hudlin is unique in the entertainment business because of his success as a writer, producer, director and executive.
Hudlin is also the executive producer and writer of the Black Panther animated series and was executive producer of The Boondocks.
Hudlin received an Oscar nomination as Producer on the blockbuster film, Django Unchained, which also won two Golden Globes, two NAACP Image Awards and is writer / director Quentin Tarantino’s most profitable film and one of most successful westerns ever made.
In addition to his success in films and animation, Hudlin has found much success on the “small screen” as an executive producer of the 2013 NAACP Image Awards, which aired on NBC. The broadcast got the highest ratings for the show since 2009.
Other works in television include his directing the pilot of the hit series Everybody Hates Chris and his work as producer and director of The Bernie Mac Show. Hudlin has also directed episodes of Modern Family, The Office, The Middle, and Psych.
During his tenure as the first President of Entertainment for Black Entertainment Television, Hudlin created some of the most successful shows in the history of the network including the award-winning reality show, Keyshia Cole: The Way It Is; American Gangster; and Sunday Best. He created the BET Hip Hop Awards and the BET Honors.
Reginald is also one of the most successful Black writers in the field of comics, writing award winning runs of Spider Man and Black Panther for Marvel Comics. He adapted Quentin Tarantino’s original screenplay for Django Unchained into a six issue limited series for DC/Vertigo Comics and co-authored the intelligent, witty and moving graphic novel Birth of a Nation.
A friend, writing partner, filmmaking partner and jegna (“mentor”) of mine, Milton has been a strong influence on my work.
Together, Milton and I produced the successful Mahogany Masquerade: An evening of Steamfunk and Film and the Black Science Fiction Film Festival, now both annual events.
He is the author of two Sword & Soul series, Changa’s Safari (Volumes I & II) and Meji (Books I & II) and he, together with the Father and Founder of Sword & Soul, Fantasy fiction pioneer, Charles R. Saunders, is the Co-Editor of Griots: A Sword and Soul Anthology, the definitive work of Sword & Soul, featuring stories from fourteen different black writers. The first such anthology of its kind, Milton also published this masterpiece through his multimedia company, MVmedia, a micro-publisher and film production company dedicated to bringing diversity to the science-fiction and fantasy fields.
Milton is also Co-Editor, with Balogun Ojetade, of the Sword and Soul anthology Ki-Khanga –which is an introduction to the world in which the table-top role-playing game of the same name they created is set – and the wildly popular Steamfunk!, an anthology featuring twelve masterfully crafted stories of Steampunk, told from an African / African-American perspective.
Milton is also publisher of Balogun’s Sword and Soul novel, Once Upon A Time In Afrika, the co-creator of the graphic novel, The Blood Seekers, with artist Kristopher Mosby and will release his own fifth Sword and Soul novel, the highly anticipated Woman of the Woods, in mid-June.
Balogun began his career as an author in non-fiction, as writer of the bestselling Afrikan Martial Arts: Discovering the Warrior Within, which is also used as the manual for the Afrikan Martial Arts Institute, in which Balogun is Master Instructor and Technical Director.
His career in speculative fiction, however, began as screenwriter, producer and director of the films, Reynolds War and A Single Link.
He is one of the leading authorities on Steamfunk and writes about it, the craft of writing, Sword & Soul, Steampunk and fandom in general, on his website, the popular Chronicles of Harriet.
He is author of three novels – the Steamfunk bestseller, MOSES: The Chronicles of Harriet Tubman (Books 1 & 2); the science fiction gangster saga, Redeemer; and the Sword & Soul epic, Once Upon A Time In Afrika. He is contributing co-editor of two anthologies: Ki: Khanga: The Anthology and Steamfunk! and is the screenwriter, director and co-producer of the short Steamfunk film, Rite of Passage: Initiation.
Along with creative partner Milton Davis, Balogun produces the popular annual events, the Mahogany Masquerade: An Evening of Steamfunk & Film and the Black Science Fiction Film Festival.
At present, Balogun is directing and fight choreographing the Steamfunk feature film, Rite of Passage.
The First Family of Speculative Fiction, these authors and filmmakers are movements by themselves and forces of nature together.
Steven Barnes has written several episodes of The Outer Limits and Baywatch. He also wrote the episode “Brief Candle” for Stargate SG-1 and the “The Sum of Its Parts” an episode of Andromeda.
Barnes’ first published piece of fiction, the 1979 novelette The Locusts, was written with Larry Niven, and was a Hugo Award nominee.
Barnes has gone on to author nearly thirty great novels, including the speculative fiction novels, Street Lethal, Lion’s Blood, Zulu Heart and with Tananarive Due, the Tennyson Hardwick mystery novel series.
The first person of African descent to find success as an author of horror fiction, Tananarive Due is an icon, a living legend and immensely popular worldwide.
Beginning with the scary-as-hell, The Between, in 1995, Due followed up with the equally frightening The Good House, a book that gave my wife nightmares every night she perused its pages and still gives her goose-bumps whenever the book is mentioned. After that came Joplin’s Ghost, and then the African Immortals series – my favorite – then, the Tennyson Hardwick mystery series with her husband, Steven Barnes in partnership with the actor, Blair Underwood.
Recently, Steven Barnes and Tananarive Due have teamed up to create the “zombie” YA novel series, which includes Devil’s Wake and Domino Falls.
This series inspired the horror short film, Danger Word, which Barnes and Due wrote and produced.
R.L. wrote, produced and directed his first short film at the age of seventeen. He has since gone on to involvement in over fifty short and feature films in many capacities including writing, directing, fight choreography, cinematography, post production work, and editing.
In 2006, R.L. wrote, directed, produced and choreographed the fan film Black Panther: Blood Ties, a film I, my wife and several of my students had the pleasure of acting and performing stunts in.
In 2007 R.L. brought us Champion Road, a popular martial arts / fantasy feature film he wrote, directed, choreographed and produced and in 2008, took on the same roles for its sequel, Champion Road: Arena.
Full disclosure: I play the heroic hermit / martial arts master, Soleem, in both films.
In 2012, R.L. choreographed the fight scenes for the feature film entitled Call Me King, which stars international superstar Bai Ling (Red Corner). Call Me King is scheduled to be released early 2014.
Recently, R.L. acquired the film rights to the Street Team brand of indie graphic novels, which feature street-level (think Wolverine and Batman) superheroes of African descent.
Rasheedah’s life is one that inspires and educates. A mother at the age of fourteen, Rasheedah raised her daughter while attending high school, and college and, in spite of her many responsibilities, she was able to earn a cumulative 3.79 GPA, graduating Summa Cum Laude from Temple in three years with a Bachelors in Criminal Justice. In the fall of 2005, she began her first semester at Temple University Beasley School of Law, earning her J.D. in Spring, 2008 and becoming a member of the Pennsylvania Bar in Fall 2008.
Because of her perseverance and success in spite of personal difficulties, her story was featured in several publications, including The Philadelphia Inquirer and The Temple Times, as well as a few books, including It Couldnt Happen to Me: Three True Stories of Teenage Moms by Beth Johnson.
An educator, attorney, activist and advocate for teen moms, Rasheedah writes science fiction stories and essays on Philosophy and Metaphysics in her spare time. She has had a work of short fiction published in an anthology entitled Growing Up Girl, inspirational essays published in Sister to Sister: Black Women Speak to Young Black Women and Professor May I Bring My Baby to Class. She will publish her first science fiction novel, Recurrence Plot, in Fall 2013.
In 2011, Rasheedah created The AfroFuturist Affair, an organization dedicated to celebrating and promoting Afrofuturistic culture, art, and literature through creative events and creative writing.
Through The Afrofuturist Affair, Rasheedah has created the annual Charity and Costume Ball, an Afrofuturist-themed costume ball that features artists, authors, and performers who present creations using Afrofuturism and Science Fiction as vehicles for expression and agency.
Black Tribbles is a radio show about geek culture and media in which five people of African American descent engage in thought-provoking conversation and provide critical insight into a culture that is often devoid of a Black influence. The show is witty, irreverent and informative, simultaneously entertaining as it educates.
Every Thursday night, the Tribbles – Jason “Spider Tribble” Richardson; producer, Len “Bat Tribble Webb; co-producer, Kennedy “Storm Tribble” Allen; Erik “Master Tribble” Darden; and Randy “Super Tribble” Green – gather in the radio studio to banter about the nerdy things that excite them, from comic books and fantasy movies to science, history and ancient mythology.
Recently, they hosted a special show – Octavia City – in which original tales of afrofuturism from some of science fiction and fantasy’s upcoming and brightest stars were performed live.
Of course, this list could be expanded to include many more Black men and women who are doing great things in speculative fiction and film. If you would like more authors and filmmakers featured, please, let me know and I will be glad to introduce you to others.
Until then, happy reading and watching!
WE’RE HERE: Ending the Search for Black Fandom
Recently, I read an excellent – and somewhat saddening – post on the Rude Girl Magazine blog entitled A Search for Black Fandom.
The author laments: “A lot of times when I watch things, and am seeking out internet reactions and discussion, I wish I had access to other black opinions. Sometimes fandom is like watching a movie with a room full of white people – when someone does something kinda shady and racist, you want to lean over and be like ‘did this motherfucker just really,’ but then you realize you’re the only black person there so you have to weigh whether or not you’re in the mood for bullshit, because that’s what you’ll get by bringing this up with white people.”
The author thought that she was all alone in the nerdiverse. That there were no other Black people into Science Fiction, comic books, cosplay, Steampunk and Dungeons and Dragons and she felt crippled by this: “It’s no secret that fandom can be racist. Like, really, really racist…if you, as a black person, want to enjoy something – anything – in most popular fandom, you kind of have to decide not to bring up problematic aspects of the source material if you’re not ready to break out the bingo card for yet another tragic game of ‘No That’s Not Racist Toward Black People, Let Me Tell You Why,’ during which white people from all corners of the globe will gather to attempt to invalidate your thoughts, feelings and experiences.”
I am constantly reminded of just how important the work I and the other members of our authors, filmmakers and artists collective – State of Black Science Fiction – do really is. We tell the stories that need to be told – stories of heroes that have been ignored; history that has been forgotten…or denied.
Steamfunk, Sword and Soul and Rococoa are subgenres of fiction, fashion and film that convey the heroes and history of Africa, African-America and, indeed, the entire Diaspora. There are also many great tales of science fiction, horror, action-adventure and the paranormal with heroes of African descent.
I have been a guest and panelist at several small and major fandom conventions and I – along with my friend and author Milton Davis – am the curator of the popular Black Science Fiction Film Festival and The Mahogany Masquerade and I am happy to say that there is a multitude of Black fans of speculative fiction and film and the numbers are growing rapidly and immensely.
However, every time I get comfortable, a blog, an attendee at a panel discussion, or a fan at a convention will say “I thought I was the only one reading, doing and / or writing this,” or “If I had known Black people were writing this kind of stuff (or making these kinds of movies), I would have gotten into this a long time ago.”
Statements like that tell me that there is a lot more work to do and that there are a lot more people to reach.
I want my sister at Rude Girl Magazine to know that she need lament no longer and that she is certainly not alone.
We’re here my dear sister.
Below is a list of great recent fandom events with a strong Black presence. Most are annual events, so put them on your calendar and be sure to attend.
Black Speculative Fiction Film Festival, August 2012 – Auburn Avenue Research Library; Atlanta, GA
OnyxCon 4th Annual Black Age of Comics Convention, August 2012 – Southwest Arts Center; Atlanta, GA
State of Black Science Fiction Panel, August 2012 – Dragon*Con; Atlanta, GA
The Mahogany Masquerade: An Evening of Steamfunk and Film, October 2012 – Alien Encounters (an annual Black Fandom Symposium); Atlanta, GA
The Afrofuturist Affair Museum of Time 2nd Annual Charity & Costume Ball, November 2012 – Philadelphia, PA (an annual costume ball and afrofuturism presentation / performance)
Black Science Fiction Film Festival, February 2013 – Georgia Institute of Technology; Atlanta, GA (an annual film festival featuring fantasy, science fiction and horror films by and about people of African descent from around the world); Atlanta, GA
Multiculturalism in Alternate History Panel, February 2013 – AnachroCon; Atlanta, GA
Octavia E. Butler Celebration of the Fantastic Arts, March 2013 – Spelman College; Atlanta, GA
12th Annual East Coast Black Age of Comics Convention (ECBACC), May 2013; Philadelphia, PA
State of Black Science Fiction Panel, June 2013 – SciFi Summer Con; Atlanta, GA
State of Black Science Fiction Panel, June 15, 2013 – Wesley Chapel Library; Atlanta, GA (upcoming)
RITE OF PASSAGE: The Web
The full moon cast a silver glow upon the leaves that crackled beneath Jake’s heels.
He no longer heard the dogs, or the curses of Master William Jessup’s slave-catchers, so he stopped to rest his weary muscles and catch his breath. “For a short spell,” he thought.
“Welcome to my parlor, said the spider to the fly.”
Jake whirled toward the source of the voice, raising a silver carving knife – still sticky with his former master’s blood – chest high.
The most beautiful woman Jake had ever laid eyes upon stepped out of the shadows. The corners of her full lips were spread in an inviting smile. “I’m sorry, did I frighten you?” Her husky voice revealed a hint of an English accent.
“You obviously ain’t from around here,” Jake said, studying her tall, muscular frame. “You sound like this man who come from England and train me and the other catchers.”
“I’m from London, England,” the woman said. I moved here a while ago. I bought my freedom from…wait…catchers? What did you catch?”
“Runaways,” Jake replied.
“And now, it appears that you are the one who is running away,” the woman said.
“I was the worst catcher ever born,” Jake said. “Every runaway I went after got away.
“They just happened to get away, eh?” The woman snickered.
“My old master got wise to me,” Jake replied. “He decided to make an example of me…killed my wife; my daughter…so I killed him. Been runnin’ since.”
“Well, you are safe here for the night,” the woman said. “The locals are afraid of this forest. They say a terrible beast roams these parts.”
“Then, what you doin’ out here?” Jake asked.
“I love the outdoors,” the woman replied. “Besides, beasts don’t frighten me; men do.”
“Well, this man won’t do you no harm,” Jake said. “My name’s Jake, by the way. Jake Jessup.”
“I’m Tara Malloy,” the woman said, offering her hand.
Jake took Tara’s smooth, mahogany hand in his and kissed the back of it. “Pleasure, ma’am.”
Suddenly, Tara’s hand became a vice around Jake’s fingers, crushing the dense bones as easily as if she was squeezing an egg in her fist.
Jake screamed in agony.
Tara threw her head back as a growl escaped her throat. She snapped her head forward, fixing her maddened gaze on Jake. Her beautiful face had been replaced by what Jake could only describe as the visage of a rabid wolf.
Jake tried to snatch his pulverized hand out of Tara’s grip, but she was too strong and his pain was too great.
Tara yanked Jake toward her. The runaway’s head snapped back from the force as his feet skittered across the dirt and dry foliage.
Jake thrust forward with his carving knife, sinking it deep into Tara’s chest.
Tara staggered backward, coughing as a crimson cloud of ichor spewed from her mouth.
Jake collapsed to his knees. Tara fell onto her back, convulsed once; twice; and then, lay still.
Jake crawled to a large tree and rested his back against it. The pain in his hand and shoulder made it difficult to think; to understand what just happened and darkness encroached upon him, blurring his vision.
“Still alive, eh?”
Jake turned his head toward the voice. Tara stood beside him. He turned his gaze toward her beastly form, still lying where she fell.
“How?” Jake whispered. He wanted to leap to his feet and run, but the pain would not allow it. “What are you?”
“What was I, you mean,” Tara replied. “A werewolf; a child of Eshu; blessed with his gift.”
Tara pointed toward Jake’s wounded shoulder. “Now, you have his blessing, too.”
“I…I’m gon’ turn into a thing like you, now?” Jake spat.
“Maybe,” Tara answered. “You become what your spirit is.”
“I’m gon’ kill you!” Jake bellowed.
“You already have,” Tara said, nodding toward her corpse.”
This was all too much for Jake to bear. He shut his eyes and succumbed to the darkness.
Jake felt soft, warm flesh on his chest. He looked down. Staring up at him was a pretty woman with full, pouty lips and skin the color of sweet cream.
“Good morning, lover,” the woman said, flashing a smile. Her dimpled cheeks accented her beauty.
“You’d better give up that body, Tara,” Jake said, looking at the clock on the far wall of the inn’s room. “You only have a few minutes.”
“Jake, can we talk?” Tara asked, caressing his chest with borrowed fingers.
“Time’s tickin’,” Jake replied.
“I love you,” Tara whispered.
“You what?” Jake pushed Tara’s head off his chest and sat upright.
“I love you, Jake,” Tara repeated.
“We don’t have time for this,” Jake said. “A second past those six hours and this woman dies from shock or goes mad.”
Jake hopped out of bed. His flesh shifted; flowed, as if it was some thick, ebon fluid and then trousers, boots, a shirt and a leather overcoat – all a very dark brown – formed around his naked frame.
“You’re a haint, Tara…a ghost…the undead. I – hell we – hunt the undead. Love ain’t in the cards for us. ‘Sides, you did try to kill me, remember?”
“That was two-hundred forty-seven years ago!” Tara replied.
“Seems like yesterday to me,” Jake said.
A loud, sucking din echoed throughout the room as Tara rose out of the woman’s body. “We’ll talk more later.”
The woman sat bolt upright. She leapt from the bed, locking her gaze on Jake’s broad back. An ebony, wide-brimmed planter hat formed atop Jake’s head. The woman gasped and darted out of the room.
“Creole women,” Tara said, shaking her head. “So…emotional.”
“Let’s go,” Jake said, sauntering toward the door. “Ms. Tubman should have sent that telegram by now.”
On the ground, carriages carried people to-and-from the retail shops, restaurants, inns and houses of ill-repute. In the sky, out of the view of the common people – but not out of Jake’s view – the very wealthy and the military traversed the bustling city by ornate airships and hot air balloons.
“Isn’t it beautiful? Tara sighed.
“Nope,” Jake replied.
“What do you see, then, Mister Doom-and-Gloom?” Tara asked.
“I see smoke…and steel,” Jake answered. “I see children worked to death in dirty factories…widows turned into whores to feed their babies…and we’re still swingin’ from the end of the white man’s rope.”
“Like I said…Doom-and-Gloom,” Tara snickered.
Jake entered the telegraph office. A man sat before each of the three telegraph machines.
“How can we help you fine folks?” One of the men asked, looking up from his machine.
Jake and Tara exchanged glances. Jake took a step back toward the door.
“Oh, don’t worry,” the man said, smiling. “Negro money spends here.”
“That’s not our concern,” Jake said.
“What, then?” The man said, rising from his chair.
“Well, considerin’ my lady friend here is a haint and y’all can see her without her willing it, y’all must be haints, too.” Jake replied.
The man directed his attention to Tara. “You’re a ghost, correct?”
“That’s right,” Tara replied.
“The two other men stood.
“Hmm…ghasts,” Jake said, studying the trio. “Never had the pleasure of killing one of you. Ms. Tubman said you’re fast and can possess a body for days at a time.
“Ah, Ms. Tubman,” The ghast crooned. “After we kill you, we’ll have to pay her a visit.”
“The bloodsuckers got you interceptin’ her messages, now?” Jake asked.
“She has been sending her merry, little band all over to hunt down our kind…your kind!” The ghast spat. That nigger has to die!”
“Give me the message,” Jake said, unmoved.
“I don’t think so,” the ghast hissed.
“Jake raised his palms before his chest. His hands shifted, changing into a pair of ebon broadswords. “I reckon I’ll have to take it then.”
The trio of ghasts exploded forward. Jake leapt forward to meet them.
Jake’s body shattered into a cloud of miniscule, venomous spiders. Each of the thousands of spiders was armed with a scythe-like claw on each of its eight legs. The spider-cloud washed over the ghasts. A moment later, a reformed Jake landed in front of one of the telegraph machines.
The ghasts fell, their tattered bodies covered with an uncountable number of gashes; the organs of their hosts reduced to liquid by the venom racing through their veins.
Jake rustled through the telegrams until he found the one from Harriet Tubman. “Ms. Tubman found the nest.”
“Where to?” Tara inquired.
The sweet-green smell of kudzu permeated the night air. Jake stood high above the ground upon the thick limb of an old oak tree. “Go check it out,” he said, pointing toward a large ranch house an acre away.
“Be back in a bit, lover,” Tara said, blowing him a kiss as she leapt from the limb. She floated toward the house like a feather held aloft in a gentle breeze, landing gracefully at the door of the house. With a quick step, she passed through the closed door as if it was not there.
Jake studied the house. The windows were all covered with a dense, black cloth, preventing any light from getting in or out; a sure sign of a vampire nest.
Tara appeared on the limb. She fanned her hand in front of her nose. “Lord, it smells like the flatulence of a thousand mules in there!”
“Any vampires?” Jake inquired.
“Three,” Tara replied. “It looks like they are getting ready to call it a night.”
“The sun will be up in a couple of hours,” Jake said. “Coffins?”
“No,” Tara answered. “Dirt. The whole house is covered in about two feet of it.”
“These are Old Ones, then,” Jake said. “Good. Kill an Old One and all their progeny die, too.”
Jake leapt from the tree limb. He landed silently below. The hunter knelt at the base of the tree and thrust his hands into the dirt. A moment later, he pulled out a suede sack that was filled with something metallic by the clinking sound of it. “Good old General Tubman,” Jake whispered. “Right where she said it would be.”
Jake tossed the sack over his shoulder and sprinted toward the house. His boots made no sound as they glided across the soft, red, Georgia clay.
Tara floated closely behind him. Upon reaching the house, she stepped through the door. A few seconds later, Jake heard the door’s bolt lock slide back. He tested the door, slowly turning its knob. The door opened.
Jake slipped into the house. He reached into the sack and withdrew a tiny, wedged shape device. The device, constructed of bronze, had a miniscule, amber crystal at its center.
Tara raised her thumb and smiled.
Jake placed the wedge back into the bag and crept forward down the long hallway. He felt something hard beneath the dirt sink under his feet. Iron shackles sprang up around his ankles. Jake transformed into the swarm of spiders to escape, but it was too late. Walls of thick glass sprang up from the floor, slamming into the ceiling with a tremendous thud. Jake was encased in an impenetrable, airtight cube.
The Old Ones stepped out of a room at the end of the hallway and strode toward Jake. Huge grins were spread across their pallid faces, exposing their fangs.
Tara floated toward them.
“I can feel you, darlin’,” the lead Old One – a tall, lean man, with the dress and ruggedness of a cowboy – said. “Well done.”
“Tara?” Jake gasped.
Tara turned her gaze away from Jake and cast her eyes downward.
“My kind are the servants of Eshu, charged with keeping the balance between the light and the darkness…between the Natural and the Unnatural, like yourselves,” Jake said. “My kind are the livin’.”
“Living; dead; undead…some of us are hunters; some prey,” the Old One said. “That – and blood – are all that matter.” The Old One stepped closer to the glass. “Where are my manners? In all of this excitement, I neglected to introduce myself. I am Henrick.” Henrick pointed his thumb over his shoulder. “The rather large gentleman behind me is Malloy and the enthralling beauty is Bloody Jane.”
“Let me out of here, so we can all shake hands,” Jake said.
Henrick laughed. “I like you, hunter. It’s a shame you’ll be dead soon. We could have been friends.”
The vampires walked past Jake’s cell toward the door.
Henrick glanced over his shoulder. “We are heading out for a quick bite. Don’t go anywhere.”
The vampires left the house. Their sardonic laughter cleaved the darkness outside and echoed throughout the house.
“How could you do this, Tara?” Jake spat.
“I am sorry, Jake,” Tara replied. “One day, you’ll understand.”
“Just a few days ago, you said you loved me,” Jake said. “You sure as hell have a funny way of showin’ it.”
“I do love you,” Tara cried. “That’s why I’m doing this.”
“You ain’t makin’ no sense at all,” Jake said.
“Soon, you’ll run out of air,” Tara said. “You’ll die; then, you’ll have an eternity to fall in love with me.”
“That’s haint obsession talkin’,” Jake said. “After a while, every haint goes mad. I thought you had it beat. I reckon it just took you a little longer.”
“I am not crazy, Jake!” Tara shouted. “But, love makes us do crazy things.”
“If I die on account of you settin’ me up, do you really think I’m gon’ ever love you?”
“I…I’m not sure,” Tara sighed. I hope that you’ll…”
“I’ll hate you,” Jake said. “But, if you let me out of here, there might be a chance for us.”
“You’re just saying that to convince me to set you free,” Tara said.
Jake stared into Tara’s eyes. “Have I ever lied to you?”
Tara stepped into Jake’s cell. “I don’t know where the release switch is.”
Jake nodded toward his suede sack, which lay at his feet. “Then persuade those bloodsuckers to tell you.”
Tara closed her eyes and stretched her incorporeal fingers toward the sack. For a moment, her fingers became somatic and she grabbed it. A second later, she was, once again, incorporeal, as was the sack and its contents. She walked out of the cube, taking the sack with her.
Tara floated down the hallway and through the door, leaving Jake alone in his cell.
Jake launched a powerful side-kick at one of the walls of the cell. His heel slammed into the glass. Jake’s foot felt as if it had slammed into the side of a mountain. “Magically enhanced,” he mused. Jake sat, cross-legged, on the floor. He closed his eyes and concentrated on his breathing, slowing it.
A while later, Tara returned. “It’s done.”
Jake’s opened his eyes. “Did you get all the windows? The roof?”
“I was quite thorough,” she replied.
“Tara!” A voice wailed on the other side of the door.
Tara floated to the door. She willed her hand to become corporeal and used it to open the door.
A web of intense light crisscrossed the entrance.
Henrick stood a few yards away from the doorway. Malloy and Bloody Jane stood behind him.
You’ve been a bad girl, Tara,” Henrick said. “What have you done to our house?”
“They’re called Thread Bombs,” Tara replied. Each one releases a thread of light akin to the light of the sun. I planted nearly a thousand around your house to encase it in a web of sunlight.”
“Well, be a dear and turn them off, please,” Henrick said, affecting a warm smile.
“I can’t,” Tara said. “Only Jake can.”
“And why is that?” Henrick asked, struggling to maintain his friendly demeanor.
“Every bomb has to be turned off at the exact same time, or they will explode, blanketing a square mile in their light,” Tara answered. “Jake can become a swarm of spiders and turn off each bomb simultaneously.”
“And how do we know he will do that for us once he is free?” Henrick inquired.
“You don’t,” Tara replied. “But, what choice do you have?” If you set Jake free, he might shut down the web; leave him in that cell to die and you’ll all burn.”
“Quite the fickle one, aren’t you?” Henrick said. “Okay, we’ll bite, so to speak, but know that if you cause the death of three Old Ones and their children, there is nowhere you can run; nowhere you can hide. We will find you…and even a ghost can be destroyed.”
“Duly noted,” Tara said. “Now, where is the switch?”
“In the study,” Henrick replied. “There is a brass statue of a tiger in there. Turn its tail clockwise and the walls will come down.”
“I’ll be right back,” Tara said, vanishing from sight.
“Hurry back, child,” Henrick said, looking skyward. “It’ll be dawn soon.”
A whirring sound rose from beneath Jake. A moment later, the glass walls slid back into the floor.
Jake breathed deeply, welcoming fetid, but cool air into his lungs.
Refreshed, Jake sauntered toward the door.
“We have upheld our end of the bargain,” Henrick said. “Your turn.”
“Bargain?” Jake said. “I don’t bargain with Unnaturals.”
Henrick’s smile faded. “Tara said…”
“Your deal was with Tara,” Jake said, interrupting the Old One. “Not with me.”
“Nope,” Jake replied, picking dirt from his nails.
“You bastard!” Henrick hissed, baring his fangs.
Malloy and Bloody Jane screamed as sunlight cut through the clouds and seared their flesh.
“Turn it off,” Henrick wailed, his skin turning black where the sun kissed it. “Please!”
The Old Ones burst into flames. Their chilling screams rending the night sky until their vocal chords were to charred to emit sound.
Within moments, three piles of gray ash lay near the entrance to the house.
Tara materialized beside Jake. “I hope this makes things right between us, lover,”
“Nope,” Jake replied.
“What now, then?” Tara asked.
“We keep killin’ Unnaturals,” Jake answered.
A broad smile spread across the ghost’s pretty face. “So, we’re still partners?”
“For now,” Jake replied. “We make a good team. ‘Sides, huntin’ can be lonely work. But, I promise you, you ever betray me again and you get the sigil.”
“To use a sigil on a ghost, you have to know that ghost’s real name, Jake,” Tara said. “I never told you – or anyone – my real name.”
“Your ex-husband says different,” Jake said.
Tara’s eyes widened and her jaw fell slack. “My ex…?”
“I met a conjurer a few years back by the name of Laveau,” Jake replied. “She channeled your ex-husband, Kayode, and, boy, did he have a story to tell!”
“What did he tell you?” Tara asked.
“Let’s get out of here,” Jake said. This place stinks.”
“Jake, what did he say?” Tara’s voice was shaky. “Jake?”
The corners of Jake’s mouth curled into a slight smile as he stepped through the web and into the welcoming dawn.
A bitter chill gnawed at the back of Thomas Morgan’s pink neck.
He flipped up the collar of his overcoat and walked briskly up the lonely road. “It will be dark soon,” he whispered. “I must find shelter.”
Thomas continued on, thinking that the feeling of unmerciful winds biting into his flesh must be what it felt like to the countless number of slaves who had tasted the caustic sting of his whip.
The memory of his whip rending black flesh warmed him a bit and strengthened his resolve to continue on.
Finally, Thomas came upon a house. He crept up to it. The smell of cinnamon met him, caressing his nostrils. Thomas peeked through a window at the front of the house. Inside, an elderly Black couple sat before a flickering fire. Steam rose from their brass mugs as they sipped from them.
“Niggers,” Thomas hissed. To Thomas, ‘niggers’ were bad enough, but ‘Yankee niggers’ were the worst.
“Well, their nigger home looks warm,” He thought. “And niggers are too scared to turn away a white man seekin’ shelter.”
A moment later, a man’s voice called from the other side of the door. “Who’s there?”
“My name’s Morgan,” Thomas replied. “Thomas Morgan. My airship crashed about a half mile from here. I need a warm place to spend the night until I can find a tinkerer in the morning.”
The door opened a crack. A pair of brown eyes peered out. “You sound like a Southerner, Mr. Morgan,” the old man said.
“Born and raised,” Thomas said, tipping his bowler as he saluted the old man with a deep bow. “But my heart belongs to the North.”
“What brings you to Weeksville?” The old man inquired.
“I’ve been usin’ that ol’ airship of mine to transport runaways for Harriet Tubman,” Thomas lied. He wondered what this old coon would do if he told them that he was really headed to Auburn to kill ‘General Tubman’.
“You can stay,” the old man said. “If you tell me an’ my wife a good story.”
Thomas rubbed his numb fingers under his armpits. “Umm…there once was a man from Nantucket…”
“I said a good story!” The old man said, interrupting Thomas’ limerick.
“I wish I could, but I’m just a transporter of people and cargo,” Thomas said. “I don’t have no stories to tell.”
“Black devil!” Thomas spat as he stormed away from the house.
He perused the area. A barn sat several yards behind the house. Thomas scurried toward the barn. He tugged at the door and it swung open. Inside, the barn was empty, save for a few farming tools strewn about and a large mound of straw that sat in a far corner.
Thomas dashed to the mound and dived into it. He burrowed deep into the mound, pulling straw over himself until he was completely covered. He quickly warmed up and, within moments, he was sound asleep.
A gruff voice awakened him.
Thomas peered between a few blades of straw, seeking the source of the harsh, baritone voice that had startled him out of his slumber.
In the middle of the barn, illuminated by a single lantern, stood two of the largest men Thomas had ever seen in his life. One man stood about seven feet tall. His massive muscles strained against his leather overcoat as he rapidly rubbed two sticks together over a pile of twigs and dry leaves
The other man, nearly a foot taller than the first and just as massive, dragged something large and heavy across the floor.
Both men’s faces were concealed by the over-sized brims of their top-hats, but their hands were nearly black as pitch.
As the fire came to life and lit the barn, Thomas saw clearly what the man was dragging – the corpse of a portly white man. The flesh on the corpse’s neck was twisted into a sickening spiral pattern, as if someone – or something – had tried to screw his head off.
The first man tied a rope around the corpse’s feet. “Hang him from that beam and let’s roast him.”
“I’m tired,” the first man replied. “Let Tom Morgan do it.”
Thomas shuddered. “How could they know I’m here? How do they know my name?”
“Come on out,” the second man bellowed.
Thomas crawled out of the mound of hay.
The first man yanked him to his feet. “Turn the corpse…and do not let it burn!”
Thomas’ mouth went dry and sourness gurgled in his throat. He nodded.
Thomas began to slowly turn the corpse over the fire.
The men turned from him. The first man snatched the barn door open. Moonlight poured into the barn, reflecting off the giants’ ebon skin.
“Keep turning, Tom,” the second man said as he disappeared into the night. “We’ll be back soon.”
Thomas shook as he turned the body over the fire.
A loud snap startled him. Suddenly, the corpse plummeted into the now raging flame. Sparks and ashes flew into the air and the barn filled with smoke.
“No!” Thomas screamed. “They’ll kill me!”
Thomas sprinted out the door and back onto the road. He raced into the frigid wind, fear keeping his legs pumping even though they ached terribly. When he could not run another step, he scurried into a muddy ditch, hiding behind a moist clump of overgrown weeds.
He had barely caught his breath when he heard thunderous footsteps upon the road above him.
“I am tired of carrying this charred, fat fool,” a gruff voice bellowed. “You carry him now.”
“Not me,” a second voice – as deep and gruff as the first – replied. “I’m tired. Let Tom Morgan do it.”
A loud thud exploded behind Thomas. He whirled toward the sound. Standing over him was the massive second man from the barn.
The man wrapped his thick fingers around Thomas’ neck and then hurled him high into the air.
Thomas winced as his buttocks slammed onto the road.
The first man snatched him onto his feet.
“Drag this body to Whitmore Ridge so we can bury it!” The first man ordered.
“But…but ain’t Whitmore Ridge about a mile from here?” Thomas asked.
“Move!” The first man commanded.
Thomas tucked the corpse’s feet under his armpits and shambled up the road, dragging the obese, bloated body behind him.
Thomas’ legs burned and his back felt as if it would fold in upon itself, but his fear of the twin black giants kept his taxed legs moving.
“While you’re down there, start digging,” the first man snickered.
“With my hands?” Thomas sighed.
“Well, you can’t dig with my hands, can you?” The first man spat.
The second man tapped the first man on the shoulder and then pointed toward the reddening sky. “Sun’s coming.”
“It’s your lucky night, Tom Morgan,” the first man said. “If we could stay a bit longer, we’d bury you with that body.”
With that, the men sauntered away and soon disappeared up the road.
Thomas leapt to his feet and then sprinted down the road in the opposite direction of the giants. Soon, he came upon the same house with the barn behind it in which the two men had found him. He slammed his fists on the door.
The door swung open. The old man of the house stood before him.
“You, again?” The old man hissed.
“Please, sir,” Thomas cried. “Some crazed men made me do terrible things! Please, grant me a place to hide and to rest and I will reward you dearly.”
The old man stepped aside and Thomas staggered through the doorway.
“Take a seat,” the old man said, pointing toward a table with four large oak chairs.
Thomas plopped down in a chair. The old woman of the house – a petite Black woman with smooth, cocoa skin and white locks that fell to the middle of her back - placed a cup before him. Thomas inhaled. The contents of the cup smelled pleasantly of honey, cinnamon and nutmeg. Thomas took a sip. The tea warmed and relaxed him.
Suddenly, heavy footsteps came from the back of the house.
A shiver crawled up the back of Thomas’ neck.
The twin, ebon giants sauntered into the room.
“Have a seat, boys,” the old woman said. “Tom Morgan got a story to tell.”
THE UNMASKING OF AUNT TAMMY
The ivory Rolls Royce Phantom crept along the winding road towards the immense structure, which loomed on the horizon.
“Fifteen years.” Amy said. Her perfect, white teeth reflected the shine from her gloss-moistened lips as she smiled.
“What?” The chauffeur peered at Amy through the rearview mirror.
“Fifteen years, Tosu,” Amy answered. “Fifteen years of my fellow Senior Executives’ racist, sexist, bullshit. Fifteen years of the black employees calling me ‘Aunt Tammy’ behind my back. It all ends tonight.”
Tosu’s broad shoulders danced back and forth as he chuckled. “Aunt Tammy?”
“Yes, Aunt Tammy, Amy replied. “A female ‘Uncle Tom’ – and that’s not funny, Tosu!”
“Of course, you are not an ‘Aunt Tammy’, little sister,” Tosu said. “Just because you prefer Frank Sinatra to Fifty-Cent…or because you prefer quinoa to cornbread…or because you prefer Steampunk to Street Lit does not mean you are an Uncle Tom or an Aunt Tammy…It does mean, however, that you have poor taste!”
The driver looked over his shoulder at his little sister. “Today, all that you have endured pays off.”
Amy took a deep breath. “Yes, today it does…for us…”
“And for Malomo,” Tosu whispered, as he fought back the tears that threatened to pour from under his eyelids.
The Rolls Royce Phantom crept into the circular carport on the side of the mansion.
A short, lean, Asian woman – dressed in a blue, silk kimono – opened the door of the Rolls Royce for Amy. “Good afternoon, Ms. Cross,” The Asian woman said, smiling warmly. “My name is Yuriko Sakuraba. Mr. Emilianenko is eager to see you. Follow me please.”
Amy shuffled behind Yuriko, who escorted her to a pair of double doors within the mansion. The doors were carved from heavy African ironwood and inlaid with gold. “This is the dining room,” Yuriko began. “There are a few rules I must go over with you before you enter, but first, a quick search.”
Yuriko perused Amy’s face. Her expression told Amy that the security expert could see the fearlessness in her eyes. Fearlessness…and ferocity. Amy searched Yuriko’s eyes and saw the same.
Yuriko glided her lithe fingers across Amy’s athletic frame. Her skilled hands did not leave even the slightest wrinkle on Amy’s black shark-skin business suit. The search confirmed that Amy was unarmed.
“Now, the rules,” Yuriko began. “First, once you are seated, please remain so, unless you need to go to the restroom. If that is the case, please inform Mr. Emilianenko. He will call me on the radio and I will escort you.”
Amy nodded and Yuriko continued.
“Second, please refrain from any sudden gestures, or talking excessively with your hands.”
Amy smiled and nodded again. Yuriko nodded back at Amy and went on.
“Finally, just remember, I will be right outside this door if any assistance is needed.”
Amy nodded and held her smile. She knew that the final rule was actually a warning that if she tried to harm Mr. Emilianenko, she would have to deal with Yuriko. “I understand.”
Yuriko smiled and then pushed the double doors open. Amy stepped into the huge dining room behind Yuriko. The room was illuminated by a crystal chandelier, which hovered above a ten-foot long, mahogany table, which Amy figured to be over a hundred years old, judging by the hand-carved craftsmanship. Aside from the dining table and chairs, which sat in the middle of the room, the dining room was pretty bare, except for tropical plants, which sat in each corner and gave the room a fresh, pleasant smell that reminded Amy of cantaloupe, sprinkled with black pepper.
At the far end of the table sat Vasiliev Emilianenko, Amy’s boss. CEO of Biochem, Incorporated.
“Please, be seated.” Yuriko whispered.
Amy sat at the end of the table opposite Vasiliev.
Vasiliev waved a well-manicured hand as if swatting flies with the back of it. “You are dismissed, Ms. Sakuraba.”
Yuriko bowed and exited the dining room. Vasiliev turned his gaze toward Amy and grinned. “Good evening, Ms. Cross.”
“Good evening, Mr. Emilianenko.”
Vasiliev shook his head. His curly, black hair bounced slightly as his head moved from side to side. “Please, call me Vasiliev. May I call you Amy?”
Amy nodded. “Of course.”
Vasiliev smiled even wider. “So, Amy, let’s chat while we wait for our meal, yes?”
Vasiliev leaned forward in his chair and placed his arms upon the table. His massive arms strained against the sleeves of his soft, burgundy, silk smoking jacket. “So, you are my Vice President of International Affairs, yes?”
Amy nodded. “Yes.”
“And now, you are here to put in your bid for President, now that Radcliff Delmont has retired, yes?”
Amy swallowed and then nodded. “Yes, sir.”
“Well, Amy, I do not dine with V-Ps…only Presidents.” Vasiliev grinned and the light from the chandelier danced across his perfectly veneered teeth.
Amy patted her chest. “What?! You mean the position is mine?”
“Yes,” Vasiliev said. “You’ve earned it. I would be a fool not to promote the person responsible for a two-hundred and twelve percent increase in our international profits. If I do not promote you, my rivals will steal you away from me.”
“Yes, Vasiliev,” Amy replied. “I’ve been collecting masks from all over Africa for the past two decades.”
“And I hear there has been one mask, in particular, that you desire, but it has eluded you, yes?”
“Yes, it is called ‘Oya’s Beard’. It is a rare Yoruba mask that depicts the Goddess Oya with a conical beard. “It represents women who possess the power of man, as well as woman.”
Vasiliev shoved the box down the table towards Amy. “I see…open the box, please.”
Amy caught the box as it slid over the edge of the table. She opened the box and peeked inside. “Oh, my God! Vasiliev…I don’t know how to thank you!”
Vasiliev pounded his fists on his broad chest. “That is my thanks to you! You have done so much for Biochem. This is just a small token of my appreciation…but, please, tell me…why such a fascination with masks, Amy?”
Amy stared into Vasiliev’s grey eyes. The time had finally come. “Paul Lawrence Dunbar said: ‘We wear the mask that grins and lies.’ I collect masks to remind me that there are many masks that we wear and I must never allow one of them to become my face.”
Vasiliev leaned forward again. “Explain, please.”
“We all wear masks and, many times, we wear them so long and so often that the mask becomes indistinguishable from the person. The mask has become the face. Thankfully, mine has not.”
Vasiliev smiled. “So, what mask do you wear, Amy?”
Amy patted her chest and then ran her hands across her face. “This is my mask. Amy Cross. Conservative…capitalist…loyal to the establishment…an Aunt Tammy.”
Vasiliev’s right hand crept closer to the two-way radio that sat at the corner of the table. “Continue, please.”
“But my face, Vasiliev, is Esusanya Ogunlana. Former operative of the OPC – Ododuwa People’s Congress…aunt of Malomo Ogunlana, who was a victim of the Atlanta Child Murders…remember those!?”
Vasiliev grabbed the two-way radio. Amy hurled the Oya’s Beard mask towards him. The spiked chin of the mask tore through his esophagus, piercing his spine.
The tip of the mask’s chin protruded from the back of Vasiliev’s neck. His shoulders bounced up and down involuntarily and his legs jerked back and forth in a sardonic tap-dance. The two-way radio was frozen in Vasiliev’s right hand. His eyes stared, unblinking, at Amy’s – or Esusanya’s – chest.
Esusanya was a blur as she sprung from her chair and darted across the room until she was directly behind Vasiliev. She placed her full lips to Vasiliev’s ear and whispered: “Within the next ninety seconds, you will be dead, so let’s make this brief. I know you were responsible for the death of my nephew and all those other boys. I know that you had those boys kidnapped and murdered in order to harvest their melanin and sell it to the highest bidder to use in their tanning lotions, sunblockers and contact lenses. I know you, Vasiliev Emilianenko…your mask has been removed!”
Esusanya sauntered to the double doors and placed her hands upon the handles. “I’ll have to soak in Epsom salts after this.”
She then opened the doors to face Yuriko Sakuraba…and a life with no masks.
AFROFUTURISM-PRESENTISM-PASTISM: Catching up with time in Black Science Fiction!
Or what if you could travel forward into your future and alter your present? Would you?
Most Westerners speak of time travel in science fiction in terms of forward in time or backward in time. In the Western view, an event is a component of time – that time exists as an entity in itself, and it moves. The movement of time is forward, coming from behind us. As time moves, you must use it or lose it. If you do not use it, it is gone.
In the traditional African view of time, one might say that time flows backwards. It flows toward you from the future, and the more or faster the activity, the faster time flows. Time is created, in a sense.
Time is not something in itself. Life is made up of events, defined by relationships. Time is a component of the event.
In the African view, your activity really determines the amount of time that passes. Thus the faster you work, the more time you use. Time is not actually passing; it is simply waiting for you to catch up.
In the traditional Asian view of time, it is believed that what we call the past, present and future are mere illusions – fabrics of space and time, in which all exist seamlessly together. In this view, the future and the past are not any different.
Recent research suggests that, in fact, the present can change the past and the future can change the present. This is known as retrocausality.
Retrocausality has powerful and interesting implications for your life. The opportunity to change something about your present life that was originally set in motion in your past – or, the ability to use the future, even though it hasn’t “happened” yet, from your time-frame, to change something in the present – is a powerful thing. In effect, the results of your choice can be seen before you’ve even made it.
Seeing time, however, from the perspective of retrocausality is helpful with many people in need of psychotherapy and with those who feel “stuck” and unable to change or grow.
If it is, indeed, true that what we label past, present and future are all one, an event in either the past or the future could alter the one we call “the present.” Suppose, then, that you could shift something that occurred in your past, which created your future – which is now the present. Similarly, if you saw your future, based upon what you’re doing right now, and altered that, could it also transform your present?
Time and time travel have also been explored in science fiction and fantasy.
Sent nearly thirty years into the past as an unwilling subject in a time travel experiment, he must save his younger self from the deadly path that forged him into the ruthless killer he now is.
Described as an Urban Fantasy thriller, Redeemer is both gangster saga and science fiction epic.
Retrocausality…explored and experienced on the mean streets of the past, present and future.
Ezekiel uses retrocausality in attempt to change his condition in both the past and the future. Let’s hop into Ezekiel’s shoes for a bit and experience a bit of retrocausality ourselves.
Here are some suggestions:
1. Identify a meaningful turning point or event in your life in which you made a decision or were moved by circumstances to go in one direction vs. another, and that you know forged a path in your life that you wish it hadn’t. It might have concerned a feature of your personality that became reinforced through your behavior, associations, or personal values. Perhaps particular interests that grew or an educational choice you made. Or a relationship you began or committed to.
2. Write down what you wish you had known then and how you would have liked to act differently, in that turning point. Then, envision inhabiting the person you were at that earlier time. Show your earlier self what he/she needs to know or do, right now, in order to shift direction or change in some way. Do this exercise during meditation or a period of quite reflection.
3. Now, envision that you have actually become the person who could have emerged from that earlier shift. Imagine incorporating the emotions, state of mind and capacities that would have resulted. Envision that you are that person you might have been. Reflect on how you can integrate the results of the past you have “changed” into your life in the present. What new intentions or emotions arise within you and what can you do with them? Remember, your experience of reality is constructed within your head, your consciousness. That experience can change by “changing” your past.
4. Next flip this around: Teleport yourself into the future that you desire. Use your imagination to envision the person you would like to be in your future; the person who is already there. From within that person, speak to who you are right now. Tell your present self what you need to alter, change or develop from this immediate moment forward, in order to be pulled to that future version of yourself that you want to become. Doing this reminds you of the vast power – and importance – of having an ideal: a positive vision of something that constantly beckons you and keeps pulling you along the path towards it, as it tells you that it’s already there – or could be.
Upon your return from this jaunt, studies have shown that, to avoid “time-lag”, you should pick up your copy of Redeemer and treat yourself to a great read!
THE NEXT BIG THING: Steamfunk, Sword & Soul and The Haunting of Truth High
The rules of this blog hop are simple and sweet: 1. Answer ten questions about your current Work In Progress on your blog; 2. Tag five writers / bloggers and add links to their pages so we can hop along to them next.
So, here goes – enjoy!
What is the working title of your book?
The working title of my next novel is The Haunting of Truth High.
Where did the idea come from for the book?
Even though I am known for writing Steamfunk, Sword and Soul and Urban Fantasy, I am a horror writer at heart. I have always wanted to write a horror novel. I am also the father of seven daughters and a son. Six of my eight children read Young Adult Fiction and have asked when I will write something in that genre. A marriage of horror and YA fiction happened in my head and voila…The Haunting of Truth High was born.
What genre does your book fall under?
The Haunting of Truth High is Young Adult Horror Fiction, however, I’ve made it deep enough that adults will enjoy it too.
Which actors would you choose to play your characters in a movie rendition?
The main character, Renay is a beautiful, intelligent and talented teen, who is very popular in and outside of school. Her life, however, is troubled and in turmoil. Renay discovers she is a warrior, born with the power to slay ghosts and other vengeful spirits. The role would require a young actress who possesses depth, but also can take on the demands of a very physical and gritty role. I think Keke Palmer would be the perfect Renay.
Her love interest, Shawn, who introduces Renay to the dark and frightening spectral world, hides a dark secret. Although he is young, he was raised by ghost hunters, so he has experienced things most of the world has only had nightmares about. This has made him wise beyond his years, fearless and a bit stoic; however, he is also charismatic, witty and the epitome of cool. Corbin Bleu would make a great Shawn.
Renay’s autistic half-brother, Ricky, has the ability to see ghosts. While he cannot speak, he can draw nearly perfect illustrations of people with uncanny speed. Such a role would require an actor who can show emotions and evoke feelings without saying a word. Kyle Massey is perfect for the role of Ricky.
Finally, the main antagonist, Mr. Newsome, while appearing to be a lovable but firm band instructor, is sinister, creepy and the literally feeds off pain, sorrow and hatred. I would cast Phill Lewis in this frightening role.
What is the one-sentence synopsis of your book?
A girl, whose life falls apart after the death of her father, discovers her true calling as a ghost hunter when her high school is overrun by vengeful spirits that feed on human emotions.
Will your book be self-published or represented by an agency?
The Haunting of Truth High will be self-published through my new publishing company, Roaring Lions Productions.
How long did it take you to write the first draft of your manuscript?
I am still writing it. I should have the first draft complete by May.
What other books would you compare this story to within your genre?
While there are other works of Young Adult Horror Fiction, I would say the closest comparison would be Devil’s Wake, by Tananarive Due and Steven Barnes. Devil’s Wake, while a YA novel is still scary as hell and is a great read for older folks as well. In those ways, The Haunting of Truth High is similar, even though the premises are quite different.
Who or What inspired you to write this book?
I was inspired by my love for horror movies, television and fiction and for my desire for my children to have more books with heroes who look and think like them.
What else about your book might pique the reader’s interest?
For those who read my Steamfunk, Urban Fantasy and Sword and Soul stories, you know my writing style. It is very visual, visceral, witty, and a bit frightening at times. Well, I am truly a horror writer at heart, so with The Haunting of Truth High, I went all out with the chills and thrills. Also, as a man with children who are voracious readers of YA fiction, I am intimately familiar with the YA genre and know what makes a YA book great. I also know and understand teens’ desires, goals and fears, which allows me to spin a tale that is scary, but at the same time, has heart.
Below are the links to the next chain of authors. Be sure to bookmark their sites and add their new releases to your calendars.
STEAMFUNK DEBUTS AT ANACHROCON 2013!
This is an exciting week for me. The greatest cosmological event of all time, in my humble opinion – my bEARTHday – is February 21. You are all invited to join me in celebration. In honor of that august day (can it be august in February?), complimentary drinks are on me!
Immediately following the celebration of my 25th solar return – that’s right, I said 25th (I am a Fantasy writer, after all) – is the long-awaited release of the Steamfunk anthology!
We will debut Steamfunk at AnachroCon on February 22, 2013. For those who don’t know, AnachroCon is, by their own definition, “the premier place in the Southern United States for people to celebrate Historical Reenacting, Alternate History, Steampunk, Sciences, Horror, Etiquette & Indulgence, Fashion, Fabrication, Literature & Media, Costuming and socialize with people of like minds.” Sounds like fun…and this year, AnachroCon gets fun-ky, as thousands of Steamfunkateers converge upon the convention to witness the unveiling of an anthology chock-full-o’ steamy and funky goodness!
To help us celebrate, the good folks at AnachroCon have given Steamfunk Co-Editor, Milton Davis, a table, where contributing authors to Steamfunk will sign books and hand out free hugs and handshakes. They have also made me a Guest and I will have the pleasure of speaking on a panel or two.
So, come on by and let’s funk up AnachroCon!
Following is a list of Funkateers and their Funktastic contributions to the Steamfunk Anthology:
Ronald T. Jones – Benjamin’s Freedom Magic
Malon Edwards – Mud Holes and Mississippi Mules
Hannibal Tabu – The Sharp Knife of a Short Life
P. Djeli Clark – Men in Black
Geoffrey Thorne – The Tunnel at the End of Light
Ray Dean – A Will of Steel
Kochava Greene – The Refuge
Carole McDonnell – Oh, Western Wind
Rebecca McFarland Kyle – Once a Spider
Josh Reynolds – The Lion Hunters
Melvin Carter – Tough Night in Tommyville
Valjeanne Jeffers – The Switch
Balogun Ojetade – Rite of Passage: Blood and Iron
Milton Davis – The Delivery