Tag: Cynthia Ward

AfroFuturism, Blerds, and Black Twitter-A Brief Reference Guide

While at illogicon this weekend, one of the panels I’ve participated in was AfroFuturism, Blerds, and BlackTwitter. We also provided a brief overview of the cinematic history of African-Americans in speculative fiction. Below is the list of references that provide a brief introduction AfroFuturistm, Blerds, and Black Twitter.

Please note, this isn’t a complete list. It’s just a quick guide I compiled for introductory reasons. If you have suggestions or better resources, feel free to email or Tweet me (@nicolegkurtz).

Definitions:

Blerds-black nerds

Afrofuturism-Afrofuturism is a literary and cultural aesthetic that combines elements of science fiction, historical fiction, fantasy, Afrocentricity, and magic realism with non-Western cosmologies in order to critique not only the present-day dilemmas of people of color, but also to revise, interrogate, and re-examine the historical events of the past. First coined by Mark Dery in 1993, and explored in the late 1990s through conversations led by scholar Alondra Nelson.

Steamfunk-is defined as a philosophy or style of writing and visual aesthetic that combines the African and / or African American culture and approach to life with that of the steampunk philosophy and/or steampunk fiction and cosplay.

Black Twitter- a cultural identity on the Twitter social network focused on issues of interest to the black community, particularly in the United States.

Articles:

What is Afrofuturism?

http://thepandorasociety.com/what-is-afrofuturism/

 

What is Afrofuturism?

http://www.ebony.com/entertainment-culture/black-alt-enter-afrofuturism-999#axzz3wlULHuja

 

Nalo Hopkinson on Racial and Gender

http://www.newblackmaninexile.net/2015/12/nalo-hopkinson-on-racial-and-gender.html

 

The Rise of the Black Nerd in Pop Culture

http://www.cnn.com/2012/03/31/showbiz/rise-of-black-nerds/index.html

 

What is Steamfunk?

http://chroniclesofharriet.com/2012/04/05/what-is-steamfunk-exposing-the-big-steampunk-lie

 

Steampunk!

http://mvmediaatl.com/steamfunk.html

 

The Truth about Black Twitter

http://www.theatlantic.com/technology/archive/2015/04/the-truth-about-black-twitter/390120/

 

Websites:

Black Girl Nerds                                                http://www.blackgirlnerds.com

We Need Diverse Books!                                  http://www.weneeddiversebookgs.org

BlackScienceFiction Society                              http://www.blacksciencesociety.com

iafronfuturism.com                                          http://www.iafrofuturism.com

The Chronicles of Harriet                                 http://chroniclesofharriet.com

MV Media                                                        http://mvmediaatl.com/

 

Popular Black Speculative Twitter Hashtags and People to Follow

#afrofuturism               #diversesff       #BlackComics   #steamfunk      #blackpulp       #blacksf           #BlackTwitter

 

@blackgirlnerds           @GraveyardSister         @GeekSoulBrother      

Weird Western Wednesdays’ Guest, Cynthia Ward

Weird Western Wednesdays
Weird Western Wednesdays

We’re heading west, the weird west, every Wednesday. Weird Western Wednesdays are devoted to the wonderful and often wild sub-genre of speculative fiction, weird westerns.  Guest authors will contribute a posts discussing weird westerns.

Welcome the amazing and talented, Cynthia Ward to Pulp Reports.


The West That Was and Wasn’t:

Lost Trails: Forgotten Tales of the Weird West

by Cynthia Ward

 

It may seem strange that a straight white cisgender Easterner (from Maine, no less) would edit the diversity-themed Weird West anthologies Lost Trails: Forgotten Tales of the Weird West: Volume One and Volume Two (WolfSinger Publications).  For me, it seems reasonable, because I grew up exposed solely to Hollywood and history-book images of the “Old West.”  In other words, I knew only the stereotypes:  the “savage Indians” unjustly hanging on to land that rightfully belonged to the white newcomers; the brave male sheriffs and outlaws and cowpokes and ranchers and stagecoach drivers and Indian killers; and the white men’s helpless female helpmeets.  On the subject of Western American history, I was like Voltaire’s Candide:  an utter naïf, primed to notice every gap between image and actuality.

LostTrails: Tales of the Forgotten Weird WestThose gaps appeared soon after I moved to California in 1983.  I learned that a third of cowboys were African-American, and that Chinese immigrants participated in the Gold Rush, and that the Californios included cowboys and ranchers.   I learned that the indigenous peoples of the western regions were neither “savages” nor culturally uniform, and that the Spanish missionaries were providers not of civilization, but of deadly cultural imperialism.  I learned about historical figures who upended the Western myth of manly men and meek damsels in distress, such as bandit-killing “One-Eyed Charley” Parkhurst, the respected stagecoach driver revealed in death to be a cross-dressing woman (http://www.mobileranger.com/losgatos/one-eyed-charlie-the-cross-dressing-stagecoach-driver/), and the “Zuni Man-Woman” We’wha (http://www.amazon.com/The-Zuni-Man-Woman-Will-Roscoe/dp/0826313701), one of the many gender-variant individuals who held respected roles in the Native American nations.

 

A move to Washington State put further cracks in the hegemonic media and history-book image of the “Old West”:  rodeo grandmas (https://www.youtube.com/watch?v=cl0-XBRfatc); a cross-dressing female jazz musician (http://www.people.com/people/archive/article/0,,20119615,00.html); the exploitation of women of color as prostitutes and the existence of a robust Western logging and timber industry (http://www.americanhistoryusa.com/early-washington-and-logging-timber-industry/); and the rise of a radical worker’s union in the Northwest (https://content.lib.washington.edu/iwwweb/readIWW.html).  The story and movie Brokeback Mountain brought awareness of same-sex relationships in the Western past.  Vacations in New Mexico revealed a unique cuisine (https://en.wikipedia.org/wiki/New_Mexican_cuisine) and a unique history (https://en.wikipedia.org/wiki/History_of_New_Mexico) and the presence of Jews and Muslims among the Spanish immigrants to New Spain (https://www.cabq.gov/humanrights/public-information-and-education/diversity-booklets/jewish-american-heritage/conversos-crypto-jews).  And I’ve recently learned that stuntwomen were far from unknown in the early days of Hollywood (http://www.npr.org/2015/11/01/453632475/guts-grace-digs-into-the-untold-history-of-stuntwomen).

 

Meanwhile, in genre fiction, the Twenty-Teens brought a resurgence in the availability and popularity of Weird West prose.  Happily, this genre fan devoured several new titles.  Unhappily, most of the authors of those titles proved unaware of the rich and diverse realities of life in the historical West.   Too many owed their depictions to the narrow old stereotypes, with one significant and undesirable change:  the near-disappearance of indigenous peoples as characters.  These discoveries frustrated me, not only because I’m a Weird West fan, but because I’m the coauthor, with Tiptree Award winning author Nisi Shawl, of Writing the Other: A Practical Approach (Aqueduct Press, http://www.amazon.com/Writing-Other-Conversation-Pieces-Book-ebook/dp/B0065MZ26O), which is one of several readily available sources of information and instruction on the subject of writing believable characters of diverse backgrounds.  Eventually, I voiced my frustration on Facebook, and Publisher Carol Hightshoe offered me the chance to edit a diversity-themed Weird West anthology for WolfSinger Publications (http://wolfsingerpubs.com/).  The anthology grew to two volumes, because we received such an abundance of excellent story submissions which fit our theme.

 

Lost Trails: Forgotten Tales of the Weird West: Volume One is now available in print and eBook formats (September 2015, http://www.amazon.com/Lost-Trails-Forgotten-Tales-Weird-ebook/dp/B014V2H2YO/), and Volume Two is scheduled for release in Winter 2015/2016.  The stories in both volumes mix historical Western settings, scenarios, themes, and archetypes with fantasy, science fiction, horror, steampunk, alternate history, and other speculative fiction genres.  The stereotype-busting characters include gunslingers and madams, miners and drifters, priests and shamans, boomers and busters, cooks and conquistadores, actresses and revolutionaries, hobos and train-robbers, scientists and homesteaders, sheriffs and outlaws and bounty-hunters, monotheists and polytheists and atheists, pioneers and colonials and indigenes, and more.  The contributors to Lost Trails: Volumes One and Two include Saladin Ahmed, Kathleen Alcalá, Steve Berman, Tobias S. Buckell, Milton Davis, Aliette de Bodard, Edward M. Erdelac, Gemma Files, Carol Hightshoe, Ernest Hogan, Naomi Kritzer, Nicole Givens Kurtz, Ken Liu, Carole McDonnell, Misha Nogha, David Lee Summers, Don Webb, and many others.  If you enjoy Weird Westerns, or are looking to give the genre a try, I hope you’ll consider Lost Trails.

 

Weird Western Wednesdays’ Guest, Gail Martin

Weird Western Wednesdays
Weird Western Wednesdays

We’re heading west, the weird west, every Wednesday. Weird Western Wednesdays are devoted to the wonderful and often wild sub-genre of speculative fiction, weird westerns.  Guest authors will contribute a posts discussing weird westerns.

Welcome Gail Martin to Pulp Reports.


Q: What is weird western? What makes it different from other genres?

A: There are probably a dozen different definitions, but for me a Weird Western is set in the American or Canadian West, conforms to some of the tropes of the Western genre (wide open spaces, lawmen, cowboys, six-guns, for example), may or may not be set in the ‘Old West’ time but should have a strong Western sense of place, and has strong, plot-centric elements of the supernatural. So that could be ‘cowboys and aliens’ or it could be someone encountering ghosts or magic or indigenous spirits. But whatever is encountered needs to be ‘weird’ in the eyes of the person having the encounter, and also be central to the plot/danger/conflict. So it’s different from regular Westerns because of the supernatural element. It’s different from alternative history or urban fantasy or steampunk or sci-fi because of the strong Western setting.

I&B final coverQ: Why do you write weird westerns? What do you enjoy about it? Love about it?

Two of the recurring characters in Iron and Blood, our steampunk novel, have a history with the army in the West during the 1880s, prior to when the novel occurs in 1898. So that was a natural tie-in to the anthology theme. I also grew up with a deep familiarity with the Old West and Native American lore because that was my father’s passion. I think there is a lot of opportunity to use the Weird Western setting to explore the ‘cowboy’ period in ways traditional Westerns have not—i.e. stories that show more of the true diversity of the time, including people of color, women in important roles, people of varying ages and socioeconomic status, First Nations peoples, and people with disabilities. All those people were in the real West, but when we limit our view to the John Wayne/Clint Eastwood stereotype, we overlook all those other rich stories.

Q:If you could be any weird western character, who would it be? Why?

Zoe, from Firefly! Because she can take care of herself.

Q: What’s next in terms of weird western fiction? Where does the genre go from here?

I think we’ve only begun to scratch the surface in terms of stories that don’t have a stereotypical male square-jawed protagonist. There’s certainly still room for those kinds of stories (and one of our Department of Supernatural Investigation agents certainly fits that role), but I think we’ll see more stories with different types of protagonists as well, and a more nuanced treatment of Native Americans/First Nations peoples, their history and their beliefs/traditions.

Gail Martin, Dreamspinner Communications
Gail Martin, Dreamspinner Communications

Q: How can readers get in touch with you? Social media shout outs

A: We’re pretty easy to find!

a. Twitter- @GailZMartin and @LNMartinAuthor

b. Facebook- Facebook.com/GailZMartin (profile) and Facebook.com/Winter Kingdoms (fan page)

c. Wattpad—Wattpad.com/Gail Z Martin

d. Pinterest—Pinterest.com/gzmartin

e. Goodreads—Goodreads.com/Gail Z Martin

f. Website-www.AscendantKingdoms.com g. Newsletter— http://bit.ly/1CF12Th or click through on our web page

My Days of the Dead blog tour runs through October 31 with never-before-seen cover art, brand new excerpts from upcoming books and recent short stories, interviews, guest blog posts, giveaways and more! Plus, I’ll be including extra excerpt links for my stories and for books by author friends of mine with every post. You’ve got to visit the participating sites to get the goodies, just like Trick or Treat! Details here: http://www.AscendantKingdoms.com

Part of my Days of the Dead tour includes excerpt links like Trick or Treat goodies! Enjoy an excerpt from my urban fantasy novel DeadlyCuriosities here: http://bit.ly/1obkBAb and an excerpt from our steampunk novel Iron & Blood here: http://bit.ly/1GAvGOc and a link to my friend Laura Anne Gilman’s new weird Western Silver on the Road here: http://www.lauraannegilman.net/whats-in-print/devils-west/silver-road/sotr-preview/

Gail Z. Martin is the author of the upcoming novel Vendetta: A Deadly Curiosities Novel in her urban fantasy series set in Charleston, SC (Dec. 2015, Solaris Books) as well as the epic fantasy novel Shadow and Flame (March, 2016 Orbit Books) which is the fourth and final book in the Ascendant Kingdoms Saga. Shadowed Path, an anthology of Jonmarc Vahanian short stories set in the world of The Summoner, debuts from Solaris books in June, 2016.