Lincoln and London: University of Nebraska Press. (2008) Coincidence and Counterfactuality: Plotting Time and Space in Narrative Fiction. New York: Routledge, pp 29-34.ĭannenberg, H.P. (1995) ‘Cyborgs and space.’ In Gray, C.H., Figueroa-Sarriera, H.J. Berlin/Boston: De Gruyter, pp 190-211.Ĭlynes, M.E.
(eds) Counterfactual Thinking - Counterfactual Writing. (2011) ‘“If I Were a Man”: Functions of the Counterfactual in Feminist Fiction.’ In Birke D., Butter M. (2015) ‘The Great Change and the Great Book: Nnedi’s Okorafor’s Postcolonial, Post-Apocalyptic Africa and the Promise of Black Speculative Fiction.’ Research in African Literatures, 46(4), pp. (2019) ‘African Futurism: Speculative Fictions and “rewriting the great Book”.’ Research in African Literatures, 50(1), pp. (2020) ‘African Cyborgs: Females and Feminists in African Science Fiction Film.’ Interventions, 22(5), pp. (1977) Image, Music, Text: Essays Selected and Translated by Stephen Heath. Oxford and New York: Oxford University Press.īarthes, R. (2014) Stories about Stories: Fantasy and the Remaking of Myth. In doing so, these characters are able to envision alternate worlds where dominant histories, gender relations, and other oppressive structures are contested and radically dismantled.Īchebe, C. She reimagines the subjectivity of African women by making elaborate feminist proclamations through strong female characters who take on powerful patriarchal forces. I use the notion of counterfactuality to argue that the possible worlds that Okorafor creates in her novels Who Fears Death and The Book of Phoenix allow her to disrupt archetypes and find new ways of understanding the subjectivity of Africans in general and black women in particular. I consider speculative fiction a form of myth(making) and argue that Okorafor creates alternate worlds that offer a richness of possibilities for interrogating the shortcomings of dominant histories and narratives sanctioned by patriarchy. This paper discusses how the African speculative fiction genre makes a strong claim for orality as a counterfactual space, with writers like Okorafor invoking traditional African storytelling techniques in their narratives.
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