AfroSFv3 Read online

  Table of Contents

  AfroSFv3

  Introduction

  Njuzu

  The Girl Who Stared at Mars

  The EMO Hunter

  The Luminal Frontier

  The Far Side

  Drift-Flux

  Journal of a DNA Pirate

  The Interplanetary Water Company

  Safari Nyota: A Prologue

  Parental Control

  Inhabitable

  Ogotemmeli’s Song

  “The third in this pioneering series with an honour roll of some of African writing’s biggest names contributing. Unmissable.” — Geoff Ryman, author, awarded the Nebula, two-time Arthur C. Clarke, three-time BSFA, two-time Canadian Sunburst, as well as the Campbell, Philip K. Dick, and James Tiptree Jr., awards.

  “The compelling, graceful stories in AfroSFv3 embrace a generous spectrum of places and peoples, eras and objectives. From sophisticated space operas to gritty cyberpunk streets; from day-after-tomorrow beginnings to far-off futures; from familial closeness to alien vastness, these well-wrought tales, infused with all the sharp, bright, enticing flavors of their African origins, show us the commonality of our species across all racial, ethnic and gender lines. Truly, these writers speak the same science fiction tongue as their like-minded cousins from the rest of the planet, with beautiful accents of their native soil.” — Paul Di Filippo, author of Cosmocopia, The Steampunk Trilogy, and others.

  “With stories ranging from mundane science fiction to distant space opera passing from post-colonial biopunk and new family ties, the latest book of in the AfroSF series shows that inclusivity and multiculturality is the key to the future. As quality storytelling - rooted in every culture and tradition - doesn’t belong to a single country or language, these stories prove that the future - as evident as it might sound although not always considered so - does happen everywhere. Excellent reading!” — Francesco Verso, author of Nexhuman and editor of Future Fiction.

  AfroSFv3

  Edited by Ivor W. Hartmann

  A StoryTime Publication

  AfroSFv3 Copyright © 2018 Ivor W. Hartmann

  All stories are © copyrighted to their respective authors and used here with permission.

  All Rights Reserved

  No part of this publication may be reproduced, stored, or transmitted in any form, or by any means electronic, mechanical or photocopying, recording or otherwise, without the express written permission of the publisher.

  ISBN: 978-91-982913-2-2 (ebook edition)

  ISBN: 978-91-982913-3-9 (paperback edition)

  For more information, please contact StoryTime:

  [email protected]

  Introduction

  Ivor W. Hartmann

  Njuzu

  T.L. Huchu

  The Girl Who Stared at Mars

  Cristy Zinn

  The EMO Hunter

  Mandisi Nkomo

  The Luminal Frontier

  Biram Mboob

  The Far Side

  Gabriella Muwanga

  Drift-Flux

  Wole Talabi

  Journal of a DNA Pirate

  Stephen Embleton

  The Interplanetary Water Company

  Masimba Musodza

  Safari Nyota: A Prologue

  Dilman Dila

  Parental Control

  Mazi Nwonwu

  Inhabitable

  Andrew Dakalira

  Ogotemmeli’s Song

  Mame Bougouma Diene

  Introduction

  Ivor W. Hartmann

  It has been six years since the first AfroSF anthology was published, and in those years the landscape of African SFF has radically changed for the better.

  The African Speculative Fiction Society was founded in 2016 and created and hosts the annual Nommo Awards (funded by Tom Ilube) for African SFF since 2017. The ASFS also created and maintains the most comprehensive database of published African SFF.

  We have Mazi Nwonwu and Chinelo Onwualu’s Omenana magazine dedicated to and publishing African SFF on a regular basis. Ainehi Edoro’s Brittle Paper magazine though not dedicated to African SFF also regularly publishes it. Likewise African publishers: Jalalda, Chimurenga, Dada, Short Story Day Africa, The Kalahari Review, Black Letter Media, Johannesburg Review of Books, Okada Books, Enkare Review, African Writer, Afreada, umSinsi Press, Bahati Books, Kwani?, Munyori Literary Journal, Afridiaspora, Pan African Publishers, Sub-Saharan Magazine, and Jacana Media, to name a few have embraced African SFF in short stories, novellas, anthologies, and novels.

  Nnedi Okorafor has become our undisputed queen, winning the World Fantasy award in 2011, and both the Nebula Award and Hugo Award in 2016. And if there is a king to be it is probably Tade Thompson, winner of two Nommos, Kitschies Golden Tentacle Award, and a finalist for the John W. Campbell Award as well as nominations for the Shirley Jackson Award and the British Science Fiction Award.

  What this all amounts to is an unparalleled interest in African SFF both at home and abroad with more and more writers, publishers, and most importantly readers, realising a thirst for homegrown African SFF, for works that address our unique problems and envisions our futures.

  This brings me to the focus of AfroSFv3. Space, the astronomical wilderness that has enthralled our minds since we first looked up in wonder. We are ineffably drawn to it, and equally terrified by it. We have created endless mythologies, sciences, and even religions, in the quest to understand it. We know more now than ever before and are taking our first real steps. What will become of Africans out there, will we thrive, how will space change us, how will we change it? AfroSFv3 is going out there, into the great expanse, and with twelve visions of the future we invite you to sit back, strap in, and enjoy the ride.

  Ivor W. Hartmann is a Zimbabwean writer, editor, publisher, and visual artist. Awarded The Golden Baobab Prize (2009), finalist for the Yvonne Vera Award (2011), selected for The 20 in Twenty: The Best Short Stories of South Africa’s Democracy (2014), and awarded third place in the Jalada Prize for Literature (2015). He runs the StoryTime micro-press, publisher of the AfroSF series of anthologies, is a founding member of the African Speculative Fiction Society.

  Njuzu

  T.L. Huchu

  Water looks the same everywhere. It’s only the background, lighting, and impurities, that differ. I peer at the silver-grey surface of Bimha’s pond, calm and still, undisturbed by wind. It’s deep and the bottom is a black abyss. Midday here is like dawn on Earth in the middle of the Kalahari. Light shines through the transparent panelling of the pressurised geodesic dome that prevents the water boiling straight into vapour.

  ‘This is where it happened,’ VaMutasa says to me on the crackling open channel.

  We can’t take off our helmets because the atmosphere within the dome is not fit to breathe. I take a step closer.

  ‘Careful,’ Tarisai whispers.

  A trail of small footprints runs beside me. We followed it here, but where we stop, it carries on, bravely, foolishly.

  ‘This is where it happened,’ VaMutasa says once more, as if to convince himself.

  The icy brown soil under my boots feels hard. Each movement I make is slow and considered. A white plume of steam rises from the outlet pipes a kilometre or two away, the far end of the pond. Thirty million gallons of water cycle in and out of the Nharira Nuclear Fusion Plant nearby. Superheated steam is deposited into the ground, liquified and the cold water is cycled back to the plant via insulated pipes.

  I close my eyes and take deep breaths, fighting the sickness threatening to void my stomach. My chest feels tight, tied with an iron band, and I reach to remove my helmet so I can breathe. My husband grabs my arms:

  ‘Remember where you are,’ Tarisai says. ‘I told you this
would do no good.’

  The tone of her voice is reproachful and she’s angry, a dam waiting to burst. But on the open channel, with everyone listening in, we save the argument for later, piled up with the rest of the little tears and scraps every marriage sweeps under the bulging carpet.

  I must be polite; the muroora, daughter-in-law, is not just married to one person. The bond of matrimony ties her to everyone in the clan, both the living and the dead.

  ‘It’s important, whatever you do, you mustn’t cry,’ VaMutasa says. ‘The njuzu won’t let him go otherwise.’

  ‘My son’s just drowned and you’re talking about mythical creatures?’ I snarl but hold my tears all the same. Even though I know it’s superstition, something inside checks me, because, with the chips where they lie, all I can do is hedge.

  ‘One of the technicians, Chisumbanje, fell in the water twenty years ago. For three days, we couldn’t find him. Then, when he came back, he was a powerful n’anga without equal in the Belt. He saw her, the njuzu. She’s in there,’ a woman’s voice says, but I don’t recognise it.

  ‘Whatever you do, you must-not-cry,’ VaMutasa says, this time in a firm voice. ‘We’ll prepare the rites.’

  He is my father-in-law, Tarisai’s father, the head of the Mutasa clan. Their fortune is made from farming the desert and selling water—hydrogen and oxygen—to wayfarers passing through to worlds beyond.

  #

  We’ve only been here a week and it’s hard to get used to the eighteen-hour days. Dusk, when it comes, is swift, a minute or so long, the faltering of a fluorescent bulb marking the turn from light to darkness.

  I stay in our Hurungwe Utility Terra Shelter, lying in bed; my molars ache, I feel they might shatter into sharp shards of glass. From outside comes the sound of silence so loud it presses on every ounce of my being. Tarisai isn’t here to hold me. She’s out with the men in the search party who now radio in as the recovery team. She’s my husband, so she must. This place is tough and unforgiving. We should never have come back.

  I feel helpless. Hopeless.

  Don’t cry.

  #

  I wake sometime before dawn. My husband’s arm lies across my chest. It’s heavy and strong, and she smells of sweat from the search. She’s a snorer, but tonight she is quiet, a slight frown on her face.

  Gently, I remove her arm.

  The carbon fibre walls of the HUTS we’re in are decorated with Tonga artwork from the tourist market in Mosi-oa-Tunya—reed ruseros and baskets with intricate designs woven by married women past child-bearing age. There’s an abstract sculpture made of polished Cerean rock. A red Basotho blanket hangs on the wall opposite.

  I creep out of bed, wear my suit and go into the airlock, checking my oxygen tanks are full up. With the CO2 decarboniser, I have up to fifteen hours’ worth of air. My son Anesu with his small lungs would have had a little more.

  The airlock door creaks and I hope it doesn’t wake Tarisai as I walk out and shut it behind me.

  Fierce lamps, high up on poles like stadium lights, illuminate the compound. The yard has wide open spaces in which the HUTS are erected. They are domed, like Zulu huts with small round port windows. There’re fifteen of them here (one medical and two for emergencies), a few equipment stores, and in the far-off distance is the large mess where we take our meals. Beyond the compound, the valley is littered with hundreds of settlements, everyone trying to earn their fortune in the Wild Belt.

  I walk, adjusting my body to the microgravity, so I sort of waddle and shuffle, bouncing from side to side. The trick is to lunge forward, so the momentum carries you horizontal to the ground. The few times I go too high up, my auto-downward thrusters kick in to push me back down, releasing a thin jet of gas.

  The ground is rocky and bumpy. Footprints from years ago remain pristine in the wind free space.

  I walk past the Mutasas’ ancestral graves. Mounds of dirt like mole homes, topped with simple headstones, where the dead lie in frozen ground.

  Beyond that, a short distance away, are their farms. Massive greenhouses with controlled air, temperature, and water, turn the fertile soil of this desert world into an oasis. They grow lettuce, onions, tomatoes, cucumbers, wheat, maize, anything they wish at all, because the once barren soil, rich in carbon and organic compounds, is hungry for life. Ceres, named after the goddess of agriculture, is generous in her bounty, feeding miners across the Belt and colonists on Mars and beyond.

  I search for my son’s small bootprints until I find them, heading out to the waterhole. Sometimes they’re obliterated by his companions, other times his small print sits square inside a larger print. The children come here to play games on the water. In the low gravity they can run on it, just like basilisk lizards on Earth.

  Eight years ago, I sang the Song of Life and knitted him into being with my two hands. After I missed my period, my mother came to me, bearing my trousseau of linen and jewellery. We sat face to face on my marriage bed with our legs crossed and sang:

  Ndinowumba musoro wako

  Ndinowumba maziso ako

  Ndinowumba mhino yako

  Ndinowumba chipfuva chako

  Ndinowumba tsoka dzako

  Ndinowumba zvidya zvako

  Ndinowumba dumbu rako

  Ndinowumba kamboro kako

  Ndinowumba rurimi rwako

  Ndinowumba twugunwe twako

  . . .

  For three hours we sang him into being. Each line starting, ‘I create’, followed by the part I willed into being. My hands, index finger on thumb as though holding knitting needles, dancing around my belly as I knitted every atom of Anesu into existence.

  The Song of Life was important, every part of his body had to be sung, willed into existence, or he’d be deformed. I heard the response to the Song in his voice, every time he spoke with me. I heard it in his laughter at play and the tears I wiped away when he was sick.

  Yet, as I stood on the shores of Bimha’s pond, the sacred duet had been stolen from me. In its place, I only heard silence and grief.

  #

  Dawn, when she comes, is just a minute long, a step from a dark room into light. Long shadows embrace my legs. The tangerine in the black sky is supposed to be the sun.

  ‘Where were you?’ Tarisai says. She’s waiting for me at the edge of the compound. ‘Everyone’s looking for you.’

  I walk up to her and embrace her. In the bulky suit, I can’t feel her warmth. I feel nothing.

  A slow rhythmic drumming, pangu, pangu, pangu, comes from the mess as I strip out of my suit. The air here is too crisp, like something is missing, dust, pollen, the scents of earth.

  Hands clap, bu, bu, bu, to the beat of the drum.

  Women ululate.

  The chairs and tables in the mess have been unbolted from the floor and stacked up in one corner. Hard-faced men and women sit on the floor, separated from one another. Tarisai joins the men. Her anatomy is female, but she hosts the spirit of a man—an ancestor who claims her body for his vessel—and so she is man.

  I sit and fold my legs to one side.

  Don’t cry.

  A hologram at the front projects a life-like nyati, the buffalo, their clan’s totem. A noble and prestigious line. I’m samaita, the zebra, not the bottom of the totem pole, but a little more humble. Anesu, like his father, is—dare I say was—a buffalo too, for the line passes from father to child. The mother is as good as a stranger, her blood does not count.

  Chisumbanje is at the front, bare chested, his loins covered by the skin from a black and white bull. Hoshos tied to his ankles rattle when he moves. His head is crowned with a feathered headband as he rocks back and forth to the beat of the drums.

  It’s hot in the mess.

  Christine places her hand around me and I lay my head on her shoulder. We greet Chisumbanje by his totem name; he is the meat-eating herbivore who stalks silent in the savannah grass, death incarnate, the uncrossable chasm.

  He takes a pinch of snuff, inhales deeply
and sneezes several times. We clap and chant: ‘Svikai zvakanaka, vasekuru.’

  In the corner of my eye, I see Tarisai clench her fists and mutter some words. She is resisting. Her spirit is trying to visit, to gain entrance, but this is not his ceremony, he must wait in the spirit world, stand guard against the evil that would do us harm. Only Chisumbanje will be visited today.

  Christine takes me to the back of the room. We carry calabashes on our heads. On Earth, I lack the grace and skill, but here, in the low gravity, my calabash stays on the top of my head, until I place it down by Chisumbanje’s feet. We kneel, clap our hands, stand, and retreat to the women’s side.

  The drummer stops. He too is dressed in animal skins and he picks up one calabash in both hands, squats and offers it to Chisumbanje. Chisumbanje shakes his head and rejects it. The drummer pours a drop on the floor to the spirits and offers the beer a second time. Now Chisumbanje accepts with a nod. As their hands meet, the giver and the taker, we clap and the men whistle.

  The blessed beer now passes from Chisumbanje back to the drummer, the receiver has become the giver. And the drummer passes it to the men. Twenty thirsty throats take in a sip each. There are one or two miners with us from the next settlement. Gold prices have plunged. There’s too much of it coming from the asteroids, flooding the market. Soon they’ll pack their tools and move to mine another commodity, until it crashes, too.

  The ancestor who visits Chisumbanje tells us certain things: Anesu is alive and well in the company of the njuzu. We must not cry. If we do, she’ll be angry and kill him. We must offer a sacrifice to appease her. If we do this correctly, Anesu will return a great healer and seer, a n’anga. She’ll give him gifts without compare from the spirit world.

  There are no cattle on Ceres, but we have plenty of rabbits and chicken for meat.

  The sacrifice will be a black male rabbit.

  #

  My teeth ache so bad as I lie naked in bed at night. Any light movement I make jabs a nerve.

  The view outside my port window is a purple-green sky, a kind of grotesque aurora showing the frontline of the battle between solar–cosmic radiation and the artificial magnetosphere that stands as the only thing preventing us from being slowly microwaved to death.