N. K. Jemisin’s short story collection How Long ‘Til Black Future Month? is named for a 2013 essay of hers in which she discusses the lack of Black representation in SFF media. In that essay, she writes:
I wasn’t any more interested in all-black futures than I was in all-white futures. I just wanted fantasies of exploration and enchantment that didn’t slap me in the face with you don’t belong here messages. I just wanted to be able to relax and dream.
Her novels exemplify this pluralistic, fantastical outlook: the Hugo-winning Broken Earth trilogy is a story about colonialism and brutal oppression set in a multi-racial world where queerness is a run-of-the-mill reality; her standalone novel The Killing Moon features an Ancient Egypt analogue whose inhabitants practice dream-magic; in The Hundred Thousand Kingdoms, the first novel in the Inheritance trilogy, we find an incestuous divine threesome and, again, some fairly complex racial politics. These are novels that imagine new social possibilities, or that, in the case of the Broken Earth trilogy, are about the fight to reimagine how society works, to redefine who gets to be thought human.
The stories collected in How Long ‘Til Black Future Month?, then, are impressively diverse in terms of setting, tone and genre. We have steampunk set in a newly-free Haiti (“The Effluent Engine”); a far-future, alien-overlord dystopia (“Walking Awake”); a generation ship story with an all-Muslim cast of characters (“The Brides of Heaven”); a story of the Fair Folk in early-20th-century Alabama (“Red Dirt Witch”). There are even a couple of stories – “The Narcomancer” and “Stone Hunger” – set in worlds familiar from Jemisin’s later novels. What these stories do have in common, with each other and with the novels, is an ecstatic sense of the potential for change, brought about through revolution and protest; through connection with another being or society; or simply through a new understanding of the world and our place in it. Thus the Black heroine of “The Effluent Engine”, Jessaline Dumonde, tells her mixed-race romantic interest Eugenie, stuck in racist New Orleans, of a Haiti in which one’s ambition need not be limited by one’s race, gender or even sexual orientation. And in “On the Banks of the River Lex”, in which gods and anthropomorphic personifications linger apathetically in New York after the extinction of humanity, Death finds hope and the promise of new purpose in the burgeoning intelligence of an octopus.
Such change, though, rarely comes in these stories without a price. The opening story, “The Ones Who Stay and Fight”, stands as a sort of manifesto for the whole collection in this respect. A response to Ursula Le Guin’s “The Ones Who Walk Away from Omelas”, it describes a utopian city, Um-Helat, organised around principles of mutual respect and support. Um-Helat’s prosperity and joy is perpetually threatened by transmissions from our own world, a place where “the notion that some people are less important than others has been allowed to take root”. Those who have been “tainted” by such transmissions – who have begun to believe in that notion – are summarily, humanely executed, lest the rot spread. This is a theme picked up on again and again in the collection: that pacifism is not enough in the face of oppressive structural violence, that tolerance is not a virtue to be extended to the intolerant. The heroines of both “Red Dirt Witch” and “Walking Awake” sacrifice themselves in order to bring about change – in one case killing an innocent bystander in the process. And when, in “The Effluent Engine”, privileged, sheltered Eugenie objects to her scientific prowess being used violently, Jessaline counters with the atrocities the French commander Rochambeau inflicted on the Haitians in the aftermath of their last failed rebellion. Eugenie’s mannered, Christian pacifism is made to seem ridiculous in the face of such atrocities: the oppressors, after all, did not obey such niceties.
This is not to portray How Long ‘Til Black Future Month? as a bleak read. There are stories that are horrible and uncomfortable or that end badly, but as a whole the collection is suffused with optimism, with vitality, with “exploration and enchantment”. Change may be difficult, but it is also wonderful: it exposes us to wonders, it allows us to build a more joyful world, a more joyful future, for everyone. In Jemisin’s own words in her introduction to the collection, “There’s the future over there. Let’s all go.”