“Is There No Alternative?”: Capitalist Realism and Genre in Contemporary Political Fiction

Capitalist Realism is described by Fisher as the capitalist ontology of the post-Fordist era, where capitalism ends in terms of its ability to expand but is so ingrained into the political and cultural imagination that society cannot conceive of anything beyond it (Fisher, Capitalist Realism 1-2). Fisher wrote Capitalist Realism in the wake of the 2008 financial crash and subsequent disruptions to economy and culture that revealed systemic problems with neo-liberal economics. Many writers expected this to mark an end to neoliberalism (Skonkwiler & Berge 2), however, political discourse remained unchanging across the spectrum.

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‘The Future Starts With An Image’: Wanuri Kahiu’s Pumzi (2009)

Using Wanuri Kahiu’s film Pumzi (2009), I will demonstrate how fiction has become an increasingly important tool for mobilising different political imaginaries beyond the predatory futurist projections of neoliberal capitalism. At a time when many contemporary commentators remain critical of Afrofuturism’s sustained diasporic parochialism (Okorafor “Africanfuturism Defined”; and, “African Science Fiction is Still Alien”), there is good reason to investigate how African filmmakers, such as Kahiu, are producing alternate image-worlds in order to disrupt, reimagine, and reconfigure the confines of what appears possible in the space-time of the future. By thinking in, with, and through the image-world that Kahiu constructs, this paper amplifies the generative capacity of Afrofuturist fiction, that is: the way in which their imagined spatialities mobilise a capacity for alternate modes of being and becoming beyond the parameters of their textual form.

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Jordan Krall’s Speculative Fiction

Speculative fiction is a paradox. Synonymous with science fiction and “genre literature,” it is also one of the most ancient modes of storytelling in literary history. One could easily identify Plato’s Atlantis

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