The best Indigenous futurism books

The future is Indigenous. Time is not linear. The scientific and the spiritual are not mutually exclusive. The apocalypse can be survived.

These are some of the many provocations explored in the stories, essays, and excerpts that make up Grace Dillon’s (Anishinaabe) groundbreaking anthology, Walking the Clouds. The voices that appear in this collection lay the foundations for indigenous futurism and challenge the ongoing colonial politics of science fiction (SF) as a genre. SF tropes like alien encounters, apocalypses, and interstellar voyages are realigned with the assimilationist and genocidal histories of colonialism that inspired them.

Walking the Clouds is a powerful intervention and a must-read for anyone seeking an introduction to indigenous futurisms and decolonial fiction. 

I can think of no other book that so exquisitely inhabits the tension between indigenous knowledge traditions and science than Rae Mariz’s (Indigenous Pacific) marvelous clifi novella, Weird Fishes.

Inspired by marine science and the storytelling traditions of Hawai'i, Mariz’s world is a feast of bubbling colors and more-than-human senses that inspire an extraordinary empathy for all the wondrous beings with whom we share this planet. Weird Fishes reads like a parable and an aquatic mystery, a magnificently crafted voyage that leads the novella’s cephalopod scientist protagonist (Ceph) to the startling discovery that humanity is behind the growing disruptions to marine ecology.

How do we thrive together? Or does the survival one society hinge on the extermination of the other? Is co-existence possible for beings with such radically different natures and senses? These are the questions that will linger in your gills well after the last pages are turned.

In Latin America, the long shadow of Iberian imperialism and the racist caste system it left behind continue to dampen or mute expressions of indigeneity in our communities.

Speculative Fiction for Dreamers is a welcome countermeasure against this suppression of indigenous languages, myths, and traditions in Latin American storytelling. The contributors weave a tapestry of more-than-indigenous futurity, that is chimeric and cyborgian, a meshwork of continents and cosmovisions that blueprint futures and alternate presents in communion with ancestral pasts.

From Samy Figaredo’s Taíno-inspired play, to Ernest Hogan’s short story set in new Aztlán, the stories, comics, and poems in this anthology provide a Latin American perspective on indigenous speculative fiction.

Among the more insidious and tragic consequences of colonialism and its assimilationist policies is the eradication of indigenous conventions around gender and sexuality. In many indigenous communities, gender and sexuality do not operate in as binary as a fashion as they do in European societies.

Highlighting these historical and contemporary possibilities for what we might call queer identities (or “two-spirit” in some communities), is Joshua Whithead’s breathtaking “Indigiqueer” anthology, Love After the End. Contributors amend the provocation, the future is indigenous, to consider how the future is also queer or indigiqueer. 

Weaving between the traditional and the contemporary, the past and the future, the ancestral and the posthuman, these tales of queer joy, love, and thriving remind us of what was lost and what is still possible as we strive toward mass decolonization.

Not all indigenous languages have a corresponding alphabet or writing system. For example, many North American indigenous languages are now represented in a Romanized alphabet, but traditionally these languages were spoken and the stories they contained were transmitted by oral tradition.

In the case of my Taino ancestors, stories were also told with pictographs or petroglyphs. I conclude my list of indigenous futurist books with stories that are told graphically, in the form of Moonshot, a collection of comics edited, written, and illustrated by indigenous storytellers and artists.

Edited by Elizabeth LaPensée (Anishinaabe & Métis) and Michael Sheyahshe (Oklahoma Caddo Nation), the imagery is striking, conjuring colorful mythoscapes and slipstream futures with indigenous people at the forefront, redefining science and technology along the way. One story features a protagonist in a wheelchair, raising questions about ableism in SF and the possibility for “Crip” Futures and Indigenous Futurism to be in conversation with one another.