Through reading Womack’s work, we are exposed to an imagining of blackness and black people through this visionary lens called Afrofuturism, which she specifically defines as “… an intersection of imagination, technology, the future, and liberation” which places black people at the center of its conception. As Womack suggests, participation in this black cultural aesthetic that integrates elements of fantasy, time-travel narratives, black, Egyptian and African mythology, science fiction, history, magical realism, and technology was a tradition long before cultural critic Mark Dery developed the term in the early 1990s. Dery’s construction of an Afrofuturism spoke to what he considered the science fiction realities of black life post-diaspora:
“African Americans, in a very real sense, are the descendants of alien abductees; they inhabit a sci-fi nightmare in which unseen but no less impassable force fields of intolerance frustrate their movements; official histories undo what has been done; technology is too often brought to bear on black bodies (branding, forced sterilization, the Tuskegee experiment, and tasers come readily to mind).”
Afrofuturism, as both a concept and a movement, makes a bold and enticing claim for the present, future, and even the histories of black people: through science-fiction and literature like that of Samuel R. Delany, Nalo Hopkinson, and Octavia Butler, through art like that of Jean-Michel Basquiat, through music like that of George Clinton, Sun Ra, Outkast, and more recently, Janelle Monáe. Afrofuturism works as a theoretical framework to answer questions like “what can blackness look like through time and space?”
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Womack, Ytasha. Afrofuturism: The World of Black Sci-fi and Fantasy Culture. P. 6
 Ibid P. 9
 Dery, Mark. Black to the Future: Interviews with Samuel R. Delany, Greg Tate, and Tricia Rose. P. 180. https://thenewblack5324.files.wordpress.com/2012/08/mark-dery-black-to-the-future.pdf.