Sheree Thomas

"I wondered what it might be like if your dreams—or those of others—took a more lasting toll on us."

"I never quite know how to answer this question. I started working on Dark Matter in 1998, sold it in 1999, and it was published in 2000. We’re still having the same conversations about the paucity of diversity in the publishing industry that we were having then—except then, people could identify only a handful of black writers actively writing and publishing in the genre. Samuel R. Delany and Nalo Hopkinson spoke about waiting to see that “critical mass” and the inevitable backlash from that."

"Good stuff is always being published. We want more “good stuff” and mo’ different good stuff, thank you! Work that reflects other lenses, other values, other world views in addition to the other good stuff that is traditionally published. I couldn’t say if there is a specific number in mind, but there is certainly a lot of encouraging, exciting work being created and shared today in a number of mediums, enough to see the flourishing of multiple communities of speculative writers and artists around the country and around the world. What an amazing, gratifying thing it is to be able to reach for whole volumes of South Asian steampunk, a novel imagining Belgian steampunk, African or Cuban science fiction, or whole volumes of any number of other fascinating bodies of work that might not have been visible two decades ago. If the increasing scholarship and number of Afrofuturism classes are a sign, and the festivals and conferences are a symbol, then new ground is being explored within and beyond the academy and the publishing industry. And that’s progress!"

"What still needs to be accomplished can be summed up by the lovely album released on my birthday last year by Solange—A Seat at the Table. How much significant, systemic progress and change can be made if you still don’t have a seat at the table? Walter Mosley was organizing around this question in the early 90s via PEN’s Open Book Committee, which I believe he founded, to help bring more people of color into the publishing industry. Why is that vital? Because different people at the table ask different questions, seek different voices, and have a different relationship to all the things we are told are “universal.” Intersectionality matters. Consider what work we wouldn’t get to read if other talented people didn’t get a seat at the table, a chance to guest edit, an opportunity to curate, to be a juror, to host, promote, celebrate, read and review, be reviewed, speak …"

"One of my favorite poets is Lucille Clifton, author of a good number of fine books, including Blessing the Boats, Quilting, and Two-Headed Woman."

"I like to write about ordinary folks in extraordinary circumstances."

"Mainly because I am a reader first and foremost and the book that I wanted to read didn't exist at the time. I really went looking for the book and couldn't find it...what I read for pleasure was science fiction. I wanted to read more Octavia Butler; I wanted to read another Tananarive Due book; I even read a LeVar Burton novel. I don't know how to tell you how desperately I was searching."

"Most of my friends who do love to read would, at the time, never consider themselves science fiction readers. They associated it with whatever they saw on television and whatever they stopped reading when they were little. And that's it. They simply thought white boys with guns, white boys with toys, lasers, or space operas, and that's it. They had no idea of all the different amazing work that's been going on for decades and decades and decades. And I thought, once they get it they're gonna love it."

"My parents were... It was in the house along with James Baldwin, and Amiri Baraka when he was LeRoi Jones. All of that was in the house. It was like my play land. And I'd like to say, they are like regular working class people who contribute to the bottom line. They didn't necessarily show up at the writers' conventions, or stand up at readings, but they bought books and read them regularly. In fact, that's how I learned about Tolkien. It was in the house. There were books everywhere and, of course, LPs [long-playing records] everywhere."

"I remembered being so amazed by Greg Bear's stories from when my parents subscribed to OMNI magazine."

"It blows your mind, right?...it's a very painful story. And he has to get through the pain with humor. And also, the way he sets up some of our heroes, the leaders at time. I mean, Madam C. J. Walker doesn't come off too well in the book. Brother Frederick Douglass doesn't do too well either. W. E. B. Dubois . . . No one is safe. Not the black characters, not the white characters. He just kind of lays it out there."

"She went back and collected folklore that so many people had forgotten. So many people don't even tell their children anymore. Don't even know that we used to tell the stories. The tongue can barely even sing the songs anymore. She brought it back and she brought it back for children. That, coupled with the wonderful art that always went with her work . . .When I think back on my childhood book collection, there were very few books that reflected me. Very few with black children, or black anyone. And the few that I had were by Virginia Hamilton . . . and I feel that she touched many lives and did it so beautifully. Such a brilliant storyteller and writer. I mean, it's one thing to retell someone's story, but to tell it in such a way that was uniquely hers. She's such an amazing writer and that's just the folklore. You go into her novels. The House of Dies Drear. The Planet of Junior Brown. Sweet Whispers, Brother Rush. Just really amazing. And who knew that she wrote a traditional science fiction trilogy?"

"Dark matter as a metaphor offers us an interesting way of examining blacks and science fiction. The metaphor can be applied to a discussion of the individual writers as black artists in society and how that identity affects their work. It can also be applied to a discussion of their influence and impact on the sf genre in general. While the "black sf as dark matter" metaphor is novel, the concept behind it is not. The metaphor is neither farfetched nor uncommon if one considers popular themes within the black literary tradition. An excellent example is Ralph Ellison's Invisible Man (1945), a novel that introduced the idea of black invisibility."

"It is my sincere hope that Dark Matter will help shed light on the sf genre, that it will correct the misperception that black writers are recent to the field, and that it will encourage more talented writers to enter the genre."

"Long before The Heart of Darkness, the imagination had acted as an instigator of historical change. Africa became the "unknown" and blackness was equated with the "Other." Two hundred years of slavery said so. And as these thoughts became institutionalized and codified, first in the form of slavery and later in the imaginary lines of political maps that documented the scramble for Africa, the people behind the "blackness" receded into the background. They became dark matter, invisible to the naked eye; and yet their influence-their gravitational pull on the world around them-would become undeniable."

"the incredible Sheree Renée Thomas, who edited the groundbreaking anthology Dark Matter: 100 Years of Speculative Fiction From the African Diaspora."