Jujutech': exploring cultural and epistemological hybridity in African science fiction

Abstract

This thesis aims to respond to the rise in the production of science fiction in Africa over the last decade, and to show how what I describe as the juju orientation of many of these works does not disqualify them from the genre of science fiction. Rather, I advocate for the recognition of juju ontologies as genuine sources of knowledge about the world, which have been overlooked by the globally dominant scientism that has informed science fiction theorisation to date. In my introduction I outline the theoretical frameworks of juju, science fiction and epistemology with which the thesis is in communication. In my second chapter I re-read Amos Tutuola's novel The Palm-Wine Drinkard, showing the inherently science fictional structure of the juju-based storytelling that characterises colonial and pre-colonial African literature, as well as the essentiality of science fictional modes to Tutuola's own prose. My third chapter considers Ian MacDonald's theorisation of a jujutech aesthetic in African science fiction, wherein the speculations of the genres are rooted in both technoscientific and juju ontologies simultaneously. I account for the role this literary aesthetic plays in Ekari Mbvundula's "Montague's Last" to blur the divisions of worldly knowledge enforced by global epistemological inequalities, before showing how Dilman Dila's A Killing in the Sun presents a critically frontier African epistemology in literary practice, and the value thereof. My fourth chapter considers the role of popular culture and consumption, and how the global literary industry resists juju-based texts. I conclude that juju-based nova and the jujutech aesthetic are not only essentially science fictional literary modes, but important players in science fiction's role in being epistemologically productive in the future.