RAYLA 2212 follows Rayla Illmatic, a third generation citizen of Planet Hope, a former Earth colony that has claimed its independence. But the utopian world has turned upside down and Rayla is on a quest to right the wrongs and end the rule of the Dirk. After her lover, and rebel leader Carcine disappears on a mission to find mystical scientist Moulan Shakur, Rayla embarks on a journey to complete it. She soon finds herself on a journey to find The Missing, a group of New Age Astronauts who were lost in the teleport project. But all isn't what it seems in this world where time and space shift at will. This story ties reincarnation, space travel, virtual worlds and love. As Rayla discovers new worlds, she comes to discover herself and her power.

Where does a time travelling warrior find peace? The war is over and Rayla Illmatic is charged with rebuilding her beloved Planet Hope. However, Rayla's restlessness is a distraction for the Council and she is sent on a mission to the very solar system that believes she and her world are a myth. Rayla is Mars bound but the deep waters below the red world's crust uncover a mysterious waterway. A web of myth, mystery, love and the future, Rayla must face her nowness and navigate the fluid streams of existence that remix her new found reality. This is the second volume in the Rayla 2212 series.

2014 Locus Awards Finalist, Nonfiction Category In this hip, accessible primer to the music, literature, and art of Afrofuturism, author Ytasha Womack introduces readers to the burgeoning community of artists creating Afrofuturist works, the innovators from the past, and the wide range of subjects they explore. From the sci-fi literature of Samuel Delany, Octavia Butler, and N. K. Jemisin to the musical cosmos of Sun Ra, George Clinton, and the Black Eyed Peas' will.i.am, to the visual and multimedia artists inspired by African Dogon myths and Egyptian deities, the book's topics range from the "alien" experience of blacks in America to the "wake up" cry that peppers sci-fi literature, sermons, and activism. With a twofold aim to entertain and enlighten, Afrofuturists strive to break down racial, ethnic, and social limitations to empower and free individuals to be themselves.

The Black Speculative Arts Movement: Black Futurity, Art+Design is a 21st century statement on the intersection of the future of African people with art, culture, technology, and politics. This collection enters the global debate on the emerging field of Afrofuturism studies with an international array of scholars and artists contributing to the discussion of Black futurity in the 21st century. The contributors analyze and respond to the invisibility or mischaracterization of Black people in the popular imagination, in science fiction, and in philosophies of history.

Adaptation Urbanism and Resilient Communities outlines and explains adaptation urbanism as a theoretical framework for understanding and evaluating resilience projects in cities and relates it to pressing contemporary policy issues related to urban climate change mitigation and adaptation. Through a series of detailed case studies, this book uncovers the promise and tensions of a new wave of resilient communities in Europe (Copenhagen, Rotterdam, and London), and the United States (New Orleans and South Florida). In addition, best practice projects in Amsterdam, Barcelona, Delft, Utrecht, and Vancouver are examined. The authors highlight how these communities are reinventing the role of streets and connecting public spaces in adapting to and mitigating climate change through green/blue infrastructure planning, maintaining and enhancing sustainable transportation options, and struggling to ensure equitable development for all residents. The case studies demonstrate that while there are some more universal aspects to encouraging adaptation urbanism, there are also important local characteristics that need to be both acknowledged and celebrated to help local communities thrive in the era of climate change. The book also provides key policy lessons and a roadmap for future research in adaptation urbanism. Advancing resilience policy discourse through multidisciplinary framework this work will be of great interest to students of urban planning, geography, transportation, landscape architecture, and environmental studies, as well as resilience practitioners around the world.

As a young journalist covering black life at large, author Ytasha L. Womack was caught unaware when she found herself straddling black culture's rarely acknowledged generation gaps and cultural divides. Traditional images show blacks unified culturally, politically, and socially, united by race at venues such as churches and community meetings. But in the “post black” era, even though individuals define themselves first as black, they do not necessarily define themselves by tradition as much as by personal interests, points of view, and lifestyle. In Post Black: How a New Generation Is Redefining African American Identity, Womack takes a fresh look at dynamics shaping the lives of contemporary African Americans. Although grateful to generations that have paved the way, many cannot relate to the rhetoric of pundits who speak as ambassadors of black life any more than they see themselves in exaggerated hip-hop images. Combining interviews, opinions of experts, and extensive research, Post Black will open the eyes of some, validate the lives of others, and provide a realistic picture of the expanding community.

The Sound of Culture explores the histories of race and technology in a world made by slavery, colonialism, and industrialization. Beginning in the late nineteenth century and moving through to the twenty-first, the book argues for the dependent nature of those histories. Looking at American, British, and Caribbean literature, it distills a diverse range of subject matter: minstrelsy, Victorian science fiction, cybertheory, and artificial intelligence. All of these facets, according to Louis Chude-Sokei, are part of a history in which music has been central to the equation that links blacks and machines. As Chude-Sokei shows, science fiction itself has roots in racial anxieties and he traces those anxieties across two centuries and a range of writers and thinkers—from Samuel Butler, Herman Melville, and Edgar Rice Burroughs to Sigmund Freud, William Gibson, and Donna Haraway, to Norbert Weiner, Sylvia Wynter, and Samuel R. Delany.

The ideas and practices related to afrofuturism have existed for most of the 20th century, especially in the north American African diaspora community. After Mark Dery coined the word "afrofuturism" in 1993, Alondra Nelson as a member of an online forum, along with other participants, began to explore the initial terrain and intellectual underpinnings of the concept noting that “AfroFuturism has emerged as a term of convenience to describe analysis, criticism and cultural production that addresses the intersections between race and technology.” Afrofuturism 2.0: The Rise of Astroblackness represents a transition from previous ideas related to afrofuturism that were formed in the late 20th century around issues of the digital divide, music and literature. Afrofuturism 2.0 expands and broadens the discussion around the concept to include religion, architecture, communications, visual art, philosophy and reflects its current growth as an emerging global Pan African creative phenomenon.