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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 w… - Sheree Thomas
" "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?
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About Sheree Thomas
Sheree Renée Thomas (born September 30, 1972) is a writer, book editor, publisher, and contributor to many notable publications. In 2020, Thomas was named editor of The Magazine of Fantasy & Science Fiction.
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Sheree Renée Thomas
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Sheree R. Thomas
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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.
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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.
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