Other meanings of Dark matter
Literature
Dark Matter is a series of speculative fiction anthologies edited by Sheree Renée Thomas, first published in 2000. The series showcases speculative fiction and poetry by Black writers, aiming to counter the underrepresentation of Black voices in the genre. The first volume, subtitled A Century of Speculative Fiction from the African Diaspora, won the World Fantasy Award for Best Anthology in 2001.
The series was conceived by Sheree Renée Thomas, a writer and editor from Memphis, Tennessee, who sought to address the historical exclusion of Black authors from mainstream speculative fiction anthologies. The first volume, Dark Matter: A Century of Speculative Fiction from the African Diaspora (2000), gathered works from the late 19th century to the present, including classics by W.E.B. Du Bois and Charles W. Chesnutt alongside contemporary writers like Octavia Butler and Samuel R. Delany.1 Thomas's introduction framed the anthology as a corrective to the "invisibility" of Black speculative fiction, arguing that the genre has always been a space for exploring race, identity, and social justice.
The second volume, Dark Matter: Reading the Bones (2004), expanded the scope to include more contemporary voices and international perspectives, featuring works by Nalo Hopkinson, Nnedi Okorafor, and Tananarive Due.2 A third volume, Dark Matter: Through the Looking Glass, was announced but never published; however, the series remains a touchstone for discussions of Black speculative fiction. The anthologies include not only short stories but also poetry, essays, and interviews, offering a multifaceted view of the field.
The first volume won the 2001 World Fantasy Award for Best Anthology, bringing significant attention to the series and its contributors.3 It is credited with helping to launch or boost the careers of several authors, including N.K. Jemisin, who later became a three-time Hugo Award winner. The series has been cited in academic studies of Afrofuturism and Black speculative fiction as a foundational text.
Beyond the well-known names, the anthologies include works by lesser-known but significant figures such as George S. Schuyler, whose 1931 novel Black No More is excerpted, and the poet and playwright Amiri Baraka.1 The series also features contributions from visual artists, with cover art by African American artists like John Jennings. Thomas's editorial approach emphasized the importance of "speculative fiction" as a broad umbrella, encompassing fantasy, science fiction, and horror, and she deliberately included works that blurred genre boundaries.
The series is often cited as a landmark in the recognition of Black speculative fiction, influencing later anthologies such as <em>Mothership: Tales from Afrofuturism and Beyond</em>.
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