DIVERSITY in science fiction and fantasy literature has long been an existing phenomenon, as well as one that has garnered controversy for its appearance in literature. While many cultures and religions, not rooted in the dominant white and Western faction, present elements of what can be regarded as science fiction and definite elements of fantasy as part of their entire construct (various African culture and the Hindu religion, for example) for thousands of years, the problem becomes noticeable when we observe the lack of minorities in science fiction and fantasy within mainstream literature.

While this may be linked to the lack of opportunities throughout the years for writers of colour, there is no doubt that people of colour (POC) are not represented in the ways they should be represented in literature. A good example to observe all this has to do with the Harry Potter franchise, particularly the controversies that have emerged over the years, such as when the author, J.K. Rowling, used Native American beliefs and culture as part of the origins for animagi (people who can turn themselves into animals) in the world of her movies, which further led to accusations of cultural appropriation against the author.

A second example has to do with Harry Potter and the Cursed Child, a play and sequel to the series, where the casting of a black actress, Noma Dumezweni, as Hermione Granger, generated controversy from fans of the series, despite the fact that the character is described in ways that can be taken to mean that she is a person of colour. Another recent example involves the way in which Rowling has claimed that Albus Dumbledore is gay, but has not included any evidence of this in the books or movies. The point being made here is that people of colour and other groups are marginalised in the popular literature. However, very recently, there has been a sudden increase in the attention given to the issue and there has been a rise in the production of work by people of colour, for people of colour. There is also a notable increase in LGBTQ+ writers, as well as writers from other groups that have long been marginalised. This is not to say that the problem has been resolved, but rather that there is an awakening of sorts that is unfolding, that will eventually, hopefully, solve the problems that plague us.

Regarding the canon of fantasy, the most notable example that expresses the rise in POC works by POC writers is reflected in the Nigerian-American writer, Tomi Adeyemi, and her novel, “Children of Blood and Bone” which became a New York Times Bestseller and was optioned for a film adaptation even before the book got published. Adeyemi’s writing is outstanding and on par with anything J.K. Rowling has ever written, creating a work of fantasy that is at once reminiscent of other works of fantasy that are dear to our heart, while also being a creation that is filled with originality and imagination. Most importantly are the messages in “Children of Blood and Bone” – with themes obviously meant to address race and oppression, as well as feminism and women in African societies, and colonisation. It is an awe-inspiring work that should be made essential reading for any child of colour (all children actually, but especially children of colour), especially those who are growing up in the contemporary world where #BlackLivesMatter, #OscarsSoWhite, #PermitPatty, #BBQBecky, are still essential to the daily experiences of black people and other people of colour.

The novel is set in the land of Orïsha, where King Saran has committed an act of genocide, murdering all the adult Maji (gifted human beings with supernatural powers), and, therefore, effectively wiping all the magic out of the land. Zélie is the child of a Maji and when she discovers a powerful scroll, brought to her by Amari, a Princess of Orïsha, Zélie and her brother, Tzain, along with the princess must make a perilous journey, avoiding the soldiers sent by the king and trying to stay alive in a strange and harsh land as they try to restore magic and peace to all of Orïsha.

Adeyemi is a brilliant writer, forging the land in which her story is set in with clarity and rules that are essential as any created by the mythical worlds of J. K. Rowling or even George R. R. Martin. She relies on African culture and religion and incorporates these themes in a way that is reminiscent of how C.S. Lewis included Christian mythology into his “Narnia” books. However, it might be argued that Adeyemi’s portrayal of the gods and goddesses, each one standing as a ruler over a particular faction of the Maji, are extremely beautiful in their imagery and artistry the writer uses to present them. Two examples of the 10 gods and goddesses who guide the Maji include Yemoja, goddess of the ocean, who watches over the Omi clan, Maji who can control water, and Oxosi, who watches over the Eranko clan, Maji who have power over animals. The scenes in which the Maji actually use their magic are among the most exciting to read and reminds me of the fight scenes from the important and iconic TV show, “Avatar: the Last Airbender,” if they were put to prose.
There is also the emotional element to consider. Not only has Adeyemi created an astounding fantasy saga, but she has also created a world where POC characters are allowed to be fully-fleshed out and multidimensional. “Children of Blood and Bone” gives us a heroine who is a warrior through and through, gliding with her white hair and dark skin throughout the novel in a way that is so strong and emotionally complex that she would put both Katniss Everdeen and Hermione Granger to shame. The book offers to us a young black boy who plays a prince, conflicted by his love for his sister and his fear of his father and another young black boy who would do whatever it takes to protect his family. We have an old black woman, a secret Maji who can bend time, telling the history of her people in secret, while training her band of female warriors to fight and protecting them from the king’s soldiers. Adeyemi offers a compelling villain in Saran whose own story leading to his rise to power and darkness is one of tragedy and bloodshed, while also showing us Amari, a black princess who rebels against the confines of the castle, ultimately betraying her family and her evil father as she sets out on her own journey to restore harmony to the world and to find the strength that exists within her. There are so many wonderfully crafted characters and moments that it is impossible to isolate only a few.

In the end, to sum up, everything that came before, all that really needs to be said is that “Children of Blood and Bone” is a novel that MUST be read. However, I must also warn you that you will cry at multiple points in the novel – so be prepared for that.