ABOUT THE SPEAKER
Nnedi Okorafor - Science fiction writer
Nnedi Okorafor weaves African cultures into the evocative settings and memorable characters of her science fiction work for kids and adults.

Why you should listen

Nnedi Okorafor is an award-winning novelist of African-based science fiction, fantasy and magical realism. Born in the US to Nigerian immigrant parents, Okorafor is known for weaving African cultures into creative settings and memorable characters. Her books include Lagoon (a British Science Fiction Association Award finalist for best novel), Who Fears Death (a World Fantasy Award winner for best novel), Kabu Kabu (a Publisher's Weekly best book for Fall 2013), Akata Witch (an Amazon.com best book of the year), Zahrah the Windseeker (winner of the Wole Soyinka Prize for African Literature) and The Shadow Speaker (a CBS Parallax Award winner).

Her 2016 novel The Book of Phoenix is an Arthur C. Clarke Award finalist, while the first book in the Binti Trilogy won both the Hugo and Nebula Awards for Best Novella. Her children’s book Chicken in the Kitchen won an Africana Book Award. The final installment of the Binti Trilogy, titled The Night Masquerade, will be released in September 2017, and the sequel to Akata Witch (titled Akata Warrior) is was published in October 2017. Meanwhile, her book Who Fears Death has been optioned by HBO, with Game of Thrones' George R.R. Martin as executive producer.

Okorafor is a full professor at the University at Buffalo, New York (SUNY).

More profile about the speaker
Nnedi Okorafor | Speaker | TED.com
TEDGlobal 2017

Nnedi Okorafor: Sci-fi stories that imagine a future Africa

妮狄奧考拉夫: 想像未來非洲的科幻故事

Filmed:
1,047,804 views

作家妮狄奧考拉夫說:「我的科幻小說起源於非洲的祖先。」她擷取中篇小說 Binti 和 Lagoon 的片段,講述她寫作的靈感、緣起,以及她如何以非洲未來主義的精神寫作,而開啟了一扇奇妙的門。
- Science fiction writer
Nnedi Okorafor weaves African cultures into the evocative settings and memorable characters of her science fiction work for kids and adults. Full bio

Double-click the English transcript below to play the video.

00:12
What if an African非洲人 girl女孩
from a traditional傳統 family家庭
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如果一個非洲女孩,
來自未來非洲的一個傳統家庭,
00:16
in a part部分 of future未來 Africa非洲
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00:18
is accepted公認 into the finest最好的
university大學 in the galaxy星系,
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被銀河系裡遠處
數個最好的大學錄取,
00:21
planets行星 away?
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會如何?
00:24
What if she decides決定 to go?
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如果她決定要去呢?
這段話引述自我的中篇小說
《賓娣》(Binti)三部曲:
00:27
This is an excerpt摘抄
from my "Binti賓蒂" novella中篇小說 trilogy三部曲:
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00:32
I powered動力 up the transporter轉運
and said a silent無聲 prayer禱告.
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我啟動了運輸機,並默默禱告。
00:35
I had no idea理念 what I was going
to do if it didn't work.
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如果它無法運作,
我就不知道該怎麼辦了。
00:38
My transporter轉運 was cheap低廉,
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我的運輸機很廉價,
00:40
so even a droplet水滴 of moisture濕氣
or, more likely容易, a grain糧食 of sand,
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即使一滴水汽,或甚至一粒沙子,
00:43
would cause原因 it to short.
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都可能會使它短路。
它很靠不住,大部份的時候,
我得要不斷重新啟動它,
00:45
It was faulty不完善的, and most of the time
I had to restart重新開始 it over and over
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00:49
before it worked工作.
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最後才會運作。
00:50
"Please not now,
please not now," I thought.
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我心想:「拜託現在別短路,
拜託現在別短路。」
00:53
The transporter轉運 shivered發抖 in the sand
and I held保持 my breath呼吸.
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運輸機在沙地中顫動,我屏息以待。
它很小、平平坦坦、
黑色的,就像是個禱告石,
00:57
Tiny, flat平面 and black黑色 as a prayer禱告 stone,
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00:59
it buzzed嗡嗡嗡 softly輕輕的 and then
slowly慢慢地 rose玫瑰 from the sand.
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它輕柔地發出噪音,
接著緩緩從沙地升起。
01:03
Finally最後, it produced生成
the baggage-lifting行李提升 force.
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最終,它產生能抬起行李的力量。
01:06
I grinned笑了.
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我露齒而笑。
01:07
Now I could make it
to the shuttle穿梭 on time.
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這樣我就能準時到達太空梭了。
01:11
I swiped刷卡 otjizeotjize from my forehead前額
with my index指數 finger手指 and knelt down,
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我用食指抹去額上的
赭色乳脂,跪了下來,
接著我用那隻手指去觸碰沙子,
01:15
then I touched感動 the finger手指 to the sand,
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01:17
grounding接地 the sweet-smelling醇香
red clay粘土 into it.
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讓汗味的紅土留在手指上。
01:20
"Thank you," I whispered低聲道.
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我低語:「謝謝你。」
01:23
It was a half-mile半英里 walk步行
along沿 the dark黑暗 desert沙漠 road.
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我沿著黑暗的沙漠道路走了半哩。
01:26
With the transporter轉運 working加工
I would make it there on time.
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因為運輸機成功啟動,
我能準時到達那裡。
01:30
Straightening up,
I paused暫停 and shut關閉 my eyes眼睛.
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我直起身子,暫停一下,閉上眼睛。
01:32
Now, the weight重量 of my entire整個 life
was pressing緊迫 on my shoulders肩膀.
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現在,我整個人生
重重壓在我的肩膀上。
01:36
I was defying不畏 the most traditional傳統
part部分 of myself for the first time
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這是我第一次公然反抗
自我生命中最傳統的那一部份。
01:40
in my entire整個 life.
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01:41
I was leaving離開 in the dead of night,
and they had no clue線索.
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我在夜晚的死寂中離開,
而他們完全不知情。
01:45
My nine siblings兄弟姐妹, all older舊的 than me
except for my younger更年輕 sister妹妹 and brother哥哥,
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除了一位妹妹和一位弟弟以外,
其他的九位手足都比我年長,
01:49
would never see this coming未來.
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他們絕對料不到。
01:51
My parents父母 would never imagine想像
I'd do such這樣 a thing in a million百萬 years年份.
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我父母一百年也絕對
想像不到我會這樣做。
01:55
By the time they all realized實現
what I'd doneDONE and where I was going,
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當他們發現我做了什麼
以及我要去哪裡時,
01:59
I'd have left the planet行星.
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我早已離開這星球了。
02:02
In my absence缺席, my parents父母
would growl吠聲 to each other
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我不在的時候,
我父母將會彼此咆哮,
02:05
that I was never
to set foot腳丫子 in their home again.
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說再也不許我踏進家門一步。
02:08
My four aunties阿姨 and two uncles叔叔
who lived生活 down the road
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住在不遠的四個姑姑和兩個叔叔,
02:11
would shout and gossip八卦 amongst其中包括 themselves他們自己
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將會彼此大叫和說八卦,
02:13
about how I had scandalized震驚
the entire整個 bloodline世系.
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述說我的醜聞如何震驚了整個家族。
02:16
I was going to be a pariah賤民.
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我將成為被放逐的賤民。
02:19
"Go," I softly輕輕的 whispered低聲道
to the transporter轉運,
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我輕聲對著運輸機說:「走吧。」
02:21
stamping沖壓 my foot腳丫子.
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我跺著腳。
02:23
The thin metal金屬 rings戒指 I wore穿著
around each ankle jingled叮噹作響。 noisily吵鬧,
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戴在我腳踝上的細金屬環
吵雜地發出叮噹聲,
02:26
but I stamped沖壓 my foot腳丫子 again.
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但我再次跺腳。
運輸機一旦啟動了,我不再碰它
才能讓它處在最佳狀態。
02:29
Once一旦 on, the transporter轉運 worked工作 best最好
when I didn't touch觸摸 it.
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02:32
"Go," I said again,
sweat forming成型 on my brow眉頭.
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我眉上冒出了汗水,
再次說:「走吧。」
02:36
When nothing moved移動,
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當什麼都沒動時,
02:37
I chanced偶然 giving the two large suitcases手提箱
sitting坐在 atop在頂上 the force field領域 a shove.
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我冒險推了一下
位在力場上的兩個行李箱。
02:42
They moved移動 smoothly順利,
and I breathed無聲 another另一個 sigh of relief浮雕.
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它們順暢地移動,我又鬆了一口氣。
02:45
At least最小 some luck運氣 was on my side.
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至少有點運氣是站在我這邊的。
02:50
So, in a distant遙遠 future未來 part部分 of Africa非洲,
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所以,在遙遠未來的非洲,
02:53
Binti賓蒂 is a mathematical數學的 genius天才
of the Himba辛巴 ethnic民族 group.
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賓娣是個辛巴種族的數學天才,
02:57
She's been accepted公認
into a university大學 on another另一個 planet行星,
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她被另一個星球上的大學錄取,
03:00
and she's decided決定 to go.
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她決定要去。
03:02
Carrying攜帶 the blood血液
of her people in her veins,
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她身上流著族人的血液,
03:04
adorned with the teachings教導,
ways方法, even the land土地 on her very skin皮膚,
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她的皮膚上裝飾著
那些教誨、風俗、甚至土地,
03:09
Binti賓蒂 leaves樹葉 the earth地球.
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她離開了地球。
03:12
As the story故事 progresses進展,
she becomes not other, but more.
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隨著故事發展,她成長了更多,
03:16
This idea理念 of leaving離開 but bringing使
and then becoming變得 more
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離開,但帶來更多,
接著成長更多的這個想法,
03:19
is at one of the hearts心中 of Afrofuturism主義,
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就是非洲未來主義的精神之一,
03:22
or you can simply只是 call it
a different不同 type類型 of science科學 fiction小說.
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或是你也可以簡單稱它為
不同類型的科幻小說。
03:26
I can best最好 explain說明 the difference區別 between之間
classic經典 science科學 fiction小說 and Afrofuturism主義
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如果我使用章魚類比法,
能最清楚解釋古典科幻小說
03:31
if I used the octopus章魚 analogy比喻.
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和非洲未來主義的差別。
03:34
Like humans人類,
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和人類一樣,
03:35
octopuses章魚 are some of the most
intelligent智能 creatures生物 on earth地球.
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章魚是地球上最有智慧的生物之一。
03:39
However然而, octopus章魚 intelligence情報 evolved進化
from a different不同 evolutionary發展的 line,
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然而,章魚智慧的演化,
走的是不同的演化路線,
03:44
separate分離 from that of human人的 beings眾生,
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和人類的演化路線是分開的,
03:46
so the foundation基礎 is different不同.
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所以基礎並不相同。
03:49
The same相同 can be said about the foundations基金會
of various各個 forms形式 of science科學 fiction小說.
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各種不同形式之
科幻小說的基礎也是如此。
03:54
So much of science科學 fiction小說 speculates推測
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所以,科幻小說大多臆測
03:57
about technologies技術,
societies社會, social社會 issues問題,
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科技、社會、社會議題、
04:00
what's beyond our planet行星,
what's within our planet行星.
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我們的星球外有什麼、
我們的星球內有什麼。
04:03
Science科學 fiction小說 is one of the greatest最大
and most effective有效 forms形式
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科幻小說是最偉大且最有效的
政治著作形式之一。
04:06
of political政治 writing寫作.
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04:08
It's all about the question, "What if?"
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重點總是這個問題:
「如果……會如何?」
04:11
Still, not all science科學 fiction小說
has the same相同 ancestral bloodline世系,
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但,並非所有的科幻小說
都有同樣的祖傳血脈,
04:16
that line being存在 Western-rooted西根
science科學 fiction小說,
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那血脈扎根在西方的科幻小說,
04:19
which哪一個 is mostly大多 white白色 and male.
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多半以白人男性為主。
04:22
We're talking Isaac艾薩克 Asimov阿西莫夫, Jules儒勒 Verne凡爾納,
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我們說的是以撒艾西莫夫、
朱爾凡恩、
04:25
H.G. Wells韋爾斯, George喬治 Orwell奧威爾,
Robert羅伯特 Heinlein海因萊, etc等等.
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H.G.威爾斯、喬治歐威爾、
羅伯特海萊因等人。
04:30
So what if a Nigerian-American奈及利亞-美國
wrote science科學 fiction小說?
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如果奈及利亞裔美國人
來寫科幻小說會如何?
04:35
Growing生長 up, I didn't
read much science科學 fiction小說.
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成長過程中,我沒有
讀過很多科幻小說。
04:38
I couldn't不能 relate涉及 to these stories故事
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我無法和這些故事有所連結,
04:40
preoccupied斤斤計較 with xenophobia排外主義,
colonization定植 and seeing眼看 aliens外星人 as others其他.
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它們充滿了仇外和殖民主義,
視外星人為異己。
04:46
And I saw no reflection反射 of anyone任何人
who looked看著 like me in those narratives敘事.
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在那些故事中,
我沒看到任何像我的人。
在中篇小說三部曲《賓娣》中,
04:50
In the "Binti賓蒂" novella中篇小說 trilogy三部曲,
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04:52
Binti賓蒂 leaves樹葉 the planet行星
to seek尋求 education教育 from extraterrestrials外星人.
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賓娣離開星球,去尋求外星教育。
04:56
She goes out as she is,
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她以本來的面貌走出去,
04:58
looking the way she looks容貌,
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看起來是本來的樣子,
05:00
carrying攜帶 her cultures文化,
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帶著她的文化,
05:01
being存在 who she is.
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做她自己。
05:04
I was inspired啟發 to write this story故事
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我得到靈感寫下這個故事,
05:05
not because I was following以下
a line of classic經典 space空間 opera歌劇 narratives敘事,
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並不是因為我在追隨
古典太空劇故事的路線,
05:10
but because of blood血液 that runs運行 deep,
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而是因為深根的血脈、
05:12
family家庭, cultural文化 conflict衝突
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家庭、文化衝突,
05:15
and the need to see an African非洲人 girl女孩
leave離開 the planet行星 on her own擁有 terms條款.
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以及要看到非洲女孩
自願離開星球的需求。
05:20
My science科學 fiction小說
had different不同 ancestors祖先,
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我的科幻小說有不同的祖先,
05:23
African非洲人 ones那些.
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是非洲的祖先。
05:26
So I'm Nigerian-American奈及利亞-美國.
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我是奈及利亞裔美國人,
05:28
I was born天生 to two
Nigerian尼日利亞 immigrant移民 parents父母
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我父母是奈及利亞移民,
05:31
and raised上調 in the United聯合的 States狀態,
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他們在美國把我養大,
05:33
one of the birthplaces發祥地
of classic經典 science科學 fiction小說.
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美國是古典科幻小說的出生地之一。
05:36
However然而, it was my Nigerian尼日利亞 heritage遺產
that led me to write science科學 fiction小說.
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然而,引導我寫科幻小說
是我的奈及利亞血脈。
05:41
Specifically特別 I cite引用 those family家庭 trips旅行
to Nigeria尼日利亞 in the late晚了 '90s.
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明確來說,我引用了 1990 年代末
和家人回到奈及利亞的旅行。
05:47
I'd been taking服用 trips旅行 back to Nigeria尼日利亞
with my family家庭 since以來 I was very young年輕.
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我從非常小的時候開始
就會和家人回奈及利亞。
05:51
These early trips旅行 inspired啟發 me.
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這些早期的旅行是我的靈感。
05:54
Hence於是 the first story故事 that I ever
even wrote took place地點 in Nigeria尼日利亞.
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因此,我所寫的第一個故事
就發生在奈及利亞。
05:58
I wrote mainly主要 magical神奇 realism現實主義 and fantasy幻想
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我寫的主要是魔幻寫實主義和奇幻,
06:01
inspired啟發 by my love of Igbo伊博
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靈感來自我對伊博族
06:03
and other West西 African非洲人 traditional傳統
cosmologies宇宙論 and spiritualitiesspiritualities.
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以及其他西非傳統宇宙論
與靈性事物的熱愛。
06:08
However然而, in the late晚了 '90s,
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然而,在 1990 年代末期,
06:11
I started開始 noticing注意到
the role角色 of technology技術 in Nigeria尼日利亞:
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我開始注意到科技
在奈及利亞所扮演的角色:
06:15
cable電纜 TV電視 and cell細胞 phones手機 in the village,
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村裡的有線電視和手機,
06:18
419 scammers騙子 occupying佔用 the cybercafes網吧,
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419 名調情者佔據了網咖,
06:21
the small generator發電機 connected連接的
to my cousin's表哥的 desktop桌面 computer電腦
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小型發電機和我表哥的
桌上型電腦連接在一起,
06:25
because the power功率
was always going on and off.
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因為供電總是時有時無。
06:28
And my Americanness美國性 otheredothered me enough足夠
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我的美國人特質讓我有所不同,
06:31
to be intrigued好奇 by these things
that most Nigerians尼日利亞人 saw as normal正常.
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足以讓我對這些被奈及利亞人
視為正常的事物感到好奇。
06:36
My intrigue詭計 eventually終於
gave birth分娩 to stories故事.
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我的好奇最終讓我的故事誕生了。
06:40
I started開始 opening開盤 strange奇怪 doors.
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我開始打開奇怪的門。
06:44
What if aliens外星人 came來了 to Lagos拉各斯, Nigeria尼日利亞?
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如果外星人來到奈及利亞的
拉哥斯,會如何?
06:50
This is an excerpt摘抄
from my novel小說, "Lagoon潟湖."
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這摘自我的小說
《礁湖》(Lagoon)。
06:56
Everybody每個人 saw it,
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每個人都看到了,
06:58
all over the world世界.
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全世界的人。
07:00
That was a real真實 introduction介紹
to the great mess食堂 happening事件 in Lagos拉各斯,
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那是對於拉哥斯
所發生之大混亂的真實介紹,
07:04
Nigeria尼日利亞, West西 Africa非洲, Africa非洲, here.
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奈及利亞、西非、非洲、這裡。
07:10
Because so many許多 people in Lagos拉各斯
had portable手提, chargeable收費,
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因為在拉哥斯有很多人
有可攜式、可充電、
07:13
glowing泛著, vibrating振動, chirping鳴叫, tweeting啁啾,
communicating通信, connected連接的 devices設備,
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發光、震動、發出嘎吱聲、
推特用、溝通用、相連結的裝置,
07:17
practically幾乎 everything was recorded記錄
and posted發布 online線上 in some way,
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實際上,一切都出於
某種原因、以某種方式,
被快速地記錄下來,
07:21
somehow不知何故,
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並張貼在網路上。
07:23
quickly很快.
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07:25
The modern現代 human人的 world世界
is connected連接的 like a spider's蜘蛛 web捲筒紙.
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現代的人類世界,
就像是蜘蛛網一樣連結。
07:30
The world世界 was watching觀看.
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世界在看著。
07:32
It watched看著 in fascinated入迷 horror恐怖
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它帶著入迷的恐怖在看著,
07:34
for information信息,
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為了資訊,
07:36
but mostly大多 for entertainment娛樂.
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但主要是為了娛樂。
07:39
Footage錄影 of what was happening事件
dominated佔主導地位 every一切 international國際 news新聞 source資源,
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發生事件的影片,
主宰了所有國際新聞來源、
07:42
video-sharing視頻分享 website網站, social社會 network網絡,
circle, pyramid金字塔 and trapezoid梯形.
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影片分享網站、社交網路、
圈、金字塔和梯形。
07:47
But the story故事 goes deeper更深.
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但故事會更深入。
07:50
It is in the mud,
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它在爛泥中、
07:51
the dirt污垢,
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在灰塵裡、
07:53
the earth地球,
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在地面下,
07:55
in the fond喜歡 memory記憶 of the soilysoily cosmos宇宙.
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深情紀念著土壤的宇宙。
07:58
It is in the always mingling采風
past過去, present當下 and future未來.
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它在不斷混合的過去、
現在、未來當中。
08:02
It is in the water.
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它在水中。
08:04
It is in the powerful強大 spirits
and ancestors祖先 who dwelled in Lagos拉各斯.
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它在住在拉哥斯的
強大靈體及祖先中。
08:08
It is in the hearts心中 and minds頭腦
of the people of Lagos拉各斯.
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它在拉哥斯人民的心靈與精神中。
08:12
Change更改 begets相生 change更改.
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改變引起改變。
08:15
The alien外僑 AyodeleAyodele knew知道 it.
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外星人愛尤戴莉明白。
08:17
All her people know it.
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她所有的同胞明白。
08:21
So, this is a voice語音 of UdideUdide,
the supreme最高 spider蜘蛛 artist藝術家,
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這是至上蜘蛛藝術家烏狄迪的聲音,
08:25
who is older舊的 than dirt污垢
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他比泥土還老,
08:26
and lives生活 in the dirt污垢
beneath下面 the city of Lagos拉各斯,
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住在拉哥斯城市下的泥土中,
08:29
listening and commenting評論
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傾聽著,評論著,
08:31
and weaving織布 the story故事
of extraterrestrials外星人 coming未來 to Lagos拉各斯.
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編造著外星生物來到拉哥斯的故事。
08:35
In the end結束, the great spider蜘蛛
who was the size尺寸 of a house
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最終,和房子一樣大的大蜘蛛,
08:38
and responsible主管 for weaving織布
the past過去, present當下 and future未來
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負責編造過去、現在及未來的大蜘蛛,
08:41
decides決定 to come forth向前
and be a part部分 of the story故事.
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決定要站出來,成為故事的一部份。
08:45
Like UdideUdide, the spider蜘蛛 artist藝術家,
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就像蜘蛛藝術家烏狄迪,
08:47
African非洲人 science科學 fiction's小說的 blood血液 runs運行 deep
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非洲科幻小說的血脈也深深扎根,
08:51
and it's old,
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它很古老,
08:52
and it's ready準備 to come forth向前,
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準備好要站出來了,
08:55
and when it does,
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當它站出來時,
08:56
imagine想像 the new technologies技術, ideas思路
and sociopolitical社會政治的 changes變化 it'll它會 inspire啟發.
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想像它會激起的科技、
想法,和社會政治改變。
09:03
For Africans非洲人, homegrown自產自銷
science科學 fiction小說 can be a will to power功率.
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對非洲人來說,國產的科幻小說
可以是一個爭取權力的意志
09:08
What if?
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如果……會如何?
09:10
It's a powerful強大 question.
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這是個強大的問題。
09:12
Thank you.
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謝謝。
09:13
(Applause掌聲)
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(掌聲)
Translated by Lilian Chiu
Reviewed by Helen Chang

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ABOUT THE SPEAKER
Nnedi Okorafor - Science fiction writer
Nnedi Okorafor weaves African cultures into the evocative settings and memorable characters of her science fiction work for kids and adults.

Why you should listen

Nnedi Okorafor is an award-winning novelist of African-based science fiction, fantasy and magical realism. Born in the US to Nigerian immigrant parents, Okorafor is known for weaving African cultures into creative settings and memorable characters. Her books include Lagoon (a British Science Fiction Association Award finalist for best novel), Who Fears Death (a World Fantasy Award winner for best novel), Kabu Kabu (a Publisher's Weekly best book for Fall 2013), Akata Witch (an Amazon.com best book of the year), Zahrah the Windseeker (winner of the Wole Soyinka Prize for African Literature) and The Shadow Speaker (a CBS Parallax Award winner).

Her 2016 novel The Book of Phoenix is an Arthur C. Clarke Award finalist, while the first book in the Binti Trilogy won both the Hugo and Nebula Awards for Best Novella. Her children’s book Chicken in the Kitchen won an Africana Book Award. The final installment of the Binti Trilogy, titled The Night Masquerade, will be released in September 2017, and the sequel to Akata Witch (titled Akata Warrior) is was published in October 2017. Meanwhile, her book Who Fears Death has been optioned by HBO, with Game of Thrones' George R.R. Martin as executive producer.

Okorafor is a full professor at the University at Buffalo, New York (SUNY).

More profile about the speaker
Nnedi Okorafor | Speaker | TED.com

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