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She first got involved in fandom and writing through online forums. Jemisin’s work itself is part of a slow but definite change in sci-fi and fantasy. And that gives me additional material to possibly write with.” “I see unorthodox change and I see it being effective. “I see a revolution in that,” Jemisin added. You end up with threats and harassment and so forth.” But in a racist society, she believes, there are few other avenues for holding the woman accountable for traumatising and threatening the lives of black youth.

There’s danger in using Twitter to shame people, Jemisin said, “especially for women. The white woman who started the incident by yelling racist slurs was quickly identified on Twitter, and lost her job as a teacher. She adds: “I think our society right now is enduring change in a painful and bloody way that is not necessarily a war.” She points to the incident at the McKinney pool in Texas, where police officers manhandled and arrested black teens at a white swimming pool. With epic fantasy there is a tendency for it to be quintessentially conservative, in that its job is to restore what is perceived to be out of whack.” Why would I? The status quo is harmful, the status quo is significantly racist and sexist and a whole bunch of other things that I think need to change. “As a black woman,” Jemisin tells me, “I have no particular interest in maintaining the status quo. “The goal is survival,” Jemisin writes in the novel, “and sometimes survival requires change.” As a black woman I have no particular interest in maintaining the status quo. That’s certainly the case in The Fifth Season, where one character uses his magic to literally tear the earth apart rather than face enslavement again. But Jemisin’s stories almost always involve a flawed order, and the efforts (also flawed) to overthrow it.

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Stereotypical fantasy series like, say, The Lord of the Rings, usually present a virtuous status quo threatened by a dark and eventually defeated outsider.

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It’s an ambitious book, with a shifting point of view, and a protagonist whose full complexity doesn’t become apparent till toward the end of the novel. Her next novel, The Fifth Season, comes out in early August. The success of The Hundred Thousand Kingdoms and its sequels The Inheritance Trilogy enabled Jemisin to publish The Killing Moon and its follow-up in The Dreamblood Duology. It was nominated for most of the major laurels in the industry: a Hugo, a Nebula and a World fantasy award. In 2010 she published her first novel, The Hundred Thousand Kingdoms, a sweeping story about a wide-ranging, heterogenous empire whose ruling family has enslaved the gods – at least for the moment. That story got her an agent, but didn’t sell initially – because, Jemisin says, “a fantasy novel set in something other than medieval Europe featuring an almost entirely black cast, is considered risky”. The first, titled The Killing Moon, is set in a multicultural sort-of alternate Egypt, where a patriarchal monarchy committed to order and peace, and a semi-egalitarian oligarchy, vie for power in a complicated web of shifting alliances and dreams. Her novels are anything but monochromatic.

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