Dillon, of the Anishinaabe nation, has termed “Indigenous Futurism.” Influenced by Afrofuturist challenges to mainstream history as a crucial method in bringing about emancipatory futures, Indigenous Futurism seeks to centre pre-colonial cultural conditions, whilst examining how the subjugations of colonialism are still operative within the present. We don't have to imagine a dystopia, we live in one-day after day after day.” Ĭoleman’s visceral debut novel Terra Nullius problematises, experiments with and retools the post-apocalyptic dystopia sub-genre to serve as a vehicle for what theorist Grace L. We don't have to imagine an apocalypse, we survived one. “Novels about the history of Australia are post-apocalyptic, because all Aboriginal and Torres Strait Islander people alive today are the descendants of people who survived an apocalypse. But what about those peoples and cultures who have already survived colonial invasion and brutality, for whom apocalypse and dystopia are not speculative threats but a historical reality? Those whose homelands have been termed “Terra Nullius” or “Nobodies Land” by an invading force, and have thus been defined out of existence? These are some of the central considerations for Indigenous Australian writer Claire G Coleman, a member of the Noongar nation. These stories are canaries, choking on the future outcomes of contemporary oppression and the inequality endemic to western societies. Post-apocalyptic dystopias are generally seen as warnings, demands to change course from an untenable now.
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