This dissertation is concerned with the growing project of Afrofuturism and its emphasis on visualizing a liberated Black future. Although Afrofuturism is continuing to grow as an aesthetic and critical thinking practice, in literature Afrofuturism tends to ground itself in science fiction and fantasy narratives. Thus, this dissertation fills the need for an Afrofuturist grounding in horror narratives with an emphasis on Black Horror as defined by Robin Means Coleman. Given this gap, as well as our current sociopolitical climate’s myth of decolonization being obtained through non-violent means and a shaming of marginalized groups fighting for liberation, this project argues the importance of horror works in complexly imagining a liberated Black future. Using feminist, gender, and sexuality theories, definitions of the horror genre, and Afrofuturism this dissertation coalesces a theory tracing a Black Queer Horror Aesthetic called Afrofuturist Horror. I argue for and create a theory of reading Black Horror works grounded in Afrofuturism to create more nuanced and complex conversations about obtaining liberation that often uses violence and the grotesque. Specifically, this project uses Afrofuturist theories and definitions of horror to read Black Horror works ranging from vampire to slasher, and conjure narratives.
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