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<p>This article examines Caribbean futurism as articulated in Oonya Kempadoo’s creative project, including both the novel <i>Naniki</i> and the <i>Naniki Immersive</i> location-based experience. By situating the novel within the speculative tradition of time and space in Caribbean literature, the article analyzes Kempadoo’s decolonial deep time narrative as a means of reclaiming suppressed Caribbean histories, as well as her submerged storytelling, through which she imagines symbiotic multispecies communities in response to an environmentally ravaged Caribbean. By foregrounding the interrelations among technology, literary imagination, and cultural expression across the <i>Naniki</i> project, the article finally explores how Kempadoo envisions sustainable and interactive Caribbean futures. It argues that, by mobilizing Caribbean knowledges and sensibilities, Kempadoo proposes alternative ways of living that address intertwined histories and contemporary forms of oppression and exploitation affecting both land and people. In doing so, her work invites participants to become agents of change in shaping and inhabiting an alternative Caribbean future through highlighting the political intervention of Caribbean futurism.</p>

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Decolonial deep time narrative, submerged storytelling, and construction of sustainable multispecies community: the articulation of Caribbean futurism in Oonya Kempadoo’s Naniki

  • 期刊论文

  • 发表日期：

    2026年8月4日

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  • Huafei Chen,
  • Ping Su

摘要

This article examines Caribbean futurism as articulated in Oonya Kempadoo’s creative project, including both the novel Naniki and the Naniki Immersive location-based experience. By situating the novel within the speculative tradition of time and space in Caribbean literature, the article analyzes Kempadoo’s decolonial deep time narrative as a means of reclaiming suppressed Caribbean histories, as well as her submerged storytelling, through which she imagines symbiotic multispecies communities in response to an environmentally ravaged Caribbean. By foregrounding the interrelations among technology, literary imagination, and cultural expression across the Naniki project, the article finally explores how Kempadoo envisions sustainable and interactive Caribbean futures. It argues that, by mobilizing Caribbean knowledges and sensibilities, Kempadoo proposes alternative ways of living that address intertwined histories and contemporary forms of oppression and exploitation affecting both land and people. In doing so, her work invites participants to become agents of change in shaping and inhabiting an alternative Caribbean future through highlighting the political intervention of Caribbean futurism.