Kodwo Eshun

[2] Eshun's writing deals with cyberculture, science fiction and music with a particular focus on where these ideas intersect with the African diaspora.

He has contributed to a wide range of publications, including The Guardian, The Face, The Wire, i-D, Melody Maker, Spin, Arena, Frieze, CR: The New Centennial Review and 032c.

[5] Written in a style that makes extensive use of neologism, re-appropriated jargon and compound words, the book explores the intersection of black music and science fiction from an afrofuturist viewpoint.

Eshun's contribution is the recitation of a text entitled "Black Atlantic Turns on the Flow Line", which condenses much of the thematic content of More Brilliant Than The Sun.

Eshun deploys an unconventional framing device, inviting the reader to imagine "a team of African archaeologists from the future" attempting to reconstruct 20th-century Afrodiasporic subjectivity through a comparative study of various cultural media and artefacts.

[6] This article can be used as a lens through which to read prominent Afrofuturistic texts, such as Ishmael Reed's Mumbo Jumbo (1972) and Samuel Delany's Stars in My Pocket Like Grains of Sand (1984).

In 2002, Eshun co-founded with Anjalika Sagar The Otolith Group, its name derived from a structure found in the inner ear that establishes our sense of gravity and orientation.