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This essay argues for the critical importance of archives and archive-building in the life and work of Octavia E. Butler in the face of both real-world and imaginative narratives of apocalypse and species suicide. I read Butler's Parable series and selected archival texts combining a Derridean understanding of the archive as both a \"shelter\" and an \"authority\"-an ongoing and unruly process as much as an object of study-and black feminist theory that imagines a \"home place\" for preserving authorial voice and agency. I read archival practice as central to the new generic term \"visionary fiction\" since it provides black women writers in particular a space to record their lives and voices in deliberate ways that allow different political and ontological possibilities for the future. Butler's archive is vital to understanding her work.

Octavia Spencer, I'm so happy that her story is being told. And I'm really thrilled to be a part of telling it. She was a standard bearer in our home. And tenacity, to overcome insurmountable odds to become the nation's first self-made female millionaire. I mean, especially during that time period. it's a beacon of hope. And it tells us what we can do she was about female entrepreneurship and sisterhood. GUESTS: OCTAVIA SPENCER

Keywords Space Program, NASA, African American, 1960s, Civil Rights \"His faith in us has no limits.\" Serving as foils to the trio are Vivian Mitchell (Kirsten Dunst), supervisor for the East Group of white female computers; and Paul Stafford (Jim Parsons), lead engineer of the Space Task Group. The paradox is that the African-American Christian churches which played such a crucial role in the civil rights movement did not embrace equal rights with regard to gender.