This article seeks to explore the repercussions of applying the label of "Afrofuturism" to works of speculative fiction produced within the framework of contemporary Caribbean literature. It will assess the pertinence of grouping literary works from North America and elsewhere, which are classified by their authors or critics as "Afrofuturist" - a term which emerged in the United States as a means of classifying science-fiction literature written by African-American authors which would later come to name a counterculture movement laying claim to the legacy of the African diaspora in the country -, with Caribbean works that display characteristics similar to these works.The aim of the text is to demonstrate that works of Caribbean fiction that contain elements drawn from the different African cultures which arrived in the Caribbean as a result of slavery constitute a distinct movement, endowed with unique characteristics that set it apart from the Afrofuturist movement in the United States. In this connection, it will analyze Jamaican-Canadian author Nalo Hopkinson's Brown Girl in the Ring, and Cuban author Erick Mota's Habana Underguater ("Havana Under Water"), particularly how elements from African cosmogonies and religions are utilized to create dystopian and/or alternative history narratives, how the notion of a Caribbean identity is constructed within the diaspora (Hopkinson) and the manner in which cyberspace is conceived as a mythical dimension (Mota).
