Do fat people exist in the future?

That's likely a question that many have never thought to ask. It has been argued that people of size are some of the most openly discriminated against and marginalized. So, for some, thinking about fatness and fat people existing in the future may be hard to imagine.

But not for writer Alex Smith, a 46-year-old, Philadelphia-based artist, with roots in the Punk music scene. Smith is not afraid of anarchy. In some ways, he thrives on it, and people are taking notice. His newest work, "Black Vans," takes his ambitions to uncharted territory and places Black, queer, fatness center stage.

"If we're gonna do this, we're gonna do this," Smith tells The Reckoning. "It was a no-brainer that the main character was going to be a fat, Black bear, period," when discussing his comic book series and its lead character, "Bo," who is of Afro-Latin descent.

In his debut novel, “Desire Lines,” author Cary Alan Johnson births a story about Black queer friendship, desire, and addiction during the onset of the HIV epidemic in New York City in the 1980s. Desire Lines marks Johnson’s first foray into long-form fiction after spending much of the last decade breathing life into characters aimed at centering the experiences of Black queer men in an HIV narrative where they have historically been forgotten.

“Of all the really great books, movies, and shows produced about gay men’s experience with AIDS in the 1980s, none have focused on Black gay men,” said Johnson. “Of all the great work about cocaine and crack addiction, none focused on the experience of Black gay men. The 1980s was a period of hysteria and pain, but it was also a moment of intense introspection and spiritual alignment. You either sank or you swam. Many of us swam and continue to swim, and I want to tell this story.”

In Desire Lines, readers follow an unnamed Black gay narrator as he grows up in Brooklyn captivated by a vision of life on the other side of the river, where the sparkle and glitter of Manhattan beckon. Coming into adulthood, he finds himself living in a five-floor walk-up in Hell's Kitchen just as the AIDS epidemic is hitting the city. We follow him and his group of friends as they experience the first wave of illness and death and then accompany him on a two-year journey to Zaire, Central Africa, where he must confront corruption and homophobia in new and unexpected ways.

In case you haven’t noticed, fat bodies are having a moment.

It’s apparent in marketing strategies like Victoria’s Secret’s recent 180-degree turn toward size inclusivity; in the abundance of plus-sized TV and book characters reaching beyond stereotypical “fat friend” roles, and every time pop phenom Lizzo proudly struts her extra-large frame across the stage to wild applause.

The new era message is fat positivity, and to the casual observer at least, it appears there’s never been a more affirming time to be a big person.

Da'Shaun L. Harrison knows better. Large, Black, and queer, they exist at a precarious nexus of historically undervalued identities with complex social stigmas that reach far beyond what a few size-inclusive ad campaigns can address.

We all remember where we were when we heard that song for the first time, or when we saw that music video or read that book that changed our lives. For many Black gay and same gender loving men, coming across a piece of literature that centered our stories honestly and authentically was the equivalent of finding a needle in a haystack, and when we found it, we often had to steal away in the dark of night to not risk outing ourselves. In a fictitious world created by authors who saw our queerness as an asset and not a liability, James Earl Hardy and his magnum opus “B-Boy Blues,” which is celebrating its 25th anniversary this year is one of those authors.