1. Gilman, “Confessions of an Academic Pornographer,” 28.
2. For black feminist work on the iconicity of the Hottentot Venus and about Sara
Baartman herself, see for example: Alexander, The Venus Hottentot; Parks, Venus;
Sharpley- Whiting, Black Venus; Willis, Black Venus 2010; Hobson, Venus in the Dark;
Chase–Riboud, Hottentot Venus; Maseko, The Life and Times of Sara Baartman;
Magubane, “Which Bodies Matter?”; Fleetwood, Troubling Vision; Qureshi, “Dis-
playing Sarah Baartman, the ‘Hottentot Venus’”; and Nash, “Strange Bedfellows.”
For other work on the Hottentot Venus, see Crais and Scully, Sara Baartman and the
Hottentot Venus; Holmes, The Hottentot Venus; Bancel et al., Human Zoos; Skelly, No
Strangers to Beauty; Gould, The Flamingo’s Smile and The Mismeasure of Man; Hall,
“The Spectacle of the ‘Other’”; and Gilman, “Black Bodies, White Bodies.”
3. See Saar’s statements in the anonymous article (credited to Juliette Bowles Har-
ris), “Extreme Times Call for Extreme Heroes”; also Gilman, “Confessions of an Aca-
demic Pornographer,” 29.
4. See for example, Walker and Vergne, My Complement, My Enemy, My Oppressor,
5. Higginbotham, Righteous Discontent.
6. Hine, “Rape and the Inner Lives of Black Women in the Middle West.”
7. Gardner, “Racism in Pornography and the Women’s Movement,” 105; Forna,
“Pornography and Racism,” 105–6.
8. Collins, Black Feminist Thought, 144–45.
9. Walker, “Coming Apart,” 42.
10. Collins, Black Feminist Thought, 137.
11. Lorde, “The Uses of the Erotic: The Erotic as Power.”
12. These feminists all signed on to the Feminist Anti- Censorship Taskforce
(fact) Amici Curiae Brief to the U.S. Court of Appeals protesting the passage of the
Dworkin- MacKinnon Ordinance, which would have criminalized pornography, in
Indianapolis in 1985. The fact Brief was originally ﬁled in April of 1985 and published