In this riveting, heartfelt debut, a young woman assumes a new name to escape her dark past and find the redemption she desperately seeks. “It’s impossible not to root for this strong, willful girl as she finds her place in the world and for her brother as he tries to make sense of it.”—Kirkus Reviews “Charming, touching, and a host of other adjectives not often associated with a murderous thirteen-year-old.”—Booklist Venus Black is a straitlaced A student fascinated by the study of astronomy—until the night she commits a shocking crime that tears her family apart and ignites a media firestorm. Venus refuses to talk about what happened or why, except to blame her mother. Adding to the mystery, Venus’s developmentally challenged younger brother, Leo, goes missing. More than five years later, Venus is released from prison with a suitcase of used clothes, a fake identity, and a determination to escape her painful past. Estranged from her mother, and with her beloved brother still missing, she sets out to make a fresh start in Seattle, skittish and alone. But as new people enter her orbit—including a romantic interest and a young girl who seems like a mirror image of her former lost self—old wounds resurface, and Venus realizes that she can’t find a future while she’s running from her past. In this gripping story, debut novelist Heather Lloyd brilliantly captures ordinary lives thrust into extraordinary circumstances. Told through a constellation of captivating voices, My Name Is Venus Black explores the fluidity of right and wrong, the pain of betrayal, and the meaning of love and family. Praise for My Name Is Venus Black “Fans of realistic coming-of-age fiction will enjoy Lloyd’s fast-paced first novel for the freshly drawn original characters, compelling story line, and beautiful tribute to the healing power of love. It’s bound to have crossover appeal to older YA readers.”—Library Journal “A dark but ultimately uplifting story about family, love, and forgiveness, and how to find your place in the world, My Name Is Venus Black is a powerful debut novel from a fresh voice in fiction.”—New York Times bestselling author Sarah Jio

DIVExplores the treatment and image of the black female or "Black Venus" as seen in early 19th French literature./div

This National Book Award-winning debut poetry collection is a "powerfully evocative" (The New York Review of Books) meditation on the black female figure through time. Robin Coste Lewis's electrifying collection is a triptych that begins and ends with lyric poems meditating on the roles desire and race play in the construction of the self. In the center of the collection is the title poem, "Voyage of the Sable Venus," an amazing narrative made up entirely of titles of artworks from ancient times to the present—titles that feature or in some way comment on the black female figure in Western art. Bracketed by Lewis's own autobiographical poems, "Voyage" is a tender and shocking meditation on the fragmentary mysteries of stereotype, juxtaposing our names for things with what we actually see and know. A new understanding of biography and the self, this collection questions just where, historically, do ideas about the black female figure truly begin—five hundred years ago, five thousand, or even longer? And what role did art play in this ancient, often heinous story? Here we meet a poet who adores her culture and the beauty to be found within it. Yet she is also a cultural critic alert to the nuances of race and desire—how they define us all, including her own sometimes painful history. Lewis's book is a thrilling aesthetic anthem to the complexity of race—a full embrace of its pleasure and horror, in equal parts.

Extraordinary and diverse people inhabit this rich, ripe, occasionally raucous collection of short stories. Some are based on real people - Jeanne Duval, Baudelaire's handsome and reluctant muse who never asked to be called the Black Venus, trapped in the terminal ennui of the poet's passion, snatching at a little lifesaving respectability against all odds...Edgar Allen Poe, with his face of a actor, demonstrating in every thought and deed how right his friends were when they said 'No man is safe who drinks before breakfast.' And some of these people are totally imaginary. Such as the seventeenth century whore, transported to Virginia for thieving, who turns into a good woman in spite of herself among the Indians, who have nothing worth stealing. And a girl, suckled by wolves, strange and indifferent as nature, who will not tolerate returning to humanity. Angela Carter wonderfully mingles history, fiction, invention, literary criticism, high drama and low comedy in a glorious collection of stories as full of contradictions and surprises as life itself.

Even though there were relatively few people of color in postrevolutionary France, images of and discussions about black women in particular appeared repeatedly in a variety of French cultural sectors and social milieus. In Vénus Noire, Robin Mitchell shows how these literary and visual depictions of black women helped to shape the country's postrevolutionary national identity, particularly in response to the trauma of the French defeat in the Haitian Revolution. Vénus Noire explores the ramifications of this defeat in examining visual and literary representations of three black women who achieved fame in the years that followed. Sarah Baartmann, popularly known as the Hottentot Venus, represented distorted memories of Haiti in the French imagination, and Mitchell shows how her display, treatment, and representation embodied residual anger harbored by the French. Ourika, a young Senegalese girl brought to live in France by the Maréchal Prince de Beauvau, inspired plays, poems, and clothing and jewelry fads, and Mitchell examines how the French appropriated black female identity through these representations while at the same time perpetuating stereotypes of the hypersexual black woman. Finally, Mitchell shows how demonization of Jeanne Duval, longtime lover of the poet Charles Baudelaire, expressed France's need to rid itself of black bodies even as images and discourses about these bodies proliferated. The stories of these women, carefully contextualized by Mitchell and put into dialogue with one another, reveal a blind spot about race in French national identity that persists in the postcolonial present.

Tracing the figure of Black Venus in literature and visual arts from different periods and geographies, Exploring the Black Venus Figure in Aesthetic Practices discusses how aesthetic practices may restore the racialized female body in feminist, anti-racist and postcolonial terms.

Analyzing contemporaneous and contemporary works that re-imagine the "Hottentot Venus."

Western culture has long been fascinated by black women, but a history of enslavement and colonial conquest has variously labeled black women's bodies as "exotic" and "grotesque." In this remarkable cultural history of black female beauty, Janell Hobson explores the enduring figure of the "Hottentot Venus." In 1810, Saartjie Baartman was taken from South Africa to Europe, where she was put on display at circuses, salons, and museums and universities as the "Hottentot Venus." The subsequent legacy of representations of black women's sexuality-from Josephine Baker to Serena Williams to hip-hop and dancehall videos-continues to refer back to this persistent icon. This book analyzes the history of critical and artistic responses to this iconography by black women in contemporary photography, film, literature, music, and dance.

Suzan-Lori Parks continues her examination of black people in history and stage through the life of the so-called "Hottentot Venus," an African woman displayed semi-nude throughout Europe due to her extraordinary physiognomy; in particular, her enormous buttocks. She was befriended, bought and bedded by a doctor who advanced his scientific career through his anatomical measurements of her after her premature death.

In Black France / France Noire, scholars, activists, and novelists address the paradox of race in France: the state does not acknowledge race as a meaningful category, but experiences of antiblack racism belie claims of color-blindness.