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Hottentot Venus
It is Paris, 1815. An extraordinarily shaped South African girl known as the Hottentot Venus, dressed only in feathers and beads, swings from a crystal chandelier in the duchess of Berry’s ballroom. Below her, the audience shouts insults and pornographic obscenities. Among these spectators is Napoleon’s physician and the most famous naturalist in Europe, the Baron George Cuvier, whose encounter with her will inspire a theory of race that will change European science forever. Evoking the grand tradition of such “monster” tales as Frankenstein and The Hunchback of Notre Dame, Barbara Chase Riboud, prize-winning author of the classic Sally Hemings, again gives voice to an “invisible” of history. In this powerful saga, Sarah Baartman, for more than 200 years known only as the mysterious lady in the glass cage, comes vividly and unforgettably to life.
338 pages, Kindle Edition
First published January 1, 2003
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About the author
Barbara Chase-Riboud
24 books193 followersAn American novelist, poet, sculptor and visual artist, perhaps best known for her historical fiction. Much of her work has explored themes related to slavery and exploitation of women.
Chase-Riboud attained international recognition with the publication of her first novel, Sally Hemings, in 1979. The novel has been described as the "first full blown imagining" of Hemings' life as a slave and her relationship with Jefferson.[1] In addition to stimulating considerable controversy, the book earned Chase-Riboud the Janet Heidinger Kafka Prize for the best novel written by an American woman and sold more than one million copies in hardcover.[2] She has received numerous honors for her work, including the Carl Sandburg Prize for poetry and the Women's Caucus for Art's lifetime achievement award.[1] In 1965, she became the first American woman to visit the People's Republic of China after the revolution.[3] In 1996, she was knighted by the French Government and received the Ordre des Arts et des Lettres.[4] She divides her time between Paris and Rome.
The only child of Vivian May Chase, a histology technician and Charles Edward Chase, a contractor.[5] Chase-Riboud displayed an early talent for the arts and began attending the Fleisher Art Memorial School at the age of 8. She also excelled as an art student at the Philadelphia High School for Girls (now combined with Central High School). Between 1947 and 1954, she continued her training at the Philadelphia Museum School of Art and won an award from Seventeen for one of her prints, which was subsequently purchased by the Museum of Modern Art.[5] Chase-Riboud went on to receive a Bachelor of Fine Arts from the Tyler School at Temple University in 1957. In that same year, she won a John Hay Whitney fellowship to study at the American Academy in Rome for 12 months. There, she created her first bronze sculptures and exhibited her work at the Spoleto Festival in 1957, as well as at the American Academy and the Gallery L'Obeliso the following year.[6] During this time, she traveled to Egypt, where she discovered non-European art.[6] In 1960, Chase-Riboud completed a Master of Fine Arts from Yale University.
After completing her studies, Chase-Riboud moved to Paris.
Chase-Riboud attained international recognition with the publication of her first novel, Sally Hemings, in 1979. The novel has been described as the "first full blown imagining" of Hemings' life as a slave and her relationship with Jefferson.[1] In addition to stimulating considerable controversy, the book earned Chase-Riboud the Janet Heidinger Kafka Prize for the best novel written by an American woman and sold more than one million copies in hardcover.[2] She has received numerous honors for her work, including the Carl Sandburg Prize for poetry and the Women's Caucus for Art's lifetime achievement award.[1] In 1965, she became the first American woman to visit the People's Republic of China after the revolution.[3] In 1996, she was knighted by the French Government and received the Ordre des Arts et des Lettres.[4] She divides her time between Paris and Rome.
The only child of Vivian May Chase, a histology technician and Charles Edward Chase, a contractor.[5] Chase-Riboud displayed an early talent for the arts and began attending the Fleisher Art Memorial School at the age of 8. She also excelled as an art student at the Philadelphia High School for Girls (now combined with Central High School). Between 1947 and 1954, she continued her training at the Philadelphia Museum School of Art and won an award from Seventeen for one of her prints, which was subsequently purchased by the Museum of Modern Art.[5] Chase-Riboud went on to receive a Bachelor of Fine Arts from the Tyler School at Temple University in 1957. In that same year, she won a John Hay Whitney fellowship to study at the American Academy in Rome for 12 months. There, she created her first bronze sculptures and exhibited her work at the Spoleto Festival in 1957, as well as at the American Academy and the Gallery L'Obeliso the following year.[6] During this time, she traveled to Egypt, where she discovered non-European art.[6] In 1960, Chase-Riboud completed a Master of Fine Arts from Yale University.
After completing her studies, Chase-Riboud moved to Paris.
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Displaying 1 - 30 of 57 reviews
November 4, 2014
I have nothing but praise for this work. It is poetic, brutal, and empathetic--a reflection of the arrogance of the time, ghosts of which are active among us today. I picked the novel up in hope of understanding what it means to be a minority, mistreated, and enslaved--despite declarations of enlightenment and a prohibition of slavery. I can see why sensitivity to prejudices needs to be maintained, lest we forget how calloused, cruel, greedy, and dreadful people can be towards one another. Kind souls shine brighter, but are not without their flaws. I highly recommend this novel, important, and tragic because the Hottentot Venus endured such a life.
December 28, 2016
I picked this book up a very long time ago at a bookstore that is now defunct. Chase-Riboud's novel tells the story of Sarah Baartman, a Khoikhoi woman who was exhibited as a freak show attraction in London and Paris in the early 1800s. I knew going in that this book was not going to be a fun read, and my expectations were fulfilled.
Sarah's story is every bit as painful, horrifying, and gut wrenching as I feared it would be. But it also comes with a surprisingly hefty side dish of dull. I found myself skipping entire passages not because they were too gruesome to read, but because they were simply boring.
Other reviewers have commented that it was difficult to follow the dialogue in this book. Much of my boredom can be traced to the dialogue. It was the weakest aspect of the narrative.
First, instead of using quotation marks around her dialogue, Chase-Riboud starts off the dialogue paragraphs with a long dash. Turns out, punctuation matters. I got used to the substitution, but it still made the appearance of the story seem a little dull. Oh, look, it's another paragraph, that looks just like all the other paragraphs that came before it. Next time you open a book, notice how the quotation marks around the dialogue make the appearance of the text on the page just a little bit more interesting, and you'll see what I mean.
That's a relatively trivial complaint, though. What was more difficult was the fact that Chase-Riboud only occasionally identified the speakers somewhere in the middle of that long-dashed paragraph of dialogue. More often, she didn't. I found myself pausing more than once to try to figure who was saying what.
She also flouted the convention of having the next set of dialogue be from a different speaker. Often the next paragraph was more from the same speaker, but because she almost never told us that, I had to stop reading several times just to figure out who was talking. Not a huge break, not a large interruption, but still, it took me out of the story and anything that takes me out of the story gives me a chance to put the book down. Which I did. A lot. And each time, it was touch and go whether I'd pick it up again.
Perhaps the most important issue, however, is the fact that Chase-Riboud frequently uses verbatim quotes from scientific writers of the time as if they were dialogue (most notably in Chapter 18, where the entire scientific debate during Baron Culvier's lecture on Sarah Baartman consists of verbatim quotes from Jefferson, Lincoln, Hegel, Darwin and other 19th C writers. I suspect she does the same during the trial in the London section of the book.)
The quotes do present a wide range of horrifying thoughts on race prevalent in society at the time, which was likely Chase-Riboud's intent, but they don't work as dialogue. By burying the arguments of what was supposed to be an impassioned debate on the nature of race and humanity in the tangled English of Victorian academic writing, Chase-Riboud limits the power of her narrative.
Her story would have been better served if she had taken the same quotes and edited them slightly to make them more believable when used as dialogue in a heated debate.
All told, this was a good book, and it told the story of a woman whom I would otherwise likely never have heard of. The first and final chapters were extremely well-written. If only the middle had kept up.
Sarah's story is every bit as painful, horrifying, and gut wrenching as I feared it would be. But it also comes with a surprisingly hefty side dish of dull. I found myself skipping entire passages not because they were too gruesome to read, but because they were simply boring.
Other reviewers have commented that it was difficult to follow the dialogue in this book. Much of my boredom can be traced to the dialogue. It was the weakest aspect of the narrative.
First, instead of using quotation marks around her dialogue, Chase-Riboud starts off the dialogue paragraphs with a long dash. Turns out, punctuation matters. I got used to the substitution, but it still made the appearance of the story seem a little dull. Oh, look, it's another paragraph, that looks just like all the other paragraphs that came before it. Next time you open a book, notice how the quotation marks around the dialogue make the appearance of the text on the page just a little bit more interesting, and you'll see what I mean.
That's a relatively trivial complaint, though. What was more difficult was the fact that Chase-Riboud only occasionally identified the speakers somewhere in the middle of that long-dashed paragraph of dialogue. More often, she didn't. I found myself pausing more than once to try to figure who was saying what.
She also flouted the convention of having the next set of dialogue be from a different speaker. Often the next paragraph was more from the same speaker, but because she almost never told us that, I had to stop reading several times just to figure out who was talking. Not a huge break, not a large interruption, but still, it took me out of the story and anything that takes me out of the story gives me a chance to put the book down. Which I did. A lot. And each time, it was touch and go whether I'd pick it up again.
Perhaps the most important issue, however, is the fact that Chase-Riboud frequently uses verbatim quotes from scientific writers of the time as if they were dialogue (most notably in Chapter 18, where the entire scientific debate during Baron Culvier's lecture on Sarah Baartman consists of verbatim quotes from Jefferson, Lincoln, Hegel, Darwin and other 19th C writers. I suspect she does the same during the trial in the London section of the book.)
The quotes do present a wide range of horrifying thoughts on race prevalent in society at the time, which was likely Chase-Riboud's intent, but they don't work as dialogue. By burying the arguments of what was supposed to be an impassioned debate on the nature of race and humanity in the tangled English of Victorian academic writing, Chase-Riboud limits the power of her narrative.
Her story would have been better served if she had taken the same quotes and edited them slightly to make them more believable when used as dialogue in a heated debate.
All told, this was a good book, and it told the story of a woman whom I would otherwise likely never have heard of. The first and final chapters were extremely well-written. If only the middle had kept up.
June 2, 2017
Well-written and incredibly thought-provoking. Throughout my reading of the book, I couldn't help but think about the exploitation of the scantily dressed women you see dancing in so many of today's music videos.
December 20, 2009
Hottentot Venus is a wonderful work of historical fiction by Barbara Chase-Riboud surrounding the exploitation and short life of Saartjie "Sarah" Baartman. Saartjie was a South African herdswoman who was brought to England in 1810 and exhibited in a freak show for seven years as the "Hottentot Venus." She was exhibited in a cage partially covered in "native attire" where thousands came to view her protruding buttocks and elongated labia ("apron") - a symbol of beauty and desire by her tribesmen. A distortion on the image of Venus as the goddess of love and beauty, Saartijie was heralded as the missing link between man and apes - thus propelling her as an atrocity to be gawked upon, repulsed and pitied by Victorian England and France.
Saartjie's experience in England lands her in a famous legal case in which abolitionists took her "partners" to court insisting that Saartjie was enslaved and working against her will. She, being an illiterate person, testified that she had signed a written contract with her "partners" and was being fairly compensated; however considering she died in poverty, the contract (if it truly existed) is highly questionable.
Immediately upon death at age 27 from complications caused by alcoholism, syphilis, and tuberculosis, Saartjie's body was sold and dissected to prove the theory that she was indeed the missing link and not human. Her remains (death caste, full skeleton, and prized "apron") were callously displayed and stored in a Paris museum for nearly 200 years and were only recently returned to her native South Africa for burial in 2002.
Chase-Riboud's in depth research and careful reconstruction of Saartjie's world is superb! The novel is lengthy, detailed and descriptive. It has a Victorian flair to it - especially in the passages where in depth dialogue is used to convey the Englishmen's misguided, racists thoughts of the time. The author's imagination fills in the gaps and gives Saartjie a resonant voice that transcends time. A true work of historical fiction as it references the French Revolution, American Civil War, and historical figures like Jane Austen, Napoleon Bonaparte, and Charles Darwin. The reader empathizes with Saartjie, all the while pulling for justice to be served for her. This is a touching novel - one that will stay with the reader well after the last page is turned.
Saartjie's experience in England lands her in a famous legal case in which abolitionists took her "partners" to court insisting that Saartjie was enslaved and working against her will. She, being an illiterate person, testified that she had signed a written contract with her "partners" and was being fairly compensated; however considering she died in poverty, the contract (if it truly existed) is highly questionable.
Immediately upon death at age 27 from complications caused by alcoholism, syphilis, and tuberculosis, Saartjie's body was sold and dissected to prove the theory that she was indeed the missing link and not human. Her remains (death caste, full skeleton, and prized "apron") were callously displayed and stored in a Paris museum for nearly 200 years and were only recently returned to her native South Africa for burial in 2002.
Chase-Riboud's in depth research and careful reconstruction of Saartjie's world is superb! The novel is lengthy, detailed and descriptive. It has a Victorian flair to it - especially in the passages where in depth dialogue is used to convey the Englishmen's misguided, racists thoughts of the time. The author's imagination fills in the gaps and gives Saartjie a resonant voice that transcends time. A true work of historical fiction as it references the French Revolution, American Civil War, and historical figures like Jane Austen, Napoleon Bonaparte, and Charles Darwin. The reader empathizes with Saartjie, all the while pulling for justice to be served for her. This is a touching novel - one that will stay with the reader well after the last page is turned.
This entire review has been hidden because of spoilers.
October 2, 2016
I believe the author set out to give Sarah Baartman back her voice and humanity since she was denied those things for hundreds of years. However, I found the writing style really lacking. The characters all had the same voice, which made following conversations difficult. I often didn't quite know who was saying what. Had the different pov characters distinct voices, I think the format of this book would have been excellent. Unfortunately, that didn't happen. Great, important message executed poorly.
November 26, 2016
ebook review : A historical fiction account of the life of one of the most important women of African descent of the early 19th century. Her life symbolized much more than the exploitation of the African woman's physical features for public entertainment. The book shows the impact of race, sex, and class on the life options for African women in the Western world. Other topics explored : genocide, slavery, legal status in society, poverty of women, and the humanity of the "least important " persons of society.
July 30, 2015
A fascinating book by the author of the Sally Hemings books... This was the novelized biography of The Hottentot Venus, a real "oddity" brought from her native South Africa to the UK in the late 1800's. Her life was short, & what happened to her after her death was shocking to say the least. I'm thankful she was eventually returned to her native country & laid to rest.
November 9, 2010
Such a sad, sad story, with that overwhelming feeling of impending tragedy. This author is great but she picks such sad and treagic figures about which to write. I have read her previous book on Sally Hemmings.
In this book, she really inhabits her character. Though this was an historical novel, it felt very modern, but was not anachronistic at all. Despite its simplicity, this is not an easy read. First, there is the overwhelming sense of dread - you just know that no good is going to come of this. Secondly, there is the moral ambiguity that pervades every character, including the title character.
One of the more interesting aspects is the deadly passivity of the main character; she clearly has opportunities to escape her situation but refuses to do so. Why?
The author answers that question by highlighting the character's childhood, which was nomadic and free of Western concepts of ownership and/or territory allegiance, both of which would come back to haunt her.
This is also an excellent fable of the imperialistic takeover of the "dark continent" through the offices of a man and a woman.
In this book, she really inhabits her character. Though this was an historical novel, it felt very modern, but was not anachronistic at all. Despite its simplicity, this is not an easy read. First, there is the overwhelming sense of dread - you just know that no good is going to come of this. Secondly, there is the moral ambiguity that pervades every character, including the title character.
One of the more interesting aspects is the deadly passivity of the main character; she clearly has opportunities to escape her situation but refuses to do so. Why?
The author answers that question by highlighting the character's childhood, which was nomadic and free of Western concepts of ownership and/or territory allegiance, both of which would come back to haunt her.
This is also an excellent fable of the imperialistic takeover of the "dark continent" through the offices of a man and a woman.
April 1, 2008
During a conversation with my mom today about Perry and the Eskimos, I recalled this book and wanted to list it so my friends on here would read it.
This book illuminates the dehumanization of foreign people by scientists and pseudo-scientists who used them as curiosities. A wonderful historical novel.
This book illuminates the dehumanization of foreign people by scientists and pseudo-scientists who used them as curiosities. A wonderful historical novel.
July 7, 2007
Moving historical, biographical fiction novel about race, ethics, and humanity. Although the ending is a little long-winded, it is a compelling character-driven book.
October 31, 2007
Amazing story that exposes objectification.
January 9, 2008
Disturbing true tale of a time in history where it was perfectly acceptable to exploit a person publicly for money. Very well written, sympathetic and eye opening.
March 19, 2008
Sarah Bartman is a strong, intelligent woman who is put through the unthinkable for absurd and obscure ends. She is an inspiration.
July 19, 2008
In 1800s Europe, a young African girl is put on display as the Hottentot Venus.
October 4, 2009
just couldn't get into subject..didn't finish
January 11, 2009
Barbara Chase-Rioud is a wonderful author. I fell in love with her "Sally Hemmings" and "The Presidents Daughter", bout the slave mistress of Thomas Jefferson and their children. Her writing style is beautiful, lyrical and her descrptions bring you right into the book.
I choose to give 5 stars to this book, not so much because I loved it, I didn't. It disturbed me on several levels, but the ideas and the caring with which the author writes about this "freak of nature" is so loving and intuitive. You feel a real disgust at the Europeans who are so "civilized" and a better understanding of how it feels to become a freak of nature, or just anyone who is different.
A great part of the book is writen from Sarah's (the Hotentot Venus) own perspective, although there are chapters that are writen from the points of view of her various "masters" and her maid. The word Hottentot comes from the Dutch word for "stutterer", refering to the clicks and other noises of this tribe's native tongue. The 1st part of the story takes place in South Africa, where she was born.
Like many tribes, the diiference between what the members of the tribe find beautiful and what we as white people find beautiful is quite different. I won't go into the way Sarah was "made beautiful"
it's not really a part of the story. What it does to her though is the point.
White men who are there to "protect her" bring her 1st to England and then France to display. Sarah speaks several lanuages at this point, her native tongue, Afrikaner and low Dutch. Once in England she adds English and then French. In spite of this accomplishment she is still viewed as a freak and a dumb one at that.
People parade in front of her as her owners make dance, sing and play a small guitar. The spectaters talk about her uglyness, her courseness etc. right in front of her. In fact, she is shown several times as the only "human" in "circuses" that bring wild animals to be shown and abused.
This was not a light easy read, but I'm so glad that I read it all. I would like to think that "science" has changed since the early 1800's, but it's pretty obvious that nothing has. The wealthy and the strong are always going to prey upon the weak and the poor. We can always find ways in which we are SO superior to whoever we want. Especially when there is something for us to gain - like land, oil or certain metals. Obviously we need to save these people who don't know any better. (And don't even get me started on the religious stuff!)
If you read this book, I hope you come away with the same types of feelings that I had. Sarah was a very special and intelligent woman who had an inner strength that was amazing. Even though she eventually started using liquor and opium to dull the pain of her existance, she was, inside at least, a beautiful, honest, loving, caring, special human being, who forgave most of mankind for what they put her through the better part of her 26 years on earth.
I choose to give 5 stars to this book, not so much because I loved it, I didn't. It disturbed me on several levels, but the ideas and the caring with which the author writes about this "freak of nature" is so loving and intuitive. You feel a real disgust at the Europeans who are so "civilized" and a better understanding of how it feels to become a freak of nature, or just anyone who is different.
A great part of the book is writen from Sarah's (the Hotentot Venus) own perspective, although there are chapters that are writen from the points of view of her various "masters" and her maid. The word Hottentot comes from the Dutch word for "stutterer", refering to the clicks and other noises of this tribe's native tongue. The 1st part of the story takes place in South Africa, where she was born.
Like many tribes, the diiference between what the members of the tribe find beautiful and what we as white people find beautiful is quite different. I won't go into the way Sarah was "made beautiful"
it's not really a part of the story. What it does to her though is the point.
White men who are there to "protect her" bring her 1st to England and then France to display. Sarah speaks several lanuages at this point, her native tongue, Afrikaner and low Dutch. Once in England she adds English and then French. In spite of this accomplishment she is still viewed as a freak and a dumb one at that.
People parade in front of her as her owners make dance, sing and play a small guitar. The spectaters talk about her uglyness, her courseness etc. right in front of her. In fact, she is shown several times as the only "human" in "circuses" that bring wild animals to be shown and abused.
This was not a light easy read, but I'm so glad that I read it all. I would like to think that "science" has changed since the early 1800's, but it's pretty obvious that nothing has. The wealthy and the strong are always going to prey upon the weak and the poor. We can always find ways in which we are SO superior to whoever we want. Especially when there is something for us to gain - like land, oil or certain metals. Obviously we need to save these people who don't know any better. (And don't even get me started on the religious stuff!)
If you read this book, I hope you come away with the same types of feelings that I had. Sarah was a very special and intelligent woman who had an inner strength that was amazing. Even though she eventually started using liquor and opium to dull the pain of her existance, she was, inside at least, a beautiful, honest, loving, caring, special human being, who forgave most of mankind for what they put her through the better part of her 26 years on earth.
March 15, 2022
I think there are mixed feelings about this. As a historical novel, Chase-Riboud's style is unconvincing at best. I think more work would be needed there to replicate the diction of the early 19th century. I don't mean the pedantic issues - the use of the word 'racism' in its modern sense in the early/mid-1800s, or the pejorative use of 'lesbian' (this one was a bit of a surprise- certainly the word existed but to the best of my knowledge and through a quick search, I'm not convinced). I'll find an example:
'I knew I seemed to the Boer not only reckless but totally lacking in moral and physical restraint. Certainly I was courageous, but to what end? It was not that I was an evil or bad man, but rather that I placed no limits on what was acceptable as a means to an end. ... I seemed capable of just about anything; my charm, my smile, my dark good looks would have gotten me far had it not been for some fatal flaw that even I recognised. I was rotten to the core.'
Yes, this is an odious character - but this passage is supposed to be an internal monologue. It comes across as tragically amateur, more so a sketch of his motivations than any attempt at a realistic psychological portrayal.
Ssehura's story is very interesting and true! Indeed, the book grates only when Chase-Riboud attempts to invent something psychological of the type above. Chapter 21 is particularly well-conceived, operating upon similar lines of thought to Faulkner's As I Lay Dying. I think this redeemed some of my issues with BCR as a writer. It is her first real opportunity to be creative, and I think she does well there. Chapter 22 or 23 (memory fails) ought to be excised altogether. It really fails to serve any purpose.
Charles Darwin makes an appearance toward the end. This is perhaps a bit silly, but didn't bother me so much, and worked in principle. The issue seems to be BCR's writing of Darwin - he comes across as rabidly genocidal. This is also the conversation that complains of 'scientific racism' so indeed it may be that a sharper editor was needed. I don't claim Darwin was any kind of progressive hero or even a particularly nice bloke, but I think BCR is tied up in something rhetorical here, and so the declaration of genocidal intent just reads as bizarre - I think she's conflating the concept of 'social Darwinism' with Darwin's actual views. Not sure if she's working from any kind of source here but I doubt it. I could be wrong! Who knows.
'I knew I seemed to the Boer not only reckless but totally lacking in moral and physical restraint. Certainly I was courageous, but to what end? It was not that I was an evil or bad man, but rather that I placed no limits on what was acceptable as a means to an end. ... I seemed capable of just about anything; my charm, my smile, my dark good looks would have gotten me far had it not been for some fatal flaw that even I recognised. I was rotten to the core.'
Yes, this is an odious character - but this passage is supposed to be an internal monologue. It comes across as tragically amateur, more so a sketch of his motivations than any attempt at a realistic psychological portrayal.
Ssehura's story is very interesting and true! Indeed, the book grates only when Chase-Riboud attempts to invent something psychological of the type above. Chapter 21 is particularly well-conceived, operating upon similar lines of thought to Faulkner's As I Lay Dying. I think this redeemed some of my issues with BCR as a writer. It is her first real opportunity to be creative, and I think she does well there. Chapter 22 or 23 (memory fails) ought to be excised altogether. It really fails to serve any purpose.
Charles Darwin makes an appearance toward the end. This is perhaps a bit silly, but didn't bother me so much, and worked in principle. The issue seems to be BCR's writing of Darwin - he comes across as rabidly genocidal. This is also the conversation that complains of 'scientific racism' so indeed it may be that a sharper editor was needed. I don't claim Darwin was any kind of progressive hero or even a particularly nice bloke, but I think BCR is tied up in something rhetorical here, and so the declaration of genocidal intent just reads as bizarre - I think she's conflating the concept of 'social Darwinism' with Darwin's actual views. Not sure if she's working from any kind of source here but I doubt it. I could be wrong! Who knows.
March 20, 2016
This was a beautiful book, if at times uncomfortable reading. I guess it's fictionalised history, the life of Sarah Baartman, the Hottentot Venus brought from South Africa to England in the 1800s to be an exhibition of foreign strangeness in a freak show by her South African master and a Scottish liar, Dunlop, in whom she becomes foolishly infatuated. She misses out on her one real chance to escape this manipulation when an African league of lawyers and protesters take the matter to court, claiming that she is being ill treated by Dunlop and Caesar. But Sarah's too in love with Dunlop to see she's being used, and stands up for him. Only to be later on lost in a gambling session and won by a French animal trainer who takes her to Paris, where she comes into contact with the scientists. They hold a 3 day event where "learned" men from all over Europe come to sit and discuss her although she is not there - whilst in fact she is standing naked on a stage - and discuss how large her rear end is, how she is inferior and not the same species as her, that her people have no language, no culture, no religion etc etc and are just animals. AND she's a woman, which means she is automatically physically and mentally inferior. Yes, the most noteworthy thing about her must be her arse! How far up their own rear ends can they actually be? It's brilliantly written, but it's not comfortable reading, and it makes me horrified that I am the same species as those men! And even in death she is not given any dignity or peace, instead sold to the scientists for an autopsey, her brain and genitals to be preserved in jars, her bones boiled down to make a nice skeleton for a display case and her internal organs fed to the pigs. Just disgusting.
I'm sorry to say I'd not heard of her before I read this book, which just goes to show how out of touch with modern history and culture I can be sometimes. But I am glad to read that this story does get a happy ending of a sort, and that she's no longer displayed as a freak show and has been cremated in South Africa - even if it take over 100 years after her death for this to happen.
I'm sorry to say I'd not heard of her before I read this book, which just goes to show how out of touch with modern history and culture I can be sometimes. But I am glad to read that this story does get a happy ending of a sort, and that she's no longer displayed as a freak show and has been cremated in South Africa - even if it take over 100 years after her death for this to happen.
This entire review has been hidden because of spoilers.
April 7, 2009
This is a fabulous histographic metafictional recreation of the life of Saartjie Baartman from South Africa, a slave who travelled to England to be exhibited on account of her large steatopygia and elongated labia. Appealling to the Victorian obsession for freak shows (remember the Elephant Man), scientific enquiry (to support racist theory) and perverse sexual voyeurism, Saartjie is symbolic of the modern day beauty pageant which is a continuation of slave markets (bearing in mind in 1807 slavery was abolished). The irony is, what with 'Five' running the 'Extraordinary People' series, Saartjie's story is more relevant than ever and perpetuates the need for modern European society to feel racial, physically and biological superior. Shockingly, her body, preserved genitals and brain were displayed in a Paris museum until her remains were finaly repatriated to by buried with full respect in 2002. I was so horrified by her treatment that I will be writing a brief research paper on this shocking example of sexism and racism during imperial Britain.
September 29, 2011
The story line of Hottentot Venus was very good and an interesting read! However I did not care for the way in which Barbara Chase-Riboud used historical figures. She made great scientists like George Cuvier seem like a horny perverted obsessed man. She also would randomly throw in Napoleon Bonaparte, Jane Austin, and Charles Darwin. I think the author trying to make her novel a historical fiction would have worked out better if she relied on connecting historical events to her story and not giving knew personalities to famous people of the time. It would have made the book more believable and in my opinion more eye opening to the main characters situation. Also the writing style seemed mediocre. A lot of the time during dialogue you wouldnt know who was talking or when they would stop talking and start again. Over all though I really enjoyed the story and the look into the life of a young African woman who was sexually mistreated as well as morally mistreated. It was an emotional book as well not only for colored people but for women in general.
March 25, 2009
A beautifully written and well-researched fictionalized historical account. Chase-Riboud not only manages to give a believable narrative of the real Saartjie Baartman, but also weaves her story seamlessly with the 19th century Europe that both exploited and pitied her. A number of connections to historical figures (real or invented) are sprinkled throughout the story including Napolean, Jacques-Louis David, Charles Darwin and even Jane Austen. Fascinating but also a sad portrait of humanity
August 16, 2008
This was probably one of the worst books I have ever read. It made me so mad. I felt the author was writing this story for Political purposes only. She painted certain races in various lights that were very unappealing.
I was very disappointed in this depiction of an African American woman who was put on side show display in Europe in the 19th century.
I was very disappointed in this depiction of an African American woman who was put on side show display in Europe in the 19th century.
September 18, 2011
I think I first heard of Sarah, rather Ssehura was when her remains were returned to africa in sometime in 01, 02.
What I really liked about this novel is that it didn't end with Ssehura's death, it continued on to tell of what happened to both those who abused and helped her. Also, what become of her in the end.
What I really liked about this novel is that it didn't end with Ssehura's death, it continued on to tell of what happened to both those who abused and helped her. Also, what become of her in the end.
July 7, 2014
It is labeled a novel, but based on a true story. A very thought provoking, and sad, story. Would she have been better off staying in her village, with the Ceazar family, on her own in Europe, etc? It was interesting to have the narrator of each chapter change and have to figure out which character it was that was speaking.
January 15, 2016
While the story of Sarah Baartman is both interesting and dehumanizing, this book will not help you truly understand her plight in a historical perspective. Baartman was maltreated for her physical statue which was apparently unique to non-Africans. She was lead and coerced to exhibit herself throughout England and continental Europe. She agreed unwilling to her own captivity.
July 31, 2017
This was an eye opener on one's woman life. As the reader, it made me feel pain for her and anger. It made me want to review how we were treated in the past and how we treat each other then and now. No matter the color of your skin you are apart of the human race and should be treated with respect. This might be a hard read for some but I do recommend it.
December 2, 2022
Even though a fictionalized narrative of the life of Sarah Bartman, this story draws from historical accounts and journals of the people involved. This is truly an important story of the history of colonialism and the indomitable human spirit in the face of oppression.
Also, this is the first book that has had me in tears in a long time.
Also, this is the first book that has had me in tears in a long time.
July 26, 2007
I got this book as a gift because someone told me I was shaped physically like the women in this text, I was insulted, however after reading this book i gained a new level of appreciation for my shape and I'm honor to be associated with such extraordinary women.
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September 24, 2009Excellent read for any young African American teenager who has a poor self body image. Our bodies have been on display and either ridiculed or exploited by mainstream media that our young girls, according to the CDC, are leading in anoxeria.
October 18, 2010
It was all right. Good story, but it wasn't easy to keep up with who was talking or even IF someone was actually talking. I wouldn't recommend it, but feel free to read it if you're interested. *chuckles*
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