Alexander argues for the importance of names, as names and titles play an crucial role in the poem. While the first half begins with Cuvier’s name and perspective, the second section’s narrator is not named, reflecting how the woman’s identity was devalued and erased. Cuvier’s section also underscores the importance of names. He uses the name the Venus Hottentot as if it were a scientific name of a genus that he is placing upon the specimen. Historically, Baartman’s actual name was not preserved by the people in control of her life and legacy. Baartman, the first woman forced into the role, was only widely known by her job title, the Hottentot Venus. This title was the name then given to the long string of women in the role, as reflected by the speaker’s conflation with another Hottentot Venus in lines 67-74. Without their own names, the women and their experiences blend together, much like the unnamed “daughters” (Line 98) in ostrich feathers and banana skirts.

Alexander also uses names to hold people accountable. She attaches the scientific racism of the first section to Cuvier specifically. In the second section, she twice names Cuvier specifically in lines 75 and 85 when referring to his actions.