cation with previous gay and/or black writers, and an emphasis on the transformative potential of a communal poetic intervention in discriminatory social discourses. Holland emphasizes the place of “ritual and performance” (283) in Saint’s poetry, noting also that Saint had great respect for the ritual of public readings, which he sometimes undertook in voodoo priestess drag (personal communication, 25 Mar. 2002). These critical responses underscore Saint’s own assertion that “[o]ur writings should very much be a public process that reflects private passions” (Spells 4).
Triple Trouble. In Tongues Untied: Poems by Dirg Aaab-Richards, Craig G. Harris, Essex Hemphill, Isaac Jackson, Assotto Saint. London: GMP, 1987. 81–95.
Stations. New York: Galiens, 1989.
The Road before Us: 100 Gay Black Poets. New York: Galiens, 1991.
Here to Dare: 10 Gay Black Poets. New York: Galiens, 1992.
Wishing for Wings. New York: Galiens, 1994.
Milking Black Bull: 11 Gay Black Poets. Conceived by Assotto Saint. Ed. Vega Press. Sicklerville: Vega Press, 1995.
Spells of a Voodoo Doll: The Poems, Fiction, Essays and Plays of Assotto Saint. New York: Richard Kasak Books, 1996.
Cranfield, Steve. “Remembering Assotto Saint.” James White Review 12.1 (1995): 17.
Holland, Walter R. The Calamus Root: American Gay Poetry since World War II. Diss. City U of New York, 1998. Ann Arbor: UMI, 1998.
Nelson, Emmanuel S. “Towards a Transgressive Aesthetic: Gay Readings of Black Writing.” James White Review 11.3 (1994): 17.
Steward, Douglas. “Saint’s Progeny: Assotto Saint, Gay Black Poets, and Poetic Agency in the Field of the Queer Symbolic.” African American Review 33.3 (1999): 507–18.