Girl, Woman, Other

by

Bernardine Evaristo

Contradiction, Complexity, and Intersectionality Theme Analysis

Themes and Colors
Diaspora, Culture, and Identity Theme Icon
Love, Sexuality, and Race  Theme Icon
Home and Community  Theme Icon
Contradiction, Complexity, and Intersectionality  Theme Icon
Radical vs. Reformist Social Movements  Theme Icon
LitCharts assigns a color and icon to each theme in Girl, Woman, Other, which you can use to track the themes throughout the work.
Contradiction, Complexity, and Intersectionality  Theme Icon

Girl, Woman, Other is a deeply complex novel with both direct and subtle connections at every turn. The characters are related in intricate ways that are often unknown to the characters themselves and to readers, who only gradually discover the extent of these connections as the novel unfolds. In this way, the structure of Evaristo’s novel underlies one of its central messages about the intersectional nature of human lives and social movements. Each character is strong and assured in their beliefs, often asserting that their view of the world is the only correct one. Perhaps because of these uncompromising beliefs, each character contradicts themselves at every turn. For example, Amma and her group of radical friends profess a commitment to changing the world for the marginalized. At the same time, they look down on those like Carole, who take a more mainstream approach to social change, without recognizing the different social factors that led Carole down this path. Carole’s class background (she grew up with a poor, single, immigrant mother in a struggling community) is different than Amma’s upbringing, which afforded her more class privilege and exposed her to radical ideas.

Yazz provides another example when she plays what writer and social commentator Roxane Gay calls “the privilege Olympics.” She’s constantly ranking her friends from most to least oppressed. She not only fails to see the ways in which different factors, such as race, gender, class, sexuality, intersect to complicate the simple picture she tries to paint, but she also contradicts her own professed social beliefs by putting Waris, who she sees as her “most oppressed” friend, on a pedestal that victimizes her in just the way that Waris has asked Yazz not to. Roxane Gay’s criticism of the way we talk about oppression and difference runs throughout Evaristo’s novel. Courtney paraphrases Gay’s claim in her book Bad Feminist that “we should be able to say, ‘This is my truth,’ and have that truth stand without a hundred clamoring voices shouting, giving the impression that multiple truths cannot coexist.” Each chapter of Girl, Woman, Other contains those hundreds of “clamoring voices” that assert themselves while tearing down others. Amma’s play, which is only one truth and one story about Black women, brings the characters together with all their differences, but where those difference intersect and connect. The after-party is a space where all their truths exist simultaneously and thus represents Evaristo’s assertion that the future must be one where individuals come together to acknowledge that all oppression is intersectional.

Related Themes from Other Texts
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Contradiction, Complexity, and Intersectionality ThemeTracker

The ThemeTracker below shows where, and to what degree, the theme of Contradiction, Complexity, and Intersectionality appears in each chapter of Girl, Woman, Other. Click or tap on any chapter to read its Summary & Analysis.
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Contradiction, Complexity, and Intersectionality Quotes in Girl, Woman, Other

Below you will find the important quotes in Girl, Woman, Other related to the theme of Contradiction, Complexity, and Intersectionality .
Chapter 1: Amma Quotes

look at it this way, Amma, she says, your father was born male in Ghana in the 1920s whereas you were born female in London in the 1960s

and your point is?

you really can’t expect him to ‘get you,’ as you put it

I let her know she’s an apologist for the patriarchy and complicit in a system that oppresses all women

she says human beings are complex

I tell her not to patronize me

Related Characters: Amma (speaker), Dominique (speaker), Kwabena
Page Number: 11
Explanation and Analysis:

she surprised herself at the strength of her grief

she then regretted never telling him she loved him, he was her father, a good man, of course she loved him, she knew that now he was gone, he was a patriarch but her mother was right when she said, he’s of his time and culture, Amma

my father was devastated at having to fell Ghana so abruptly, she eulogized at his memorial, attended by his elderly socialist comrades

it must have been so traumatic, to lose his home, his family, his friends, his culture, his first language, and to come to a country that didn’t want him

once he had children, he wanted us educated in England and that was it

my father believed in the higher purpose of left-wing politics and actively worked to make the world a better place

she didn’t tell them she’d taken her father for granted and carried her blinkered, self-righteous perspective of him from childhood through to his death, when in fact he’d done nothing wrong except fail to live up to her feminist expectations of him

Related Characters: Amma (speaker), Helen (speaker), Kwabena
Page Number: 35
Explanation and Analysis:
Chapter 1: Yazz Quotes

you’ve really suffered, Yazz says, I feel sorry for you, not in a patronizing way, it’s empathy, actually

I haven’t suffered, not really, my mother and grandmother suffered because they lost their loved ones and their homeland, whereas my suffering is mainly in my head

it’s not in your head when people deliberately barge into you

it is compared to half a million people who died in the Somali civil war, I was born here and I’m going to succeed in this country, I can’t afford not to work my butt off, I know it’s going to be tough when I get on the job market but you know what, Yazz? I’m not a victim, don’t ever treat me like a victim, my mother didn’t raise me to be a victim.

Related Characters: Yazz (speaker), Waris (speaker), Xaanan
Page Number: 60
Explanation and Analysis:

yes but I’m black, Courts, which makes me more oppressed than anyone who isn’t, except Waris who is the most oppressed of all of them (although I don’t tell her that)

in five categories: black, Muslim, female, poor, hijabbed

she’s the only one Yazz can’t tell to check her privilege

Courtney replied that Roxane Gay warned against the idea of playing ‘privilege Olympics’ and wrote in Bad Feminist that privilege is relative and contextual, and I agree, Yazz, I mean where does it all end? is Obama less privileged than a white hillbilly growing up in a trailer park with a junkie single mother and a jailbird father? Is a severely disabled person more privileged than a Syrian asylum-seeker who’s been tortured? Roxane argues that we have to find a new discourse for discussing inequality

Yazz doesn’t know what to say, when did Court read Roxane Gay – who’s amaaaazing?

was this a student outwitting the master moment?

#whitegirltrumpsblackgirl

Related Characters: Yazz (speaker), Courtney (speaker), Waris
Page Number: 66
Explanation and Analysis:
Chapter 1: Dominique Quotes

Nzinga had suggested that her relationship history of blonde girlfriends might be a sign of self-loathing; you have to ask yourself if you’ve been brainwashed by the white beauty ideal, sister, you have to work a lot harder on your black feminist politics, you know

Dominique wondered if she had a point, why did she go for stereotypical blondes? Amma had teased her about it without judging her, she herself was a product of various mixtures and often had partners of all colors

in contrast, Nzinga had grown up in the segregated South, although shouldn’t that make her pro-integration rather than against it?

Dominique wondered if she really was still being brainwashed by white society, and whether she really was failing at the identity she most cherished – the black feminist one

Related Characters: Dominique (speaker), Nzinga (speaker), Amma
Page Number: 79
Explanation and Analysis:

why did Nzinga think being in love with her meant she had to give up her independence and submit completely?

wasn’t that being like a male chauvinist?

Dominique felt like an altered version of herself after a while, her mind foggy, emotions primal, senses heightened

she enjoyed the sex and affection – outside in the fields when summer arrived, wantonly naked in the heat, unworried about anyone coming across them, what Nzinga called Dominique’s sexual healing, as if she’d been suffering terribly when she met her

Dominique let it pass

she wanted to talk this through with friends, Amma most of all, or the women at Spirit Moon, she needed a sounding board, it wasn’t going to happen, Nzinga kept them at a distance, kicked up a fuss when Dominique made overtures of friendship

Related Characters: Dominique (speaker), Nzinga (speaker), Amma
Page Number: 95
Explanation and Analysis:
Chapter 2: Carole Quotes

did me and Papa come to this country for a better life only to see our daughter giving up on her opportunities and end up distributing paper hand towels for tips in nightclub toilets or concert venues, as is the fate of too many of our countrywomen?

you must go back to this university in January and stop thinking everybody hates you without giving them a chance, did you even ask them? did you go up to them and say, excuse me, do you hate me?

you must find the people who will want to be your friends even if they are all white people

there is someone for everyone in this world

you must go back and fight the battles that are your British birthright, Carole, as a true Nigerian

Related Characters: Bummi Williams (speaker), Carole Williams, Augustine Williams
Page Number: 133-134
Explanation and Analysis:

Carole amended herself to become not quite them, just a little more like them

she scraped off the concrete foundation plastered on to her face, removed the giraffe-esque eyelashes that weighed down her eyelids, ripped off the glued-on talons that made most daily activities difficult

such as getting dressed, picking things up, most food preparation and using toilet paper

she ditched the weaves sewn into her scalp for months at a time, many months longer than advised because, having saved up to wear the expensive black tresses of women from India or Brazil, she wanted her money’s worth, even when her scalp festered underneath the stinky patch of cloth from which her fake hair flowed

she felt freed when it was unstitched for the very last time, and her scalp made contact with air.

She felt the deliciousness of warm water running directly over it again without the intermediary of a man-made fabric

She then had her tight curls straightened, Marcus said he preferred her hair natural, she told him she’d never get a job if she did that

Related Characters: Carole Williams (speaker)
Page Number: 137
Explanation and Analysis:
Chapter 3: Shirley Quotes

when Shirley drove up to the school in the mornings

moments before the inmates charged up the Paupers’ Path to destroy any sense of equilibrium

its monstrous proportions settled in her stomach

like concrete

and as the eighties became history the nineties couldn’t wait to charge in and bring more problems than solutions

more children at school coming from families struggling to cope

more unemployment, poverty, addiction, domestic violence at home

more kids with parents who were ‘inside,’ or should have been

more kids who needed free school meals

more kids who were on the Social Services register or radar

more kids who went feral – (she wasn’t an animal tamer)

Related Characters: Shirley King (speaker)
Page Number: 236-237
Explanation and Analysis:
Chapter 3: Penelope Quotes

at first she’d enjoyed teaching the disadvantaged children of the area whose parents had an inter-generational history of paying taxes in this country, even though she knew most of them wouldn’t go on to great things

a supermarket till for the ones who were numerate, a typing pool for those who were numerate and literate, further education for those who could pass exams sufficiently well

she felt a sense of responsibility towards her own kind, and didn’t like it at all when the school’s demography began to change with the immigrants and their offspring pouring in

in the space of a decade the school went from predominately English children of the working classes to a multicultural zoo of kids coming from countries where there weren’t even words for please and thank you

which explained a lot

Related Characters: Penelope Halifax/Barbara (speaker), Shirley King
Page Number: 297-298
Explanation and Analysis:

she loathed that feminism was on the descent, and the vociferous multi-culti brigade was on the ascent, and felt angry all the time, usually at the older boys who were disrespectful and the bullish male teachers who still behaved as if they owned the planet

Shirley was barely out of her teaching probation when she took a pot shot at Penelope at that staff meeting all those years ago – at the only woman in the school who dared stand up to the men

why didn’t Saint Shirley attack one of the male chauvinist pigs who pontificated ad infinitum instead of a strong woman who’d brought petitions into work for both the Equal Pay Act and the Sex Discrimination Act, both of which were eventually passed into law

improving the situation for all working women

she should be admired and respected by her female colleagues

Related Characters: Penelope Halifax/Barbara (speaker), Shirley King
Page Number: 298-299
Explanation and Analysis:
Chapter 4: Hattie  Quotes

Hattie asked him to tone it down with the stories, it was scaring their children and would make them hate themselves, he said they needed to toughen up and what did she know about it with her being high-yaller and living in the back of beyond?

you liked that I’m high-yaller, as you put it, so don’t you go using it against me, Slim

he said the Negro had reason to be angry, having spent four hundred years in American enslaved, victimized and kept downtrodden

it was a powder keg waiting to explode

she replied they were a million miles from America and it’s different here, Slim, not perfect but better

he said his little brother Sonny was the children’s uncle and they needed to know what happened to him and about the history of a country that allowed him to be murdered, and it’s our duty to face up to racial issues, Hattie, because our children are darker than you and aren’t going to have it as easy

Related Characters: Hattie “GG” Jackson (speaker), Slim Jackson (speaker), Ada Mae , Sonny
Page Number: 355-356
Explanation and Analysis:

after Joseph died, Slim broke open an old library cabinet when he couldn’t find the keys, said that as the man of the house he needed to know what was in it

he found old ledgers that recorded the captain’s lucrative business as a slave runner, exchanging slaves from Africa for sugar in the West Indies

came charging like a lunatic into the kitchen where she was cooking and had a go at her for keeping such a wicked family secret from him

she didn’t know, she told him, was as upset as he was, the cabinet had been locked her entire life, her father told her important documents were inside and never go near it

she calmed Slim down, they talked it through

it’s not me or my Pa who’s personally responsible, Slim, she said, trying to mollify her husband, no you co-own the spoils with me

she wrapped her long arms around his waist from behind

it’s come full circle, hasn’t it?

Related Characters: Hattie “GG” Jackson (speaker), Slim Jackson (speaker), Megan/Morgan Malinga , Joseph Rydendale , Captain Linnaeus Rydendale
Related Symbols: The Greenfields Farmhouse
Page Number: 368
Explanation and Analysis:
Chapter 5: The After-party Quotes

it was so odd seeing a stage full of black women tonight, all of them as dark or darker than her, a first, although rather than feel validated, she felt slightly embarrassed

if only the play was about the first black woman prime minister of Britain, or a Nobel prize-winner for science, or a self-made billionaire, someone who represented legitimate success at the highest levels, instead of lesbian warriors strutting around and falling for each other

during the interval at the bar she noticed a few members of the white audience looking at her different from when they’d all arrived in the lobby earlier, much more friendly, as if she was somehow reflected in the play they were watching and because they approved of the play, they approved of her

there were also more black women in the audience than she’d seen at any other play at the National

at the interval she studied them with their extravagant head-ties, chunky earrings the size of African sculptures, voodoo-type necklaces of beads, bones, leather pouches containing spells (probably), metal bangles as thick as wrist weights, silver rings so large their wingspan spread over several fingers

she kept getting the black sisterhood nod, as if the play somehow connected them together

Related Characters: Carole Williams (speaker)
Related Symbols: The National Theatre
Page Number: 418-419
Explanation and Analysis:
Epilogue Quotes

this metal-haired wild creature from the bush with the piercingly feral eyes

is her mother

this is she

this is her

who cares about her colour? why on earth did Penelope ever think it mattered?

in this moment she’s feeling something so pure and primal it’s overwhelming

they are mother and daughter and their whole sense of themselves is recalibrating

her mother is now close enough to touch

Penelope had worried she would feel nothing, or that her mother would show no love for her, no feelings, no affection

how wrong she was, both of them are welling up and it’s like the years are swiftly regressing until the lifetimes between them no longer exist

this is not about feeling something or about speaking words

this is about being

together

Related Characters: Penelope Halifax/Barbara (speaker), Hattie “GG” Jackson
Page Number: 452
Explanation and Analysis: