Bernardine Evaristo, Girl, Woman, Other (2019)
Part II: Identity, Fluidity, and Performativity
Please be sure to read to read the rest of the novel by this week's session, bearing the following discussion questions in mind. Do also take a look at a selection of the secondary literature, including both the Judith Butler extracts and the article by Carolina Sánchez-Palencia.
1. How
effectively does Evaristo
handle the theme of the performativity of gender & sex identity in the case
of Megan/Morgan -- and how convincingly does she show the attitudes of different generations? Is ‘performativity’ characteristic of identity constructions
throughout the novel? If so, how? And how does the novel’s form
and
style
reflect
the provisionality and temporality of
identity constructions?
2. Were
there
particular characters you found more sympathetic, relatable,
or recognizable? and
others less so? Whom, and why? Is Evaristo
too ‘understanding’ and ‘sympathetic’ towards problematic individuals and
positions?
3. “Evaristo’s
finest quality as an author is her avoidance of overt moral judgment: her novel
shows that we are unable fully to understand anyone
unless we have walked around in their shoes – and the paradox is that that
is
impossible.”
Discuss.
