Girl, Woman, Other
Joint Winner of the Man Booker Prize 2019Teeming with life and crackling with energy — a love song to modern Britain and black womanhoodGirl, Woman, Other follows the lives and struggles of twelve very different characters. Mostly women, black and British, they tell the stories of their families, friends and lovers, across the country and through the years.Joyfully polyphonic and vibrantly contemporary, this is a gloriously new kind of history, a novel of our times: celebratory, ever-dynamic and utterly irresistible.

Girl, Woman, Other Details

TitleGirl, Woman, Other
Author
LanguageEnglish
ReleaseMay 2nd, 2019
PublisherHamish Hamilton
ISBN-139780241364901
Rating
GenreFiction, Contemporary, Feminism, Short Stories, Literary Fiction

Girl, Woman, Other Review

  • Roxane
    January 1, 1970
    Magnificent novel of such grand scope and ambition. This is a novel about 12 women but it is also a sweeping history of the black British experience. The attention to detail, the structure, the syntax, it’s all brilliant and moving and truly represents what fiction at its finest.
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  • Gumble's Yard
    January 1, 1970
    Winner (jointly) of the 2019 Booker Prize - perhaps appropriately given its closing words this is about beingtogether A book I have read and loved three times so I was delighted to be present for its win and to get these photosWhen hearing the winner announcement I immediately thought of a passage very early in the book when it says Amma then spent decades on the fringe, a renegade lobbing hand grenades at the establishment that excluded her until the mainstream began to absorb what was once Winner (jointly) of the 2019 Booker Prize - perhaps appropriately given its closing words this is about beingtogether A book I have read and loved three times so I was delighted to be present for its win and to get these photosWhen hearing the winner announcement I immediately thought of a passage very early in the book when it says Amma then spent decades on the fringe, a renegade lobbing hand grenades at the establishment that excluded her until the mainstream began to absorb what was once radical and she found herself hopeful of joining it" At the Foyles/New Statesman Booker Winner reading on the Thursday of the award I asked the author if she had also reflected on that passage when the announcement was made and how it applied to her own situation. Her answer was: that she had in fact been reflecting on it for some time (including when she was completing the book), but crucially that when she first started writing the book she did not think it was true for her at all - she did not expect any positive reception from the mainstream as she did not think it had moved far enough or the book would be seen as topical enough. However the #metoo and #blacklivesmatter movements shifted the ground significantly in her view and meant that the mainstream was ready for a black woman writing about black women.MAIN REVIEW The book is written as a series of twelve chapters, each featuring a named character. These characters are Black (although in one case not aware), British (although in one case no longer thinking of themselves as such) and Female (although in one case no longer identifying as such)They are however of different age, sexuality and sexual identity, formative experience, family unit structure (both parental unit and their own family unit), ethnic make-up, ancestral origin, shade, region, occupation, cultural background, class, and degree of activism (as well as journey along the activist/conventional spectrum over time).This is a novel of polyphony, polygenetics, polygenderism.But crucially it was not one that at any time I felt was a forced attempt to represent diversity but more of a natural attempt to examine the core shared identity of the characters alongside their differences and their journey; and more crucially an attempt to give visibility to black British women in literature. The author has described the style she chose to adopt here as “fusion fiction” – a fluid form of prose poetry, with a dearth of conventional sentences with capital letter openings and full stop endingsI found this style very effective – form matching content, style matching theme. Evaristo has always been someone who challenges convention in art (as captured in Amma – the most autobiographical of the characters). The fluidity of the prose enables her to range within the characters thoughts and across time, and between stories and characters.The characters are grouped in four sets of three – with clear and immediate links between the characters in each set, but less obvious and emerging links between the characters in different sets.The first set has Amma (a provocative theatre director), her daughter Yazz (studying literature at the UEA) and Dominique (now based in the US but at Amma’s original partner in disrupting theatrical culture).The second Carole (who pulled herself from difficult origins, via a Maths degree at Oxford to a banking job in the City), Bummi (her mother) and La Tisha (her one time schoolfriend now working in a supermarket as a young Mum of three children by three absent fathers).The third has Shirley (a friend of Amma’s since school, now veteran teacher whose greatest project as a teacher was Carole), Shirley’s mother Winsome (now retired in Barbados) and Penelope (a now retired colleague of Shirley’s who resented the increasing multi-culturalism of their school for many years, while secretly struggling with finding out on her 16th birthday she was a foundling). The last has non-binary Megan/Morgan (they are a social media influencer and activist), Hattie (their great-grandmother, a 90-something Northumberland farmer) and Grace (Hattie’s mother).Thee are only the main characters though and Evaristo also brings in the backstories of their parents, their closest friends and even the parents of their closest friends. She has said in an interview ”At one point I thought maybe I could have one hundred protagonists. Toni Morrison has a quote: ‘Try to think the unthinkable’. That’s unthinkable. One hundred black women characters? How can I do that? I need a more poetic form. Now there are only twelve main characters.” and while adopting the poetic form the novel still retains strong elements of her centurion ambitions. And the backstories are important I believe in what the author is trying to achieve. From the same interview: ”Even though I don’t have a protagonist who’s a young teenager, a lot of the characters went through that stage. So you have a sense of who they were as children, how they became adults, and then how they are as mothers. I’m deeply interested in how we become the people we are. Coming from a radical feminist alternative community in my 20s, and then seeing these people in their 40s and 50s, I’ve seen people become extremely, almost, conservative, establishment, having lost all the free-spiritedness, oppositionality and rebelliousness of their younger years. To me that’s fascinating. When I meet young people today and they are a certain way, I think: ‘You don’t know who you’re going to be.’ That feeds into the fiction. How do we parent our children? What are our ambitions for our children? How does that link to how we were raised? How does gender play out?”Amma is perhaps also the most central character - and it is in the after-party on the opening night of her first play at the National Theatre “The Last Amazon of Dahomey”, that the various characters and their stories converge and interact (Carole as her partner is a sponsor of the National, Morgan invited to review the play by tweet for example).A final epilogue reveals a final link via an examination of hybridity of origins and finishes with the quote with which I open my review.I found this a strong novel – there is polemic and challenge, but also warmth, humour and self-awareness. Carol’s idea of bed-time reading includes “also monitoring the international news that affects market conditions, the weather conditions that affect crops, the terrorism that destabilizes countries, the elections that effect trading agreements, the natural disasters that can wipe out whole industries” which could simply not be closer to my own work-related reading, but she also comments “and if it isn’t related to work, it’s not worth reading” which could simply not be further from my own view of literature – and a book like this is why wider reading is worthwhile.At the after-party we are told: a five-star review has already been uploaded online from one usually savage pit-bull of a critic who’s been uncharacteristically gushing: astonishing, moving, controversial, original Well as my profile picture shows I am more Golden Retriever (incidentally one such Humperdinck features as Penelope’s loyal companion – “always there for her, always eagle for a cuddle, who’ll listen to her for hours without interruption .. greets her as soon as she steps in the door”) than savage pit-bull of a critic (although I have my moments) but five stars from me.
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  • Paromjit
    January 1, 1970
    After hearing so much about this novel, a joint winner of the Booker prize, I was incredibly keen to read this. Bernardine Evaristo writes vibrantly of a contemporary Britain that is rarely seen, challenging, giving us a glimpse of its past, present and future, with a seamless feminist narrative that goes back and forth in time, an unconventional structure, poetic prose, and a disregard of the normal conventions of punctuation. She presents us with a broad and diverse spectrum of black women's After hearing so much about this novel, a joint winner of the Booker prize, I was incredibly keen to read this. Bernardine Evaristo writes vibrantly of a contemporary Britain that is rarely seen, challenging, giving us a glimpse of its past, present and future, with a seamless feminist narrative that goes back and forth in time, an unconventional structure, poetic prose, and a disregard of the normal conventions of punctuation. She presents us with a broad and diverse spectrum of black women's voices, all distinct, from differing backgrounds, ages, roots, class, occupations, families, from many parts of the country and sexuality in all its forms. It speaks of race, living and surviving in a white dominant culture and its implications and repercussions, the broad church of thinking when it comes to the definition of black and the questions of identity. I found it to be a profoundly moving, beautifully written and imaginative read, sensitive, compassionate, so human and ingenious in its portrayal and focus on the women, with their obvious and not so obvious connections with each other. Brilliant and so deserving of the accolades it is receiving. Many thanks to Penguin UK for a copy of the book.
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  • Lisa
    January 1, 1970
    Polyphonic choir of women, singing a song of life in dissonances and harmonies! This may well be my favourite book of 2019, curing a stress-related Reader's Block with instant effect. Sharing is caring, and Bernardine Evaristo shares life experiences that stretch a century back in time and move towards our immediate, contemporary world. She cares for her characters, and that results in the reader caring too. I found myself identifying with a bitter school teacher, with a strong creative woman Polyphonic choir of women, singing a song of life in dissonances and harmonies! This may well be my favourite book of 2019, curing a stress-related Reader's Block with instant effect. Sharing is caring, and Bernardine Evaristo shares life experiences that stretch a century back in time and move towards our immediate, contemporary world. She cares for her characters, and that results in the reader caring too. I found myself identifying with a bitter school teacher, with a strong creative woman subdued by narcissistic abuse, with a teenager rebelling against successful parents, with a wallflower moving on the fringes of fashionable circles, with a needy playwright, with a gender-fluid person of female biological origin, even with an old farmer and her wish to pass on the farm to a family member. I identified with girls trying to heal from traumatic teenage experiences and with women who never learned how to find their own voices in the loud orchestra of patriarchy. Even though one of the main themes is being a person of colour in a world of white supremacy (open or hidden, depending on situation), and even though I belong to the entitled, privileged group of people who have a choice whether racism is a topic to be bothered with or not (as opposed to those who have to live with the issue whether they like it or not as it is imposed on them by a dominant culture), I strongly identified with all these characters' problems and issues with racism, - because their stories are told with a loving, caring voice that humanises the pain and injustice.Some people (me included) claim that the power of writing fiction instead of fact books on relevant questions in society lies in the fact that fiction builds a relationship between the reader and the message, and that this relationship leads to empathy and a true wish for change. No other book I have read recently proves that point as well as this wonderfully creative account of women in the world.Pure Literature! Straight to the heart!
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  • Meike
    January 1, 1970
    Winner of the Booker Prize 2019 (together with The Testaments)This panoramic, polyphonic novel reflects the lives of (mostly black) women in Britain, and its narrative approach could be described as literary docu-fiction: The 12 protagonists are all fictional, of different ages, with different cultural and social backgrounds and with different personalities, and the book provides its readers with the women's condensed life stories, packed with information, always keeping a certain observational Winner of the Booker Prize 2019 (together with The Testaments)This panoramic, polyphonic novel reflects the lives of (mostly black) women in Britain, and its narrative approach could be described as literary docu-fiction: The 12 protagonists are all fictional, of different ages, with different cultural and social backgrounds and with different personalities, and the book provides its readers with the women's condensed life stories, packed with information, always keeping a certain observational distance, investigating their destinies like through the camera lense of a documentary filmmaker. The book's characters cross paths in different ways, their individual stories employed to contrast female experiences, but also to parallel them and to highlight similarities and unifying factors. While it is apparent why this is an important book that also gives a voice to women who frequently get overlooked in the representation of contemporary Britain, I have to say that I never really warmed to this text: The story tends to get buried under the intention to include an extremely wide range of ideas about what it can mean to be a woman, and the author piles up characters and information when instead of even more broadness, a little more depth would have heightened the impact. Evaristo shows women as social climbers, single mothers, sourvivors of abuse, victims of sexism and racism, lovers, wives, widows, daughters, grandmothers, VPs, teachers, cleaning women, artists, college students, school dropouts, immigrants and the children of immigrants, and in many other roles - but all of her characters are fighters, in their very own way. Usually, I love polyphonic novels - my favorite book of 2018 was There There, which also features 12 protagonists - but over long passages of Evaristo's effort, I was rather bored and felt disaffected: The relentlessly descriptive re-tellings of whole life stories plus the additive effect of the strict, enumerative structure feels exhausting (we are introduced to one character after the other, then there's an end where they meet and an epilogue), and the narrative intent, while important, always remains visible - this prose does not carry its readers away with emotion or urgency. So all in all, the chapters of this novel are reminiscient of magazine articles about diverse women in Britain - pretty good magazine articles, but is this great literary fiction? The topic is certainly worthwhile, but this book did not convince me.
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  • Nat K
    January 1, 1970
    Joint Winner of the Man Booker Prize 2019 ”On Our Own Terms or Not At All.”Twelve stories from twelve women.When I started reading this, the stories seemed straightforward. Deceptively simple & relatively harmless. At face value they seemed to be about “women’s stuff”.Was I wrong! Upfront, this review will be all over the shop. Bear with. There is just so much going on in this book, it’s a challenge for me to reflect this properly in this review.We meet women of different ages, ✩✩✩ Joint Winner of the Man Booker Prize 2019 ✩✩✩ ”On Our Own Terms or Not At All.”Twelve stories from twelve women.When I started reading this, the stories seemed straightforward. Deceptively simple & relatively harmless. At face value they seemed to be about “women’s stuff”.Was I wrong! Upfront, this review will be all over the shop. Bear with. There is just so much going on in this book, it’s a challenge for me to reflect this properly in this review.We meet women of different ages, socio-economic backgrounds, educational levels, class & sexual persuasions. All caught up in this thing called life.What does it mean to be a woman today? Does a woman now have the same hopes, dreams & aspirations as a woman did 20, 30, 50 years ago? Does anything ever really change?The writing style is quite unique. Characters cross paths as their stories intersect. We get to learn more of their backstories while the focus is on anotherprotagonist. I love how I had one impression of a character that I wasn’t particularly keen on, only to change my mind about her many chapters down the track when I saw her in a different light.I was completely taken off guard by the depiction of domestic violence in an all female relationship. That really opened my eyes. I don’t know why I was so surprised that this occurs.The plight of the refugee and immigrant is highlighted with poignancy. How much is left behind, and is it worth how much is gained? Does material wealth equal happiness? Even when escaping from a violent country, the cost of broken families cannot be measured. The hopes that the next generation will have an “easier” life and more opportunities. But then the new generation have their own prejudices to overcome and hurdles to jump. A different set of issues to deal with. The goalposts are ever moving.There are amusing depictions of the “power struggles” between the generations. Each one convinced that their fight is the more important. The one that will change society.”…the older generation has RUINED EVERYTHING and her generation is dooooooooooooooomed…”(you get the picture)We see the dynamics of various constructs of the no longer typical nuclear family. The single mother, the lesbian mother, the working mother, the traditional father from the “old” country, the absentee father, the father who didn’t even know he had a child.For me these women’s voices are about their struggle to be heard and understood. Treated fairly. Paid equally. Respected and loved.We also hear from their menfolk. Of their struggles and triumphs as men of colour. The assumption being they’ll either end up as football stars, bouncers or hooligans. The ones that do rise to some level of corporate achievement often have to do so at personal cost.Bernadine Evaristo captures the subtle quirks and failings of her characters with biting wit. But she also captures their vulnerabilities and strengths with equal candour. We get into their heads.I’m old school when it comes to grammar and punctuation (a la “Eats, Shoots & Leaves”). I don’t even use abbreviations in text messages. Oddly, the distinct lack of following writing “rules” in this book didn’t bother me. Sentences merge into one another in a free flowing form. There’s the occasional capital letter, and the fullstop is an endangered species. But for some perverse reason I can’t possibly fathom, it works.I’m thrilled this book has made it to the Booker shortlist. Very well deserved.A very solid 4.5 ★★★★ It was just an eeny bit too long for me. Having said that, I’m keen to read Bernadine’s other books. *** Shortlisted for the Man Booker. Deservedly so! *** Another unofficial buddy read (*waves*) with extremely well-read-book-fiend Collin. Yup, I’m hanging off his Man Booker Prize 2019 coat tails. Makes me feel somewhat a more sophisticated reader to do so. #Team Collin. Please make sure you check out his utterly fab review, it makes a hell of a lot more sense than mine…https://www.goodreads.com/review/show...
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  • Hugh
    January 1, 1970
    Deserved Winner of the Booker Prize 2019This was my first experience of reading Evaristo, and on balance it was a very positive one. It occupies the grey area between short story collection and novel - each of the first 12 sections could be a story in its own right, and relates the life story of a different woman (or in one case a trans person) and all of them have at least some black roots ((view spoiler)[ though in one case this only becomes clear very late in the book (hide spoiler)]). They Deserved Winner of the Booker Prize 2019This was my first experience of reading Evaristo, and on balance it was a very positive one. It occupies the grey area between short story collection and novel - each of the first 12 sections could be a story in its own right, and relates the life story of a different woman (or in one case a trans person) and all of them have at least some black roots ((view spoiler)[ though in one case this only becomes clear very late in the book (hide spoiler)]). They represent a very diverse community (or diaspora) of people from several generations, and a wide variety of situations, but in all cases their outcomes are positive and aspirational. The characters are all connected in various ways, and they are grouped into sets of three who share closer connections. The final two sections tie them together and give the overall narrative a neat conclusion.The language is often striking, and the sentence structure is interesting - generally just one sentence per chapter (I am using chapter as a term of convenience for the subdivisions each life story consists of), but within that there are paragraph breaks and sometimes poetic line breaks. I was very impressed by the first half of the book, and the second half has its moments too. If I have any criticism, it is that overall it got a little too repetitive and a little too sentimental, and some of the characters seem a little one-dimensional and caricatured (in a gentle way).Update 3 Sep - I am very pleased to see this one on the shortlist!
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  • Collin
    January 1, 1970
    SHORTLISTED FOR THE 2019 BOOKER PRIZE.The novel opens with Amma just about to open her play, “The Last Amazon of Dahomy”, at the National Theatre. She reminisces about her friend Dominique and the days when they were starting out in theatre. The days they would heckle and disrupt any shows that offended them. She remembers how firmly they both believed in their public protests.Because of their strong political views and protests, both girls found it impossible to find work as actresses, so they SHORTLISTED FOR THE 2019 BOOKER PRIZE.The novel opens with Amma just about to open her play, “The Last Amazon of Dahomy”, at the National Theatre. She reminisces about her friend Dominique and the days when they were starting out in theatre. The days they would heckle and disrupt any shows that offended them. She remembers how firmly they both believed in their public protests.Because of their strong political views and protests, both girls found it impossible to find work as actresses, so they decided to open their own theatre company.Amma is one character from a group of twelve women. The novel follows this group of women and their everyday problems. Problems, that are problems only to a paranoid, insecure, mind, like celluloid, and eyebrows, fat where there is no fat. To more serious problems such as wearing a hijab after the twin tower bombings. The girls come from all different walks of life, countries and cultures, even generations, and yet they all are connected to the central narrative. The novel's central narrative, its beating heart, is the characters and their lives. In some ways it almost feels like you are being bombarded from a plethora of perspectives. However, it works, extremely well. The narrative hops all over the place from character to character, back and forth in time and again perspective. The story revolves around these characters, their lives, their desires, fears. It is a delight to be reading one character’s narrative line, and then find the connections to the other characters lines. They may be parents, siblings, friends, the connections are everywhere. The phrase, never judge somebody until you have walked a mile in their shoes, has never seemed more apt than in this novel. You will briefly meet a character in one character’s story that you may dislike, or cast quick judgement upon, then you will find out more about them in their own story and find why they are the way they are, or how somebodies actions or views can so easily be misconstrued. There are so many perspectives and connections that this novel almost requires multiple reads to fully appreciate the skill that has gone into this book. The way that all the character’s chapters are joined in some way reminded me very much of David Mitchell. The last chapter is also skilfully written. Just as the novel opens with Amma’s play about to start, it concludes with the after party of the play in which many of the characters are present. This creates an excellent narrative balance and finale. The epilogue is the icing on top.Punctuation is thrown out the window with this book. I personally feel that punctuation, call me old school, is a must. However, having said that, this book does flow along almost poetically at times, and I found myself forgetting about the lack of punctuation very early into the novel and enjoying it not long after that. This is an amazing book, addressing issues such as racism, sexism, stereotypes, feminism, social media, almost furtively at times, and at others right in your face. This is right up there with my favourite reads of the year. 5 Stars.
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  • Katia N
    January 1, 1970
    Update: This predictably has won the Booker 2019 (jointly). And if it is the best book of the shortlist, I am very happy about my decision not to spend time reading any others shortlisted this year. Original review:Unfortunately I ended up disappointed by this book, though I really wanted to like it. In fact, it is the only book from this year Booker I’ve decided to read. (I’ve read two others before they were long listed. ) It seems this book is widely admired by others. But it has fallen quite Update: This predictably has won the Booker 2019 (jointly). And if it is the best book of the shortlist, I am very happy about my decision not to spend time reading any others shortlisted this year. Original review:Unfortunately I ended up disappointed by this book, though I really wanted to like it. In fact, it is the only book from this year Booker I’ve decided to read. (I’ve read two others before they were long listed. ) It seems this book is widely admired by others. But it has fallen quite short of my personal expectations. The book is devoted to the lives, experiences and ideas of black women in Britain. It is constructed as 12 short stories, superficially interconnected by the author. Each story follows the life of a particular character with “grand finale” when the majority of the characters met. There is also an epilogue with the moving, but predictable twist. The book is celebration of success of these woman, which is really admirable, fantastic intention. But I seriously struggled with the execution of this. First, any individual story reads like a long read article from “The guardian”. It is sketchy, aspirational, it might be a good journalism. But I am not sure it is a good literature. Sometimes the article would become almost feminist manifesto:“We should celebrate with that many more women are reconfiguring feminism and that grassroots activism is spreading like wildfire and millions of women are waking up to the possibility of taking ownership of our world as fully-entitled human being how can we argue with that?”Wonderful, but is it how two lesbian 50 years old friends talk to each other after two bottles of red wine and 4 lines of coke? I do not know. But I doubt. The characters are used as mouthpieces for statements like that: “Her mother was unthinkingly repeating patterns of oppression based on gender”“The idea of reinventing the farm for the people who have reinvented themselves. “When I want to read an article I go to the website or buy a newspaper. I want something different from a book. At minimum I want a complex, human characters. I want depth. Here, the diversity prevail over complexity. The breadth prevails over the depth. All the stories are stories of success of the self made women. But sometimes I found it very hard to believe. The characters overcome horrific traumas such as rape, severe post tantrum depression, drug addiction. How do they do it? Just by the power of their will. In case of drug addiction, staying at home and sweating for a week cured it all. It sounds very naive at best. It is very good to hear such stories. But it should be at least some discussion that it was a rare case of luck. Without it, the whole narrative becomes simply cartoonish. And reading 12 articles under one cover becomes a bit tedious. A lot of true, but tired bits of public discourse are thrown into general mixture. For example, I do not need a character to repeat that a Muslim perpetrator of atrocities would be called a terrorist while the white would be called a madman. Sadly, I heard this one many times before. Or another character would tell me that “ Gender is a social construct” and “femininity and masculinity are society inventions. “ I read my “Guardian”. But if someone does not, I do not think she/he would be converted by seeing it first as a soundbite here. The book is a bit better in the stories of the older characters. It is still quite didactic, but less rhetorical. That feels like a relief. The epilogue involving two oldest characters of 80 and 94 years old is the best part of the whole book. In spite of all rhetoric, the aspirations of these very diverse crowd appear to be relatively middle class - the house, security, to keep a farm inside the family for generations, certain amount of prejudice towards the others. It is probably a good thing. But does it make a good literature? I am not convinced.While reading I could not but compare this book with two different recent novels of the similar topicality: Zadie Smith’s “Swing time” and “The Old Drift” by Namwali Serpell. The former deals with mixed raced friends growing up in London, the latter is structured in very similar way - 9 connected stories of predominantly female characters in Zambia. I found both of these books less than perfect but more successful and effective as fiction. These might affect my general opinion and rating of this book. This is an admirable spirit of a book, feel good manifesto, but it is bit too simplistic as a work of literary fiction. 2.5 stars rounded down.
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  • Esil
    January 1, 1970
    I started Girl, Woman, Other on the morning of the day it was announced as one of two Booker prize winners this year. I was vaguely aware it had been nominated and had no idea it was going to win that day. But I’m happy to see that it won. I absolutely loved it. It will likely be my favourite novel of the year. It feels original and contemporary, while delivering great characters and good storytelling. Evaristo tells the story of 14 interconnected characters — primarily women of colour in I started Girl, Woman, Other on the morning of the day it was announced as one of two Booker prize winners this year. I was vaguely aware it had been nominated and had no idea it was going to win that day. But I’m happy to see that it won. I absolutely loved it. It will likely be my favourite novel of the year. It feels original and contemporary, while delivering great characters and good storytelling. Evaristo tells the story of 14 interconnected characters — primarily women of colour in England. Their stories span the 20th and 21st centuries. There’s some heartbreak, a bit of humour and a tad of a political undertone — but mostly lots of heart. I loved each story and I loved how they were connected, and especially how they come together beautifully at the end. I rarely read books twice, but I could definitely see reading this one again. It would make for a great audiobook.Thanksgiving to Netgalley and the publisher for an opportunity to read an advance copy.
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