statment
To never give up
Written by Bernardine Evaristo
Growing up in the 1960s in a middle-class white neighborhood in south London, Bernardine Evaristo has stood out on several fronts. The stones thrown through her parents’ windows were a frequent reminder of their difference as a multi-ethnic family (her mother is white English, father is Nigerian). There was also the house itself. The four-story Victorian with unfinished concrete walls and unpolished floorboards was a giant ramshackle between cozy two-story suburbs. Today, she notes, distressed decor is highly valued in hipster renovations: “Come to think of it, my parents were actually a pioneer in interior design.”
“Manifesto” is the powerful and broad memoir of a writer who, in pushing herself, also pushed a whole field. After four decades and eight novels in her career, Evaristo achieved “an overnight hit” in 2019, when the polyphonic “Girl, Woman, Other” won the Booker Prize. Her unconventional trajectory here is laid out in refreshing prose, as she preaches stamina, discipline, and a PMA (positive mental attitude) that balances her “unruly, rebellious and daring” nature. A lighter work of her novels, and said more directly, “Manifesto” is a companion behind-the-scenes text that descends seamlessly.
From a Catholic liturgy in her childhood, Evaristo learned early lessons in story structure: “God as good and Satan as evil,” with “Heaven or Hell as our conclusion.” As an adult, rejecting the traditional constraints on her artistic and personal freedom (marriage, mortgages), apartment hopping from her teens to her fifties, every budget teeters with her poems, theatrical scripts, and lovers (“Romantic love. Random sex. Hopeless crush. Short-lived bombers.” suitable relationships”). At 25 she falls in love with “The Mental Dominatrix,” an elderly woman who silences Evaristo with one look and stifles all outside friendships. Evaristo’s remaining embers of artistry only glow at night, after TMD goes to bed, fed by Marlboros and increasing amounts of whiskey. In one of the scary clips, Evaristo canceled her plan to perform at a literary festival: “TMD convinced me that she was better than me at reading my poetry, that she should do it, and insisted on sitting next to her on the stage. I agreed.”
Evaristo admits to being complicit in this romantic Alcatraz movie for five years; “The reward was to be with someone who was loyal to me, and who focused her entire attention on me.” (“Girl, Woman, Other” fans will find echoes of this confusing episode in Dominique’s chapter.) When Evaristo finally leaves TMD, her innate ambition settles into the steadfast determination of someone who knows what she’s going to lose.