Mothers and Daughters
Much of Kincaid's fiction, including "Girl," delves into the dynamics between the titular "girl" and her mother. The mother's advice to "soak your little cloths right after you take them off" refers to the menstrual cloths used by women in various parts of the world, indicating that the girl is a young adolescent. Kincaid has mentioned that her fiction draws heavily from her own life, and her relationship with her mother has been strained since she was nine years old. In an interview with Selwyn R. Cudjoe, she explains, "the fertile soil of my creative life is my mother. When I write, in some things I use my mother's voice, because I like my mother's voice ... I feel I would have no creative life or no real interest in art without my mother. It's really my 'fertile soil.'"

Nearly the entire text of "Girl" consists of the mother's dialogue directed at her daughter. Although the mother dominates the conversation and there is no action or exposition, much can be inferred about their relationship. The mother is grooming the girl to fulfill her roles as a daughter and future wife, instructing her on the chores expected of a woman. The mother does not express if she finds these tasks demeaning or subservient, nor does she discuss any personal satisfaction from them. Instead, she objectively and comprehensively shares knowledge about washing, sewing, ironing, gardening, cooking, and making medicine. However, a persistent undercurrent of suspicion and fear surfaces intermittently, especially concerning the dangers of sex and the fear that the girl might become "the slut you are so bent on becoming." When discussing sex or her daughter's perceived flirtation with it, her tone shifts to one of coldness and anger.

The daughter's response to her mother's lengthy monologue is left to the reader's imagination, as Kincaid does not disclose it. How would any young adolescent react to such an extensive list of maternal instructions? Twice, the daughter interjects with defensive remarks, both times starting with "but." The first time, the mother ignores the interruption and continues her lecture. The second time, near the story's end, the mother's growing frustration leads her to irrationally interpret the daughter's innocent question, "but what if the baker won't let me feel the bread?" as evidence of "sluttish" behavior, fearing the girl will become "the kind of woman who the baker won't let near the bread."

The conflict between mother and daughter is a common occurrence. Many mothers, aware that sexual promiscuity often harms women more than men, become angry and fearful at the thought of their daughters engaging in reckless behavior. However, throughout this mother's lengthy speech, there isn't a single kind word, nor any expression of love or reassurance. The omissions in her words are as telling about their relationship as what she chooses to say.

Culture Clash
Although Kincaid has stated that she didn't focus much on politics while writing At the Bottom of the River, Diane Simmons points out that the influence of British colonial rule in Antigua during Kincaid's youth is evident in many lessons taught by Kincaid's fictional mothers. ‘‘As the child in both At the Bottom of the River and Annie John approaches puberty, the mother increasingly mirrors the colonial educational system, which aims to erase the child's native identity, rewarding only behaviors that emulate the European rulers.'' Consequently, the mother implements various programs to transform her daughter into a ‘‘young lady.''

It is evident that the family navigates two cultures simultaneously. They sing benna (calypso music) but refrain from doing so in the European church. They practice obeah, an African-derived belief system, while also attending Sunday school. They enjoy both bread pudding and doukona, a spicy plantain pudding, yet they know how to ‘‘set a table for tea.’’ The mother's efforts to train her daughter in the ways of the colonizers—ways that may lead to success but also alienate her from her true self—might explain the mother's increasing coldness in "Girl." She becomes frustrated because, despite diligently imparting her knowledge, she lacks genuine enthusiasm. Kincaid recalls her own upbringing with some bitterness. ''I was brought up to be sexless and well-behaved ... I was supposed to be full of good manners and good speech. Where the hell I was going to go with it I don't know.''