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Leila Mottley’s novel critiques the social stigma against young mothers, whom the narrator, Simone, calls “the country’s favorite scapegoat” (6). The novel’s premise draws attention to a grim real-world paradox; while teen birth rates in the United States have steadily declined for decades, the figure of the “teen mom” remains a subject of intense public scrutiny and political rhetoric. Reality television shows like MTV’s Teen Mom, which Simone references, often frame young motherhood as a spectacle of poor choices, reinforcing stereotypes that isolate and shame young women. In the world of the novel, the Girls’ creation of an alternative family structure is a direct response to their ostracization, as they can no longer count on their community and their biological families.
This social judgment is intertwined with the political landscape of reproductive rights, for the story unfolds in Florida, a state with historically restrictive laws around pregnancy termination. When Simone seeks to terminate her second pregnancy, she confronts a barrage of real-world barriers. She is forced to travel three hours to Tallahassee and must set up two separate appointments due to a mandated 24-hour waiting period, and to make matters worse, she must pay $600 out of pocket (71-72). These challenges are designed to mirror the obstacles faced by many pregnant women in the American South. For instance, in 2022, Florida enacted a 15-week abortion ban (Davis, Wynne. “Florida Gov. Ron de Santis Signs a Bill Banning Abortions after 15 Weeks.” NPR. 14 April 2022). This measure drastically tightened the timeline for pregnant women to receive care and terminate their pregnancies in Florida, and in the world of the novel, Simone feels the pressure of this deadline acutely. By linking social scapegoating with the political obstruction of healthcare, the novel illustrates how systemic pressures converge, leaving pregnant women with few safe options. The novel’s premise thus transforms the story of a personal struggle into a pointed commentary on reproductive justice.
The Girls Who Grew Big is set in Padua Beach, a fictional town in the Florida Panhandle. This region is culturally and geographically distinct from the rest of the state, a reality that the characters frequently acknowledge. As Simone explains, “They say that in Florida, you go north and you get South, the Panhandle being the most South you could get in the Sunshine State” (7). Often referred to as being part of the so-called “Redneck Riviera,” the area is characterized by its cultural proximity to Alabama and Georgia, which shapes its Southern identity, dialect, and social norms; culturally, these factors set the Panhandle apart from the more cosmopolitan South Florida.
The novel’s physical landscape is also unique, for the Girls find sanctuary at a coastal dune lake, a rare ecosystem that can be found in only a few places worldwide, one of which is the Panhandle. This “miracle, the way stream and sea connected” (8) serves as a vital resource and a communal space for washing clothes, bathing, and building community. The prominence of this setting in the novel highlights the characters’ dependence upon their unique environment for their survival. The region’s status as a “forgotten Panhandle” (13) likewise mirrors the characters’ own feelings of being shunted to the very edges of society. Adela, an outsider from Indianapolis, initially views Padua Beach as a “wasteland” (13), and her snap judgment underscores the cultural and economic divides between this rural area and other parts of America. This sense of being on the fringe intensifies the girls’ isolation, making their self-sustaining community—a world where they are “big on [their] own” (7)—both a necessity and a point of pride.



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