The Girl Who Can: Summary & Analysis

Plot Summary

In the small Ghanaian village of Hasodzi, seven-year-old Adjoa lives with her grandmother, Nana, and her mother, Maami. From earliest childhood, Adjoa is aware of the adults’ whispered conversations about her remarkably thin legs. Nana, steeped in traditional beliefs, repeatedly warns that such frailty will leave Adjoa unfit for the heavy demands of womanhood: marriage, childbirth, and manual labour. Maami, though affectionate, oscillates between concern and teasing, urging Adjoa to ignore the remarks but often chuckling at her daughter’s confused expressions.

Adjoa grows increasingly self-conscious. When she plays with other children, her limbs are the subject of playground chatter, and she overhears villagers debating whether Nana’s dire predictions are justified. The narrative unfolds through Adjoa’s innocent but perceptive first-person observations. She asks questions that adults dismiss—about why legs should be a measure of womanly worth—and she is told “never, never, but NEVER to repeat that.” This prohibition only deepens her curiosity and unease.

At school, Adjoa’s intellectual gifts shine. She masters reading and arithmetic faster than her peers. When her teacher, Mr. Ofori, announces that students with promising records will represent the school in the upcoming district sports meet, Adjoa is hesitant. She worries that her thin legs will betray her. Yet the school’s sportsmaster, Mr. Donkor, sees potential in her speed during PE drills and insists she join the team.

Adjoa trains alongside older girls, marveling at their powerful strides. She discovers that her slender limbs give her agility and endurance. On the day of the meet, she competes in the junior 100-meter race. As she crosses the finish line ahead of competitors, the crowd erupts in cheers. Adjoa feels a rush of joy and disbelief as she is presented with a shiny cup and a medal. Nana, who had traveled to witness the event, weeps with pride, rushing forward to embrace her granddaughter.

Returning to Hasodzi, Adjoa is celebrated by villagers who once doubted her. Nana carefully washes and presses her uniform, displaying it in the family hut. Maami brags to neighbours about Adjoa’s trophy. Adjoa reflects on the transformation: the same legs that symbolized weakness have become her greatest asset. Her self-perception shifts from frailty to confidence, and she recognizes that inner qualities—determination, courage, intelligence—matter far more than outward conformity to expectations.

Publication

“The Girl Who Can” was first published in 1997 as part of the anthology The Girl Who Can and Other Stories by Sub-Saharan Publishers. This collection brought Ama Ata Aidoo’s short fiction to a wider global audience, showcasing narratives that centre the lives of African women and girls. The anthology was praised for its lyrical prose and strong feminist perspective. The story was chosen for inclusion in the ICSE Class 10 English textbook Treasure Chest: A Collection of ICSE Short Stories & Poems, reflecting its enduring relevance for discussions on gender, identity, and empowerment.

The decision to include the excerpt in Treasure Chest highlights its accessibility and pedagogical value. Teachers and examiners have lauded the story for its concise structure, vivid characterisation, and capacity to prompt critical discussions among students about societal norms and personal agency. The story’s inclusion ensures that successive generations of students engage with themes of gender equality within a culturally authentic African context.

Context

Ama Ata Aidoo, born in 1942 in the Gold Coast (now Ghana), emerged as a leading voice in African literature during the post-independence era. Educated at the University of Ghana and teaching at Kwame Nkrumah University, she challenged both colonial and indigenous patriarchal structures through her work. Aidoo’s plays, poetry, essays, and short stories frequently explore the intersection of tradition, modernity, and gender.

In the decades following Ghana’s independence in 1957, writers like Aidoo grappled with redefining African identity. Women writers faced the dual task of deconstructing colonial stereotypes and addressing entrenched gender roles within their societies. Aidoo’s debut play, The Dilemma of a Ghost (1965), interrogates racial and cultural tensions, while her later novel, Changes: A Love Story (1991), foregrounds a modern Ghanaian woman’s desire for both career and romantic fulfillment.

Within this broader literary and historical landscape, “The Girl Who Can” stands out as a microcosm of Aidoo’s feminist ethos. By presenting three generations of women—Nana representing tradition, Maami embodying transitional values, and Adjoa symbolising the possibility of change—Aidoo illuminates how cultures evolve when new generations assert their voices. The story’s rural setting underscores the persistence of age-old customs but also reveals that transformative ideas can take root even in isolated communities.

Title

The title, “The Girl Who Can”, operates on multiple levels. On the surface, it refers to Adjoa’s literal ability—her capacity to run faster, learn eagerly, and defy expectations. Symbolically, it signifies any girl’s potential to transcend imposed limitations. By choosing this affirmative phrasing, Aidoo shifts focus from what girls cannot do to what they can do when given opportunities and encouragement.

Furthermore, the title subverts patriarchal narratives that have historically confined female characters to passive roles. It asserts agency: Adjoa is not simply a subject of observation but an active agent shaping her destiny. The repetition and emphasis on “can” resonate as a rallying cry for readers—particularly young students—to recognise and celebrate their own abilities.

Narrative and Language

Narrative Perspective

Aidoo employs a first-person child narrator, lending immediacy and authenticity to Adjoa’s experiences. The simplicity of Adjoa’s voice masks her acute observational skills. She chronicles even mundane details—her uniform’s colour, the feel of the racing track underfoot—in ways that reveal both her innocence and her emerging self-awareness.

Language and Style

The prose features clear, unadorned sentences peppered with vivid imagery. Descriptions such as “my legs felt like slender sticks of bamboo” or “the sun beat down on the field like a hot drum” evoke the Ghanaian landscape and Adjoa’s bodily sensations. Dialogue is rendered colloquially, capturing the cadences of everyday speech in rural Ghana. Aidoo uses repetition effectively: instructions like “never to repeat” underscore the arbitrary power adults wield over children’s expression.

Structural Techniques

The story’s structure follows a classic arc: introduction of conflict (adults’ judgment), rising tension (internal doubts), climax (the sports meet), and resolution (redefined self-image). Aidoo intersperses moments of quiet reflection between narrative milestones, allowing readers to inhabit Adjoa’s internal journey. Flashbacks to earlier conversations with Nana and Maami enrich the narrative, providing context for Adjoa’s evolving mindset.

Themes

Gender Expectations and the Female Body

The repeated focus on Adjoa’s legs illustrates how societies scrutinise female bodies. Nana’s warnings reflect deep-seated beliefs about women’s roles as childbearers and labourers. By reversing this judgment—showing the legs as assets—Aidoo critiques restrictive gender norms.

Tradition vs. Modernity

Nana’s adherence to tradition clashes with the progressive values embodied by Adjoa’s educational environment. While Nana fears change, Adjoa and her teacher represent modern ideals of meritocracy and personal growth. The story suggests that traditions can evolve in response to new evidence and achievements.

Power of Education and Self-Belief

Adjoa’s intellectual gifts and self-confidence grow in tandem. Education functions as a liberating force, enabling her to challenge preconceived notions. The narrative emphasises that encouragement and opportunity unlock latent talents.

Symbols

• Thin Legs
  Initially a mark of weakness, the legs become a metaphor for unique strengths. Their transformation underscores the relativity of norms and the power of perspective.
• Sports Meet
  The athletic competition represents a field of merit where societal labels fall away. It is a microcosm of life’s broader arenas where hard work and talent matter most.
• Trophy and Medal
  These objects symbolize external validation and social acceptance. Nana’s shift from criticism to pride upon seeing the trophy highlights how success can alter entrenched beliefs.
• Uniform
  Adjoa’s crisp athletic attire signifies transformation and readiness. Nana’s act of washing and ironing the uniform indicates a newfound respect for Adjoa’s pursuits.

Conclusion

“The Girl Who Can” is a richly layered story that affirms the power of self-belief, education, and intergenerational dialogue in challenging restrictive norms. Through Adjoa’s eyes, Ama Ata Aidoo celebrates the emergence of a new mindset—one that values capability over conformity, potential over prejudice. The narrative reminds readers that true empowerment arises when individuals are encouraged to pursue their talents free from societal constraints. In classrooms and communities alike, the story serves as a timeless inspiration for fostering environments where every girl can be “the girl who can.”