Main Text
Lost Spring
Stories of Stolen Childhood
About the author
Anees Jung (1964) was born in Rourkela and spent her childhood and adolescence in Hyderabad. She received her education in Hyderabad and in the United States of America. Her parents were both writers. Anees Jung began her career as a writer in India. She has been an editor and columnist for major newspapers in India and aboard, and has authored several books. The following is an excerpt from her book titled Lost Spring, Stories of Stolen Childhood. Here she analyses the grinding poverty and traditions which condemn these children to a life of exploitation.
ৰৌৰকেলাত জন্মগ্ৰহণ কৰা আনীছ জং (১৯৬৪)ৰ শৈশৱ আৰু কৈশোৰ হায়দৰাবাদত কটায়। হায়দৰাবাদ আৰু আমেৰিকা যুক্তৰাষ্ট্ৰত শিক্ষা গ্ৰহণ কৰে। তাইৰ মাক-দেউতাক দুয়োজনেই আছিল লেখক। ভাৰতত লেখিকা হিচাপে আৰম্ভ কৰিছিল আনীছ জঙে। ভাৰত আৰু বিদেশৰ প্ৰধান বাতৰি কাকতসমূহৰ সম্পাদিকা আৰু স্তম্ভলেখক হিচাপে কাম কৰি কেইবাখনো গ্ৰন্থ লিখিছে। তলত তেওঁৰ লষ্ট স্প্ৰিং, ষ্ট’ৰীজ অৱ ষ্ট’লেন চাইল্ডহুড নামৰ গ্ৰন্থখনৰ এটা অংশ দিয়া হ’ল। ইয়াত তাই এই শিশুসকলক শোষণৰ জীৱনলৈ নিন্দা কৰা গ্ৰাইণ্ডিং দৰিদ্ৰতা আৰু পৰম্পৰাসমূহ বিশ্লেষণ কৰিছে।
‘Sometimes I find a Rupee in the garbage’
“Why do you do this?” I ask Saheb whom I encounter every morning scrounging for gold in the garbage dumps of my neighbourhood. Saheb left his home long ago. Set amidst the green fields of Dhaka, his home is not even a distant memory. There were many storms that swept away their fields and homes, his mother tells him. That’s why they left, looking for gold in the big city where he now lives. “I have nothing else to do”, he mutters, looking away.
‘কেতিয়াবা জাবৰত এটকা বিচাৰি পাওঁ’।
“কিয় এনেকুৱা কৰা?” প্ৰতিদিনে পুৱা মোৰ চুবুৰীৰ জাবৰৰ দমবোৰত সোণ বিচাৰি ফুৰাৰ সন্মুখীন হোৱা ছাহেবক সুধিছো। চাহেবে বহু আগতেই ঘৰৰ পৰা ওলাই আহিছিল। ঢাকাৰ সেউজীয়া পথাৰবোৰৰ মাজত অৱস্থিত তেওঁৰ ঘৰখন দূৰৈৰ স্মৃতিও নহয়। বহু ধুমুহাই তেওঁলোকৰ পথাৰ আৰু ঘৰ-বাৰী বুৰাই পেলাইছিল বুলি মাকে কয়। সেইবাবেই তেওঁলোক গুচি আহিল, এতিয়া তেওঁ থকা ডাঙৰ চহৰখনত সোণ বিচাৰে। “মোৰ আৰু একো কাম নাই”, সি দূৰৈৰ পৰা চাই বিৰবিৰাই উঠে।
“Go to school”, I say glibly, realising immediately how hollow the advice must sound. “There is no school in my neighbourhood. When they build one, I will go.”
“স্কুললৈ যোৱা”, মই মৃদুভাৱে কওঁ, লগে লগে উপলব্ধি কৰিলোঁ যে পৰামৰ্শটো কিমান ফুটা যেন লাগিব। “মোৰ চুবুৰীত স্কুল নাই। যেতিয়া সিহঁতে এখন নিৰ্মাণ কৰিব তেতিয়া মই যাম।”
“If I start a school, will you come?” I ask, half-joking.
“Yes”, he says, smiling broadly.
A few days later I see him running up to me. “Is your school ready?”
“মই স্কুল এখন আৰম্ভ কৰিলে আহিবানে?” আধা ধেমালি কৰি সুধিছো।
“হয়”, বহলকৈ হাঁহি এটা মাৰি সি কয়।
কেইদিনমান পিছত দেখিছোঁ তেওঁ মোৰ ওচৰলৈ দৌৰি আহিছে। “আপোনাৰ স্কুল ৰেডি হৈছে নেকি?”
“It takes longer to build a school”, I say, embarrassed at having made a promise that was not meant. But promises like mine abound in every corner of his bleak world.
“স্কুল এখন নিৰ্মাণ কৰিবলৈ বেছি সময় লাগে”, মই কওঁ, উদ্দেশ্য নাছিল বুলি প্ৰতিশ্ৰুতি দিয়াৰ বাবে লাজ পাইছো। কিন্তু মোৰ দৰে প্ৰতিশ্ৰুতিৰ প্ৰচুৰতা তেওঁৰ অন্ধকাৰ পৃথিৱীখনৰ প্ৰতিটো চুকতে।
After months of knowing him, I ask him his name. “Saheb-e-Alam”, he announces. He does not know what it means. If he knew its meaning lord of the universe- he would have a hard time believing it. Unaware of what his name represents, he roams the streets with his friends, an army of barefoot boys who appear like the morning birds and disappear at noon. Over the months, I have come to recognise each of them.
মাহৰ পিছত মাহ ধৰি চিনি পোৱাৰ পিছত তেওঁৰ নামটো সুধিছো। “চাহেব-ই-আলম”, তেওঁ ঘোষণা কৰে। ইয়াৰ অৰ্থ কি তেওঁ নাজানে। যদি তেওঁ ইয়াৰ অৰ্থ জানিলেহেঁতেন বিশ্বব্ৰহ্মাণ্ডৰ প্ৰভু- তেওঁৰ বিশ্বাস কৰিবলৈ কঠিন হ’লহেঁতেন। নামটোৱে কি প্ৰতিনিধিত্ব কৰে সেই বিষয়ে অজ্ঞাত হৈ তেওঁ বন্ধু-বান্ধৱীৰ সৈতে ৰাজপথত ঘূৰি ফুৰে, ৰাতিপুৱাৰ চৰাইৰ দৰে দেখা দিয়া আৰু দুপৰীয়া নোহোৱা হৈ যোৱা খালী ভৰিৰে ল’ৰা সকলৰ এটা দল। মাহৰ পিছত মাহ ধৰি মই তেওঁলোকৰ প্ৰত্যেককে চিনি পাবলৈ ধৰিছো।
“Why aren’t you wearing chappals?” I ask one.
“My mother did not bring them down from the shelf”, he answers simply.
“চেণ্ডেল পিন্ধা নাই কিয়?” এজনক সুধিছো।
“মোৰ মায়ে সেইবোৰ শ্বেল্ফৰ পৰা নমাই অনা নাছিল”, সি সহজভাৱে উত্তৰ দিয়ে।
“Even if she did he will throw them off”, adds another who is wearing shoes that do not match. When I comment on it, he shuffles his feet and says nothing. “I want shoes”, says a third boy who has never owned a pair all his life. Travelling across the country I have seen children walking barefoot, in cities, on village roads. It is not lack of money but a tradition to stay barefoot, is one explanation. I wonder if this is only an excuse to explain away a perpetual state of poverty.
“তাই কৰিলেও সি সেইবোৰ পেলাই দিব”, আন এজনে যোগ কৰে যিয়ে মিল নোহোৱা জোতা পিন্ধিছে। মই যেতিয়া ইয়াৰ ওপৰত মন্তব্য কৰো তেতিয়া তেওঁ ভৰি দুখন জোকাৰি যায় আৰু একো নকয়। “মোক জোতা লাগে”, গোটেই জীৱন কেতিয়াও এযোৰৰ মালিক হোৱা নাই তৃতীয় এজন ল’ৰাই কয়। দেশৰ বিভিন্ন প্ৰান্ত ভ্ৰমণ কৰি মই শিশুসকলক খালী ভৰিৰে খোজ কাঢ়ি থকা দেখিছো, চহৰত, গাঁৱৰ ৰাস্তাত। টকাৰ অভাৱ নহয় খালী ভৰিৰে থকাটো এটা পৰম্পৰা, ইয়াৰ এটা ব্যাখ্যা। মই ভাবো এইটো কেৱল দৰিদ্ৰতাৰ চিৰন্তন অৱস্থা এটাক আঁতৰাই বুজাই দিয়াৰ অজুহাত নেকি?
I remember a story a man from Udipi once told me. As a young boy he would go to school past an old temple, where his father was a priest. He would stop briefly at the temple and pray for a pair of shoes. Thirty years later I visited his town and the temple, which was now drowned in an air of desolation. In the backyard, where lived the new priest, there were red and white plastic chairs. A young boy dressed in a grey uniform, wearing socks and shoes, arrived panting and threw his school bag on a folding bed. Looking at the boy, I remembered the prayer another boy had made to the goddess when he had finally got a pair of shoes, “Let me never lose them.” The goddess had granted his prayer. Young boys like the son of the priest now wore shoes. But many others like the ragpickers in my neighbourhood remain shoeless.
উদিপিৰ এজন মানুহে মোক এবাৰ কোৱা এটা কাহিনী মনত আছে। সৰুতে তেওঁ এটা পুৰণি মন্দিৰৰ কাষেৰে স্কুললৈ গৈছিল, য’ত তেওঁৰ দেউতাক এজন পুৰোহিত আছিল। মন্দিৰত অলপ সময় ৰৈ জোতা এযোৰ বিচাৰি প্ৰাৰ্থনা কৰিছিল। ত্ৰিশ বছৰৰ পাছত মই তেওঁৰ চহৰখন আৰু মন্দিৰটো চালোঁ, যিটো এতিয়া নিৰ্জনতাৰ বতাহত ডুব গৈছে। নতুন পুৰোহিতজন থকা পিছফালৰ চোতালখনত ৰঙা আৰু বগা প্লাষ্টিকৰ চকী আছিল। ধূসৰ ৰঙৰ ইউনিফৰ্ম পিন্ধা, মোজা আৰু জোতা পিন্ধা এজন সৰু ল’ৰাই হাঁহি হাঁহি স্কুলৰ বেগটো ভাঁজ কৰা বিচনা এখনত পেলাই দিলে। ল’ৰাটোলৈ চাই মোৰ মনত পৰিল অৱশেষত জোতা এযোৰ পোৱাৰ সময়ত আন এজন ল’ৰাই দেৱীলৈ কৰা প্ৰাৰ্থনাটো, “মই কেতিয়াও হেৰুৱাব নালাগে।” দেৱীয়ে তেওঁৰ প্ৰাৰ্থনা মঞ্জুৰ কৰিছিল। পুৰোহিতৰ ল’ৰাৰ দৰে সৰু ল’ৰাবোৰে এতিয়া জোতা পিন্ধিছিল। কিন্তু মোৰ চুবুৰীৰ ৰেগপিকাৰৰ দৰে আন বহুতেই জোতাবিহীন হৈয়েই থাকে।
My acquaintance with the barefoot ragpickers leads me to Seemapuri, a place on the periphery of Delhi yet miles away from it, metaphorically. Those who live here are squatters who came from Bangladesh back in 1971. Saheb’s family is among them. Seemapuri was then a wilderness. It still is, but it is no longer empty. In structures of mud, with roofs of tin and tarpaulin, devoid of sewage, drainage or running water, live 10,000 ragpickers. They have lived here for more than thirty years without an identity, without permits but with ration cards that get their names on voters’ lists and enable them to buy grain. Food is more important for survival than an identity. “If at the end of the day we can feed our families and go to bed without an aching stomach, we would rather live here than in the fields that gave us no grain”, say a group of women in tattered saris when I ask them why they left their beautiful land of green fields and rivers. Wherever they find food, they pitch their tents that become transit homes. Children grow up in them, becoming partners in survival. And survival in Seemapuri means rag-picking. Through the years, it has acquired the proportions of a fine art. Garbage to them is gold. It is their daily bread, a roof over their heads, even if it is a leaking roof. But for a child it is even more. “I sometimes find a rupee, even a ten-rupee note”, Saheb says, his eyes lighting up. When you can find a silver coin in a heap of garbage, you don’t stop scrounging, for there is hope of finding more. It seems that for children, garbage has a meaning different from what it means to their parents. For the children it is wrapped in wonder, for the elders it is a means of survival.
খালী ভৰিৰে ৰেগপিকাৰসকলৰ লগত মোৰ চিনাকিটোৱে মোক সীমাপুৰীলৈ লৈ যায়, দিল্লীৰ পৰিসীমাৰ যদিও তাৰ পৰা মাইল দূৰত থকা ঠাইখন, ৰূপকভাৱে। ইয়াত বাস কৰাসকল ১৯৭১ চনত বাংলাদেশৰ পৰা অহা কুটিল মানুহ। তাৰ ভিতৰত চাহেবৰ পৰিয়ালো আছে। সীমাপুৰী তেতিয়া এখন অৰণ্য আছিল। এতিয়াও আছে, কিন্তু এতিয়া খালী নহয়। বোকাময় গঠনত, টিন আৰু টাৰ্পলিনৰ চাল, নলা, নিষ্কাশন বা বৈ যোৱা পানীৰ পৰা বঞ্চিত, ১০,০০০ ৰেগপিকাৰ বাস কৰে। তেওঁলোকে ইয়াত ত্ৰিশ বছৰতকৈও অধিক সময় ধৰি পৰিচয় নোহোৱাকৈ, অনুমতি পত্ৰ নোহোৱাকৈ কিন্তু ৰেচন কাৰ্ড লৈ বাস কৰি আহিছে যিয়ে ভোটাৰৰ তালিকাত নাম সোমাই শস্য কিনিবলৈ সক্ষম কৰে। এটা পৰিচয়তকৈ অস্তিত্ব ৰক্ষাৰ বাবে খাদ্যৰ গুৰুত্ব বেছি। “দিনৰ শেষত যদি আমি পৰিয়ালক খুৱাই পেট বিষ নোহোৱাকৈ শুব পাৰো, তেন্তে আমাক শস্য নিদিয়া পথাৰত থকাতকৈ ইয়াতেই থকাটোৱেই ভাল হ’ব”, ছিন্নভিন্ন শাৰী পিন্ধা মহিলাৰ দল এটাই কয় যে তেওঁলোকে কিয় তেওঁলোকৰ সেউজীয়া পথাৰ আৰু নদীৰ ধুনীয়া ভূমি এৰি থৈ গ’ল। য’তেই খাদ্য পায়, তাতেই তম্বু স্থাপন কৰে যিবোৰ ট্ৰেনজিট হোম হৈ পৰে। শিশুৱে ইয়াতেই ডাঙৰ হয়, জীয়াই থকাৰ অংশীদাৰ হৈ পৰে। আৰু সীমাপুৰীত জীয়াই থকাৰ অৰ্থ হৈছে ৰেগ-পিকিং। বছৰ বছৰ ধৰি ই এটা সূক্ষ্ম কলাৰ অনুপাত আহৰণ কৰি আহিছে। তেওঁলোকৰ বাবে জাবৰ সোণ। ই তেওঁলোকৰ দৈনন্দিন ৰুটি, মূৰৰ ওপৰত চাল, যদিও সেয়া লিক হোৱা চাল। কিন্তু এটা শিশুৰ বাবে ই আৰু বেছি। “মই কেতিয়াবা এটকা বিচাৰি পাওঁ, আনকি দহ টকীয়া নোট এখনো”, চাহেবে চকু দুটা উজলাই কয়। যেতিয়া জাবৰৰ দমত ৰূপৰ মুদ্ৰা এটা পাব পাৰি, তেতিয়া আপুনি কুটিল মুদ্ৰা বন্ধ নকৰে, কাৰণ আৰু বিচাৰি পোৱাৰ আশা আছে। এনে লাগে যেন ল’ৰা-ছোৱালীৰ বাবে জাবৰৰ অৰ্থ মাক-দেউতাকৰ অৰ্থতকৈ বেলেগ। ল’ৰা-ছোৱালীৰ বাবে ই বিস্ময়ত মেৰিয়াই থোৱা, বয়োজ্যেষ্ঠসকলৰ বাবে ই জীয়াই থকাৰ মাধ্যম।
One winter morning I see Saheb standing by the fenced gate of the neighbourhood club, watching two young men dressed in white, playing tennis. “I like the game”, he hums, content to watch it standing behind the fence. “I go inside when no one is around”, he admits. “The gatekeeper lets me use the swing.”
শীতকালৰ এদিন ৰাতিপুৱা চাহেবে চুবুৰীৰ ক্লাবৰ বেৰ দিয়া গেটৰ কাষত থিয় হৈ বগা সাজ পিন্ধা ডেকা দুজনক টেনিছ খেলি থকা চাই আছে। “মোৰ খেলখন ভাল লাগে”, বেৰৰ পিছফালে থিয় হৈ চাই সন্তুষ্ট হৈ সি গুণগুণাই উঠে। “কোনোৱেই নাথাকিলে মই ভিতৰলৈ যাওঁ”, তেওঁ স্বীকাৰ কৰে। “গেটকিপাৰে মোক দোলনা ব্যৱহাৰ কৰিবলৈ দিয়ে।”
Saheb too is wearing tennis shoes that look strange over his discoloured shirt and shorts. “Someone gave them to me”, he says in the manner of an explanation. The fact that they are discarded shoes of some rich boy, who perhaps refused to wear them because of a hole in one of them, does not bother him. For one who has walked barefoot, even shoes with a hole is a dream come true. But the game he is watching so intently is out of his reach.
চাহেবেও পিন্ধিছে টেনিছ জোতা যিবোৰ তেওঁৰ ৰং সলনি হোৱা চাৰ্ট আৰু শ্বৰ্টৰ ওপৰত অদ্ভুত দেখা যায়। “কোনোবাই মোক সেইবোৰ দিছিল”, বুজাই দিয়াৰ ধৰণেৰে কয়। সেইবোৰ যে কোনোবা ধনী ল’ৰাৰ পেলনীয়া জোতা, যিয়ে হয়তো এটাত ফুটা হোৱাৰ বাবে পিন্ধিবলৈ অস্বীকাৰ কৰিছিল, সেইটোৱে তেওঁক আমনি নকৰে। খালী ভৰিৰে খোজ কঢ়াৰ বাবে ফুটা থকা জোতাও সপোন পূৰণ হোৱাৰ ধৰে। কিন্তু ইমান মনোযোগেৰে চাই থকা খেলখন তেওঁৰ হাতৰে ঢুকি পোৱাৰ বাহিৰত।
This morning, Saheb is on his way to the milk booth. In his hand is a steel canister. “I now work in a tea stall down the road”, he says, pointing in the distance. “I am paid 800 rupees and all my meals.” Does he like the job? I ask. His face, I see, has lost the carefree look. The steel canister seems heavier than the plastic bag he would carry so lightly over his shoulder. The bag was his. The canister belongs to the man who owns the tea shop. Saheb is no longer his own master!
আজি ৰাতিপুৱা চাহেব গাখীৰৰ বুথলৈ গৈ আছে। হাতত ষ্টীলৰ কেনিষ্টাৰ এটা। “মই এতিয়া ৰাস্তাৰ তলৰ চাহৰ দোকান এটাত কাম কৰো”, দূৰৈত আঙুলিয়াই সি কয়। “মোক ৮০০ টকা আৰু মোৰ সকলো খাদ্য দিয়া হয়।” চাকৰিটো তেওঁৰ ভাল লাগে নেকি? মই সুধিছো। তেওঁৰ মুখখনে, মই দেখিছোঁ, নিৰ্বিকাৰ চাৱনিটো হেৰুৱাই পেলাইছে। ষ্টীলৰ কেনিষ্টাৰটো কান্ধৰ ওপৰেৰে ইমান লাহে লাহে কঢ়িয়াই নিয়া প্লাষ্টিকৰ বেগটোতকৈ গধুৰ যেন লাগে। বেগটো তেওঁৰ আছিল। কেনিষ্টাৰটো চাহ দোকানখনৰ মালিক মানুহজনৰ। চাহেব আৰু নিজৰ মালিক নহয়!
“I want to drive a car”
Mukesh insists on being his own master.
“I will be a motor mechanic”, he announces.
“Do you know anything about cars?” I ask.
“গাড়ী চলাব মন গৈছে”।
মুকেশে নিজৰ মালিক হ’বলৈ জোৰ দিয়ে।
“মই মটৰ মেকানিক হ’ম”, তেওঁ ঘোষণা কৰে।
“গাড়ীৰ বিষয়ে কিবা জানেনে?” মই সুধিছো।
“I will learn to drive a car”, he answers, looking straight into my eyes. His dream looms like a mirage amidst the dust of streets that fill his town Firozabad, famous for its bangles. Every other family in Firozabad is engaged in making bangles. It is the centre of India’s glass-blowing industry where families have spent generations working around furnaces, welding glass, making bangles for all the women in the land it seems.
“গাড়ী চলাবলৈ শিকিম”, মোৰ চকুলৈ পোনে পোনে চাই সি উত্তৰ দিয়ে। বেংগলৰ বাবে বিখ্যাত তেওঁৰ চহৰ ফিৰোজাবাদক ভৰাই থোৱা ৰাস্তাৰ ধূলিৰ মাজত তেওঁৰ সপোনটো মিৰাজৰ দৰে উৰি আছে। ফিৰোজাবাদৰ আন প্ৰতিটো পৰিয়ালেই বেংগল নিৰ্মাণত নিয়োজিত। ভাৰতৰ কাঁচ উৰুৱাই দিয়া উদ্যোগৰ কেন্দ্ৰবিন্দু য’ত পৰিয়ালসমূহে প্ৰজন্মৰ পিছত প্ৰজন্ম ধৰি চুলাৰ চাৰিওফালে কাম কৰি আহিছে, কাঁচ ৱেল্ডিং কৰি, ভূমিৰ সকলো মহিলাৰ বাবে বেংগল বনাইছে যেন লাগে।
Mukesh’s family is among them. None of them know that it is illegal for children like him to work in the glass furnaces with high temperatures, in dingy cells without air and light; that the law, if enforced, could get him and all those 20,000 children out of the hot furnaces where they slog their daylight hours, often losing the brightness of their eyes. Mukesh’s eyes beam as he volunteers to take me home, which he proudly says is being rebuilt. We walk down stinking lanes choked with garbage, past homes that remain hovels with crumbling walls, wobbly doors, no windows, crowded with families of humans and animals coexisting in a primeval state. He stops at the door of one such house, bangs a wobbly iron door with his foot, and pushes it open. We enter a half-built shack. In one part of it, thatched with dead grass, is a firewood stove over which sits a large vessel of sizzling spinach leaves. On the ground, in large aluminium platters, are more chopped vegetables. A frail young woman is cooking the evening meal for the whole family. Through eyes filled with smoke she smiles. She is the wife of Mukesh’s elder brother. Not much older in years, she has begun to command respect as the bahu, the daughter-in-law of the house, already in charge of three men—her husband, Mukesh and their father. When the older man enters, she gently withdraws behind the broken wall and brings her veil closer to her face. As custom demands, daughters-in-law must veil their faces before male elders. In this case the elder is an impoverished bangle maker. Despite long years of hard labour, first as a tailor, then a bangle maker, he has failed to renovate a house, send his two sons to school. All he has managed to do is teach them what he knows—the art of making bangles.
তাৰ ভিতৰত মুকেশৰ পৰিয়ালো আছে। তেওঁলোকৰ কোনোৱেই নাজানে যে তেওঁৰ দৰে ল’ৰা-ছোৱালীয়ে উচ্চ উষ্ণতাৰ কাঁচৰ চুলাত, বায়ু আৰু পোহৰ নথকা লেতেৰা কোঠাত কাম কৰাটো বেআইনী; যে আইনখন বলবৎ হ’লে তেওঁক আৰু সেই ২০,০০০ শিশুক দিনৰ পোহৰৰ সময়বোৰ ঠেলি দিয়া গৰম চুলাৰ পৰা উলিয়াই আনিব পৰা যাব, প্ৰায়ে চকুৰ উজ্জ্বলতা হেৰুৱাই পেলায়। স্বেচ্ছাই মোক ঘৰলৈ লৈ যোৱাৰ সময়ত মুকেশৰ চকু দুটা জিলিকি উঠে, যিটো তেওঁ গৌৰৱেৰে কয় যে পুনৰ নিৰ্মাণ কৰা হৈছে। আমি জাবৰেৰে শ্বাসৰুদ্ধ হৈ থকা দুৰ্গন্ধময় লেনবোৰেৰে খোজ কাঢ়ি গৈ থাকোঁ, ঘৰবোৰৰ কাষেৰে পাৰ হৈ যাওঁ যিবোৰ চিঙি যোৱা দেৱাল, দোল খাই থকা দুৱাৰ, খিৰিকী নথকা, আদিম অৱস্থাত সহাৱস্থান কৰা মানুহ আৰু জীৱ-জন্তুৰ পৰিয়ালেৰে ভৰি থকা ঘৰবোৰৰ কাষেৰে পাৰ হৈ যাওঁ৷ তেনেকুৱা এটা ঘৰৰ দুৱাৰত ৰৈ লৰচৰ কৰা লোহাৰ দুৱাৰ এখন ভৰিৰে খুন্দিয়াই ঠেলি খুলি দিয়ে। আমি আধা নিৰ্মিত জুপুৰি এটাত প্ৰৱেশ কৰোঁ। ইয়াৰ এটা অংশত মৰা ঘাঁহেৰে খেৰেৰে ঢাকি থোৱা খৰিৰ চৌকা এটা আছে যাৰ ওপৰত ছিটিকি থকা কচুৰ পাতৰ এটা ডাঙৰ পাত্ৰ বহি আছে। মাটিত, ডাঙৰ এলুমিনিয়ামৰ প্লেটত, অধিক কটা শাক-পাচলি থাকে। এগৰাকী দুৰ্বল যুৱতীয়ে গোটেই পৰিয়ালটোৰ বাবে সন্ধিয়াৰ আহাৰ ৰান্ধি আছে। ধোঁৱাৰে ভৰা চকু দুটাৰ মাজেৰে তাই হাঁহিছে। মুকেশৰ ডাঙৰ ভায়েকৰ পত্নী। বছৰ বছৰ ধৰি বেছি বয়সীয়াল নহয়, ঘৰৰ বোৱাৰী বাহু হিচাপে তাই সন্মান আদেশ দিবলৈ আৰম্ভ কৰিছে, ইতিমধ্যে তিনিজন পুৰুষৰ দায়িত্বত আছে— স্বামী মুকেশ আৰু তেওঁলোকৰ দেউতাক। ডাঙৰ মানুহজন সোমাই আহিলেই তাই ভঙা বেৰখনৰ পিছফালে লাহেকৈ আঁতৰি যায় আৰু তাইৰ ওৰণিখন মুখৰ ওচৰলৈ আনে। ৰীতি-নীতিৰ দাবী অনুসৰি বোৱাৰীয়েকে পুৰুষ বয়োজ্যেষ্ঠৰ আগত মুখত ওৰণি ল’ব লাগিব। এই ক্ষেত্ৰত বয়োজ্যেষ্ঠজন এজন দৰিদ্ৰ বেংগল নিৰ্মাতা। দীৰ্ঘ বছৰ ধৰি কঠোৰ পৰিশ্ৰম কৰিও প্ৰথমে দৰ্জী হিচাপে, তাৰ পিছত বেংগল নিৰ্মাতা হিচাপে ঘৰ এটা সংস্কাৰ কৰাত, পুত্ৰ দুজনক স্কুললৈ পঠিয়াবলৈ ব্যৰ্থ হৈছে। তেওঁ মাত্ৰ তেওঁলোকক যি জানে তাক শিকাবলৈ সক্ষম হৈছে— বেংগল বনোৱাৰ কলা।
“It is his karam, his destiny”, says Mukesh’s grandmother, who has watched her own husband go blind with the dust from polishing the glass of bangles. “Can a god-given lineage ever be broken?” she implies. Born in the caste of bangle makers, they have seen nothing but bangles in the house, in the yard, in every other house, every other yard, every street in Firozabad. Spirals of bangles—sunny gold, paddy green, royal blue, pink, purple, every colour born out of the seven colours of the rainbow—lie in mounds in unkempt yards, are piled on four-wheeled handcarts, pushed by young men along the narrow lanes of the shanty town. And in dark hutments, next to lines of flames of flickering oil lamps, sit boys and girls with their fathers and mothers, welding pieces of coloured glass into circles of bangles. Their eyes are more adjusted to the dark than to the light outside. That is why they often end up losing their eyesight before they become adults.
“এইটো তাৰ কৰম, তাৰ ভাগ্য”, বেংগলৰ গিলাচটো পলিচ কৰা ধূলিৰ বাবে নিজৰ স্বামীক অন্ধ হৈ যোৱাটো চাই থকা মুকেশৰ আইতাকে কয়। “ভগৱান প্ৰদত্ত বংশ কেতিয়াবা ভাঙিব পাৰিনে?” তাই ইংগিত দিয়ে। বেংগল নিৰ্মাতাৰ জাতিত জন্মগ্ৰহণ কৰা ফিৰোজাবাদৰ ঘৰত, চোতালত, আন প্ৰতিটো ঘৰত, প্ৰতিটো চোতালত, প্ৰতিটো গলিতে বেংগলৰ বাহিৰে একো দেখা নাই। বেংগলৰ সৰ্পিলবোৰ— ৰ’দঘাই সোণ, ধানৰ সেউজীয়া, ৰজাৰ নীলা, গোলাপী, বেঙুনীয়া, ৰামধেনুৰ সাতটা ৰঙৰ পৰা জন্ম হোৱা প্ৰতিটো ৰং—অলংকৃত চোতালত টিলাত পৰি আছে, চাৰিচকীয়া হেণ্ডগাৰ্টত স্তূপ হৈ আছে, ডেকাসকলে ঠেলি ঠেলি আৰু আন্ধাৰ জুপুৰিবোৰত, টিপটিপিয়া তেলৰ লেম্পৰ শিখাৰ ৰেখাৰ কাষত, ল’ৰা-ছোৱালীয়ে দেউতাক-মাতৃৰ সৈতে বহি থাকে, ৰঙীন কাঁচৰ টুকুৰাবোৰ ৱেল্ডিং কৰি বেংগলৰ বৃত্তত। বাহিৰৰ পোহৰতকৈ আন্ধাৰতহে তেওঁলোকৰ চকু দুটা বেছিকৈ খাপ খাই পৰে। সেইবাবেই প্ৰায়ে প্ৰাপ্তবয়স্ক হোৱাৰ আগতেই চকুৰ দৃষ্টিশক্তি হেৰুৱাই পেলায়।
Savita, a young girl in a drab pink dress, sits alongside an elderly woman, soldering pieces of glass. As her hands move mechanically like the tongs of a machine, I wonder if she knows the sanctity of the bangles she helps make. It symbolises an Indian woman’s suhaag, auspiciousness in marriage. It will dawn on her suddenly one day when her head is draped with a red veil, her hands dyed red with henna, and red bangles rolled onto her wrists. She will then become a bride. Like the old woman beside her who became one many years ago. She still has bangles on her wrist, but no light in her eyes. “Ek waqt ser bhar khana bhi nahin khaya”, she says, in a voice drained of joy. She has not enjoyed even one full meal in her entire lifetime—that’s what she has reaped! Her husband, an old man with a flowing beard, says, “I know nothing except bangles. All I have done is make a house for the family to live in.”
ড্ৰেব গোলাপী ৰঙৰ পোছাক পিন্ধা সৰু ছোৱালী সবিতাই এগৰাকী বৃদ্ধাৰ কাষত বহি কাঁচৰ টুকুৰাবোৰ ছল্ডাৰ কৰি আছে। তাইৰ হাত দুখনে মেচিনৰ টংৰ দৰে যান্ত্ৰিকভাৱে গতি কৰাৰ লগে লগে মই ভাবো তাই বনাবলৈ সহায় কৰা বেংগলবোৰৰ পবিত্ৰতা তাই জানে নেকি? ই এগৰাকী ভাৰতীয় নাৰীৰ চুহাগ, বিবাহত মংগলময়তাৰ প্ৰতীক। তাইৰ ওপৰত হঠাতে এদিন ৰাতিপুৱা হ’ব যেতিয়া তাইৰ মূৰত ৰঙা ওৰণি এখন মেৰিয়াই লোৱা হ’ব, হাত দুখন হেনাৰে ৰঙা ৰং কৰা হ’ব আৰু হাতৰ কব্জিত ৰঙা বেংগল গুটিয়াই লোৱা হ’ব। তেতিয়া তাই কইনা হ’ব। যেনেকৈ বহু বছৰৰ আগতে এগৰাকী হৈ পৰা কাষৰ বুঢ়ীজনী। তাইৰ হাতৰ কব্জিত এতিয়াও বেংগল আছে, কিন্তু চকুত পোহৰ নাই। “এক ৱাক্ট চেৰ ভৰ খানা ভি নাহিন খায়া”, আনন্দৰ পৰা নিৰ্গত মাতেৰে তাই কয়। তাই গোটেই জীৱনত এটাও সম্পূৰ্ণ আহাৰ উপভোগ কৰা নাই—সেইটোৱেই তাই চপাইছে! বৈ যোৱা দাড়ি থকা বুঢ়া মানুহ তাইৰ স্বামীয়ে কয়, “মই বেংগলৰ বাহিৰে একো নাজানো। মই মাত্ৰ পৰিয়ালটোৰ বাবে ঘৰ এটা বনাইছো।”
Hearing him, one wonders if he has achieved what many have failed in their lifetime. He has a roof over his head!
তেওঁৰ কথা শুনি এজনে ভাবিব পাৰে যে তেওঁ জীৱনত বহুতে যিখিনি ব্যৰ্থ হৈছে, সেইখিনি তেওঁ লাভ কৰিছে নেকি? তাৰ মূৰৰ ওপৰত চালি আছে!
The cry of not having money to do anything except carry on the business of making bangles, not even enough to eat, rings in every home. The young men echo the lament of their elders. Little has moved with time, it seems, in Firozabad. Years of mind-numbing toil have killed all initiative and the ability to dream.
খাবলৈও পৰ্যাপ্ত নোহোৱা বেংগল বনোৱাৰ ব্যৱসায় আগবঢ়াই নিয়াৰ বাহিৰে একো কৰিবলৈ টকা নাই বুলি চিঞৰ বাজিছে প্ৰতিখন ঘৰতে। ডেকাসকলে নিজৰ বয়োজ্যেষ্ঠসকলৰ বিলাপ প্ৰতিধ্বনিত কৰে। সময়ৰ লগে লগে অলপহে আগবাঢ়িছে, যেন ফিৰোজাবাদত। বছৰ বছৰ ধৰি মনটোক অজ্ঞান কৰি তোলা পৰিশ্ৰমে সকলো পদক্ষেপ আৰু সপোন দেখা ক্ষমতাক হত্যা কৰি পেলাইছে।
“Why not organise yourselves into a cooperative?” I ask a group of young men who have fallen into the vicious circle of middlemen who trapped their fathers and forefathers. “Even if we get organised, we are the ones who will be hauled up by the police, beaten and dragged to jail for doing something illegal”, they say. There is no leader among them, no one who could help them see things differently. Their fathers are as tired as they are. They talk endlessly in a spiral that moves from poverty to apathy to greed and injustice.
“কিয় নিজকে সমবায় হিচাপে সংগঠিত নহয়?” পিতৃ-পূৰ্বপুৰুষক আৱদ্ধ কৰি ৰখা মধ্যভোগীৰ দুষ্ট চক্ৰত পৰি যোৱা ডেকা দল এটাক সুধিছো। তেওঁলোকে কয় যে আমি সংগঠিত হ’লেও আৰক্ষীয়ে টানি টানি আনিব, মাৰপিট কৰি জেললৈ টানি লৈ যাব বুলি তেওঁলোকে কয়। তেওঁলোকৰ মাজত কোনো নেতা নাই, তেওঁলোকক বেলেগ ধৰণেৰে চোৱাত সহায় কৰিব পৰা কোনো নাই। সিহঁতৰ পিতৃ-মাতৃও সিহঁতৰ দৰেই ভাগৰুৱা হৈ পৰিছে। দৰিদ্ৰতাৰ পৰা উদাসীনতাৰ পৰা লোভ আৰু অন্যায়লৈ গতি কৰা সৰ্পিল ধাৰাত অন্তহীনভাৱে কথা পাতে।
Listening to them, I see two distinct worlds—one of the family, caught in a web of poverty, burdened by the stigma of caste in which they are born; the other a vicious circle of sahukars, the middlemen, the policemen, the keepers of law, the bureaucrats and the politicians. Together they have imposed the baggage on the child that he cannot put down. Before he is aware, he accepts it as naturally as his father. To do anything else would mean to dare. And daring is not part of his growing up. When I sense a flash of it in Mukesh I am cheered. “I want to be a motor mechanic”, he repeats. He will go to a garage and learn. But the garage is a long way from his home. “I will walk”, he insists. “Do you also dream of flying a plane?” He is suddenly silent. “No”, he says, staring at the ground. In his small murmur there is an embarrassment that has not yet turned into regret. He is content to dream of cars that he sees hurtling down the streets of his town. Few airplanes fly over Firozabad.
তেওঁলোকৰ কথা শুনি মই দুখন সুকীয়া জগত দেখা পাওঁ— পৰিয়ালৰ এখন, দৰিদ্ৰতাৰ জালত আবদ্ধ, জন্ম হোৱা জাতিৰ কলংকৰ বোজা; আনটো সাহুকাৰ, মধ্যভোগী, আৰক্ষী, আইনৰ ৰক্ষক, আমোলা আৰু ৰাজনীতিবিদৰ দুষ্ট চক্ৰ। তেওঁলোকে একেলগে শিশুটিৰ ওপৰত জাপি দিছে যিটো লটাৰী তেওঁ থৈ দিব নোৱাৰে। সচেতন হোৱাৰ আগতেই দেউতাকৰ দৰেই স্বাভাৱিকভাৱে মানি লয়। আন যিকোনো কাম কৰাৰ অৰ্থ হ’ব সাহস কৰা। আৰু সাহস তেওঁৰ ডাঙৰ হোৱাৰ অংশ নহয়। যেতিয়া মই মুকেশত ইয়াৰ এটা জিলিকনি অনুভৱ কৰো তেতিয়া মোৰ উল্লাস হয়। “মই মটৰ মেকানিক হ’ব বিচাৰো”, তেওঁ পুনৰাবৃত্তি কৰে। এটা গেৰেজত গৈ সি শিকিব। কিন্তু গেৰেজটো তাৰ ঘৰৰ পৰা বহু দূৰত। “মই খোজ কাঢ়ি যাম”, তেওঁ জোৰ দি কয়। “আপুনিও বিমান উৰোৱাৰ সপোন দেখে নেকি?” হঠাৎ নিমাত হৈ পৰে সি। “নাই”, মাটিলৈ চাই সি কয়। তেওঁৰ সৰু গুণগুণনিটোত এটা লাজ আছে যিটো এতিয়াও অনুশোচনালৈ পৰিণত হোৱা নাই। নিজৰ চহৰৰ ৰাজপথত হুৰহুৰাই যোৱা গাড়ীবোৰৰ সপোন দেখিয়েই তেওঁ সন্তুষ্ট। ফিৰোজাবাদৰ ওপৰেৰে কম বিমান উৰিব।
Narrative Summary of Lost Spring
Lost Spring: Stories of Stolen Childhood by Anees Jung is a powerful piece of writing that shows us the real lives of poor children in India, whose childhoods are lost in the struggle for survival. The author presents this truth through two real-life stories—one of Saheb, a ragpicker from Seemapuri, and another of Mukesh, a boy from Firozabad who belongs to a family of bangle makers.
হেৰোৱা বসন্ত: হেৰাই যোৱা শৈশৱৰ কাহিনী আনীছ জঙৰ এক শক্তিশালী লেখা যিয়ে আমাক দেখুৱাইছে ভাৰতৰ দুখীয়া শিশুসকলৰ বাস্তৱ জীৱন, যাৰ শৈশৱ জীয়াই থকাৰ সংগ্ৰামত হেৰাই গৈছে। লেখকে এই সত্যক বাস্তৱ জীৱনৰ দুটা কাহিনীৰ জৰিয়তে উপস্থাপন কৰিছে—এটা সীমাপুৰীৰ ৰেগপিকাৰ চাহেবৰ আৰু আনটো ফিৰোজাবাদৰ ল’ৰা মুকেশৰ যি এজন বেংগল নিৰ্মাতা পৰিয়ালৰ অন্তৰ্গত।
In the first part, we meet Saheb, who once lived in the green fields of Dhaka, but his home was destroyed by storms. His family came to Delhi, hoping to survive. Now he scrounges in garbage dumps every morning. He tells the author, “Sometimes I find a rupee, even a ten-rupee note.” To him, garbage is not just waste—it is hope, maybe even a treasure. His name is Saheb-e-Alam, which means “Lord of the Universe”, but he does not know that. The name feels ironic because in reality, he owns nothing—not even shoes.
প্ৰথম খণ্ডত আমি চাহেবক লগ পাওঁ, যিজনে এসময়ত ঢাকাৰ সেউজীয়া পথাৰত বাস কৰিছিল, কিন্তু তেওঁৰ ঘৰখন ধুমুহাই ধ্বংস কৰি পেলাইছিল। জীয়াই থকাৰ আশাত তেওঁৰ পৰিয়াল আহিছিল দিল্লীলৈ। এতিয়া সি প্ৰতিদিনে ৰাতিপুৱা জাবৰৰ দমবোৰত খোজ কাঢ়ি থাকে। তেওঁ লেখকক কৈছে, “কেতিয়াবা এটকা বিচাৰি পাওঁ, আনকি দহ টকীয়া নোট এখনো।” তেওঁৰ বাবে জাবৰ কেৱল আৱৰ্জনা নহয়— ই আশা, হয়তো ধনো। তেওঁৰ নাম চাহেব-ই-আলম, যাৰ অৰ্থ হৈছে “ব্ৰহ্মাণ্ডৰ প্ৰভু”, কিন্তু তেওঁ সেই কথা নাজানে। নামটো বিদ্ৰুপৰ দৰে লাগে কাৰণ বাস্তৱত তেওঁৰ একোৱেই নাই— আনকি জোতাও নাই।
The author asks him why he doesn’t go to school. He replies there is no school in his area. When the author jokingly promises to build one, he takes it seriously and later asks, “Is your school ready?” This shows how children like Saheb live on small hopes and broken promises.
লেখকে তেওঁক সুধিছে যে তেওঁ কিয় স্কুললৈ নাযায়। তেওঁ উত্তৰ দিয়ে যে তেওঁৰ অঞ্চলত স্কুল নাই। লেখকে যেতিয়া ধেমালিতে এটা নিৰ্মাণ কৰাৰ প্ৰতিশ্ৰুতি দিয়ে, তেতিয়া তেওঁ গুৰুত্বসহকাৰে লয় আৰু পিছত সুধিছে, “আপোনাৰ স্কুল সাজু হৈছেনে?” ইয়াৰ পৰা দেখা যায় যে চাহেবৰ দৰে ল’ৰা-ছোৱালীয়ে কেনেকৈ সৰু সৰু আশা আৰু ভংগ প্ৰতিশ্ৰুতিৰে জীৱন নিৰ্বাহ কৰে।
Saheb later starts working at a tea stall for ₹800 and all meals. But now, he looks less cheerful. The author notices that the plastic bag he once carried lightly has been replaced with a steel canister, which looks heavy. That plastic bag was his own. The canister belongs to the tea-shop owner. Saheb is no longer his own master.
চাহেবে পিছত ₹৮০০ টকা আৰু সকলো আহাৰত চাহ ষ্টলত কাম কৰিবলৈ আৰম্ভ কৰে। কিন্তু এতিয়া, তেওঁক কম উল্লাসিত যেন লাগে। লেখকে লক্ষ্য কৰিছে যে এসময়ত তেওঁ লাহে লাহে কঢ়িয়াই অনা প্লাষ্টিকৰ বেগটোৰ ঠাইত ষ্টীলৰ কেনিষ্টাৰ এটা লগোৱা হৈছে, যিটো দেখাত গধুৰ। সেই প্লাষ্টিকৰ বেগটো তেওঁৰ নিজৰ আছিল। কেনিষ্টাৰটো চাহ দোকানৰ মালিকৰ। চাহেব এতিয়া নিজৰ মালিক নহয়।
In the second part, we meet Mukesh, who lives in Firozabad, a city famous for making glass bangles. His entire family is involved in bangle-making. The work is dangerous—done in dark, hot rooms—and many children lose their eyesight while working. The law says children should not work in such conditions, but still, about 20,000 children work there.
দ্বিতীয় খণ্ডত আমি কাঁচৰ বেংগল বনোৱাৰ বাবে বিখ্যাত চহৰ ফিৰোজাবাদত বাস কৰা মুকেশক লগ পাওঁ। তেওঁৰ সমগ্ৰ পৰিয়ালটো বেংগল নিৰ্মাণৰ লগত জড়িত। কামটো বিপদজনক—আন্ধাৰ, গৰম কোঠাত কৰা হয়—আৰু বহু শিশুৱে কাম কৰাৰ সময়ত চকুৰ দৃষ্টিশক্তি হেৰুৱাই পেলায়। আইনত কোৱা হৈছে যে এনে অৱস্থাত শিশুৱে কাম কৰিব নালাগে, কিন্তু তথাপিও, প্ৰায় ২০ হাজাৰ শিশুৱে তাত কাম কৰে।
Mukesh takes the author to his house—a half-built shack with no proper walls or windows. His sister-in-law, though young, cooks and runs the household. His grandmother says, “It is his karam, his destiny.” She believes that they are born into bangle-making and cannot escape it.
মুকেশে লেখকক নিজৰ ঘৰলৈ লৈ যায়— কোনো উপযুক্ত দেৱাল বা খিৰিকী নথকা আধা নিৰ্মিত জুপুৰি। বায়েক সৰু হ’লেও ৰান্ধি ঘৰখন চলাই থাকে। আইতাই কয়, “এইটো তাৰ কৰম, তাৰ ভাগ্য।” তাইৰ বিশ্বাস যে তেওঁলোক জন্মতে বেংগল নিৰ্মাণৰ মাজত আৰু ইয়াৰ পৰা সাৰি যাব নোৱাৰে।
In Firozabad, the streets are full of spirals of colourful bangles, but the lives behind them are full of darkness and hunger. Savita, a young girl, sits welding bangles, not even knowing what they mean. The old woman next to her says she has never had a full meal in her life, even after years of hard work.
ফিৰোজাবাদত ৰাজপথবোৰ ৰঙীন বেংগলৰ সৰ্পিল ৰঙেৰে ভৰি আছে যদিও পিছফালৰ জীৱনবোৰ আন্ধাৰ আৰু ভোকেৰে ভৰি আছে। সৰু ছোৱালী সবিতাই বেংগল ৱেল্ডিং কৰি বহি থাকে, ইয়াৰ অৰ্থ কি সেয়াও নাজানে। কাষৰ বুঢ়ীগৰাকীয়ে কয় যে বছৰ বছৰ ধৰি কষ্ট কৰিও জীৱনত কেতিয়াও সম্পূৰ্ণ আহাৰ খোৱা নাই।
Despite this hopeless environment, Mukesh is different. He says, “I want to be a motor mechanic.” He is ready to walk to a garage and learn. When the author asks if he wants to fly a plane, he says “No” and looks down. It shows he dreams only what feels possible—but at least he dares to dream. That itself is rare in a place where most have forgotten how to.
এই আশাহীন পৰিবেশৰ মাজতো মুকেশ বেলেগ। তেওঁ কয়, “মই মটৰ মেকানিক হ’ব বিচাৰো।” খোজ কাঢ়ি গেৰেজ এটালৈ গৈ শিকিবলৈ সাজু। লেখকে বিমান উৰুৱাব বিচাৰে নেকি বুলি সুধিলে “নাই” বুলি কৈ তললৈ চাই থাকে। ইয়াৰ পৰা দেখা যায় যে তেওঁ কেৱল সেইটোৱেই সপোন দেখে যিটো সম্ভৱ বুলি অনুভৱ কৰে—কিন্তু অন্ততঃ তেওঁ সপোন দেখাৰ সাহস কৰে। যিটো ঠাইত বেছিভাগেই কেনেকৈ কৰিব লাগে পাহৰি গৈছে তাত সেইটো নিজেই বিৰল।
Through the stories of Saheb and Mukesh, the writer shows how poverty, tradition, and social injustice steal the childhood of poor children. But she also shows that even in such a world, small dreams can still survive.
চাহেব আৰু মুকেশৰ কাহিনীৰ জৰিয়তে লেখকে দেখুৱাইছে যে দৰিদ্ৰ, পৰম্পৰা, সামাজিক অন্যায়ে কেনেকৈ দৰিদ্ৰ শিশুৰ শৈশৱ চুৰি কৰে। কিন্তু তাই এইটোও দেখুৱাইছে যে এনে এখন পৃথিৱীতো সৰু সৰু সপোনবোৰ এতিয়াও জীয়াই থাকিব পাৰে।
- What is Saheb looking for in the garbage dumps? Where is he and where has he come from?
Answer: Saheb is looking for gold in the garbage dumps. He lives in a neighbourhood of the author and has come from Dhaka. His home, set amidst the green fields of Dhaka, was swept away by many storms. That’s why they left and came to the big city. - What explanations does the author offer for the children not wearing footwear?
Answer: One boy says, “My mother did not bring them down from the shelf.” Another, wearing mismatched shoes, stays silent. A third says, “I want shoes,” though he has never owned a pair in his life. The author observes that it is sometimes explained as a tradition to stay barefoot, but she wonders if it is only an excuse to explain away a perpetual state of poverty. - Is Saheb happy working at the tea-stall? Explain.
Answer: No, Saheb is not happy. Though he now earns 800 rupees and all his meals, his face has lost the carefree look. The steel canister he carries seems heavier than the plastic bag he once carried so lightly. The bag was his own, but the canister belongs to the tea-shop owner. Saheb is no longer his own master. - What makes the city of Firozabad famous?
Answer: The city of Firozabad is famous for bangles. It is the centre of India’s glass-blowing industry where every other family is engaged in making bangles. - Mention the hazards of working in the glass bangles industry.
Answer: Children like Mukesh work in glass furnaces with high temperatures, in dingy cells without air and light. They slog their daylight hours and often lose the brightness of their eyes. Many end up losing their eyesight before becoming adults. The dust from polishing the glass also causes blindness. - How is Mukesh’s attitude to his situation different from that of his family?
Answer: Mukesh insists on being his own master. He dreams of becoming a motor mechanic and says, “I will learn to drive a car.” Unlike his family, who accept bangle-making as their destiny (karam), Mukesh dares to dream and wants to do something different. He is determined, even saying, “I will walk” to reach the garage. - What could be some of the reasons for the migration of people from villages to cities?
Answer: In the text, Saheb’s family migrates from Dhaka because many storms swept away their fields and homes. Later, women in Seemapuri say, “If at the end of the day we can feed our families and go to bed without an aching stomach, we would rather live here than in the fields that gave us no grain.” So, migration happens due to natural disasters and lack of food. - Would you agree that promises made to poor children are rarely kept? Why do you think this happens in the incidents narrated in the text?
Answer: Yes, promises to poor children are rarely kept. The narrator jokingly tells Saheb that she will start a school, and Saheb seriously believes her. Later, when he asks, “Is your school ready?” she feels embarrassed. This shows how easily poor children trust, but those in power often make casual promises without meaning to fulfil them. In their bleak world, empty promises are common. - What forces conspire to keep the workers in the bangle industry of Firozabad in poverty?
Answer: The workers are caught in a web of poverty, caste stigma, and a vicious circle of sahukars (moneylenders), middlemen, policemen, law-keepers, bureaucrats, and politicians. These forces together have imposed the baggage on the child that he cannot put down. The families accept their fate, and without leadership or change, they remain trapped. - How, in your opinion, can Mukesh realise his dream?
Answer: Mukesh says, “I will be a motor mechanic” and “I will walk” to the garage. His determination, despite poverty and distance, shows that he is ready to work hard. If he continues with the same willpower, he can learn the skills and escape the bangle-making trap. Support and access to training would help him reach his goal. - Mention the hazards of working in the glass bangles industry.
Answer: Children work in high temperatures and dark, airless rooms. They often lose their eyesight before becoming adults. The dust from polishing glass also leads to blindness. The work is tedious and dangerous, affecting both health and dreams. - Why should child labour be eliminated and how?
Answer: Child labour should be eliminated because it robs children of education, freedom, and health. In the text, 20,000 children work in glass furnaces illegally. Laws exist but are not enforced. To eliminate child labour, strict law enforcement, education, awareness, and breaking the cycle of poverty through economic support are needed.
Literary Devices
- “Saheb-e-Alam which means the lord of the universe is directly in contrast to what Saheb is in reality.”
Narrative Method: Irony
The writer uses the meaning of Saheb’s name to show the big difference between his name and his poor condition. This contrast creates strong emotion without directly saying it. - “Drowned in an air of desolation.”
Narrative Method: Metaphor
The word “drowned” is not about water. It shows that the place is full of sadness. The writer compares the feeling of sadness to someone drowning. This gives a deep emotional effect. - “Seemapuri, a place on the periphery of Delhi yet miles away from it, metaphorically.”
Narrative Method: Metaphor
Though Seemapuri is close to Delhi by distance, it is far behind in development and lifestyle. The writer uses the word “metaphorically” to show how different the lives of people are there. - “For the children it is wrapped in wonder; for the elders it is a means of survival.”
Narrative Method: Contrast and Metaphor
The writer shows the different ways children and adults see garbage. For children, it is full of hope and surprise. For adults, it is only a way to stay alive. This contrast adds meaning. - “As her hands move mechanically like the tongs of a machine, I wonder if she knows the sanctity of the bangles she helps make.”
Narrative Method: Simile
The girl’s hands are compared to machine tongs using “like”. This shows how she works without emotion or understanding. The writer uses this to show how child labour removes joy and meaning. - “She still has bangles on her wrist, but not light in her eyes.”
Narrative Method: Metaphor
Here, “light in her eyes” means hope or happiness. The writer uses this metaphor to show that her life has lost all joy. The contrast between the colourful bangles and her dull eyes adds power to the image. - “Few airplanes fly over Firozabad.”
Narrative Method: Symbolism
This simple line shows that modern progress does not reach Firozabad. Airplanes represent development. Their absence shows that this town is left behind. - “Web of poverty.”
Narrative Method: Metaphor
The writer compares poverty to a spider’s web. Once someone is trapped, it is very hard to escape. This image helps us understand how deep and complicated poverty is. - “Scrounging for gold.”
Narrative Method: Hyperbole (exaggeration)
The writer calls garbage “gold” to show how important it is to ragpickers. Of course, there is no real gold. This exaggeration shows how their survival depends on it. - “And survival in Seemapuri means rag-picking. Through the years, it has acquired the proportions of a fine art.”
Narrative Method: Hyperbole and Metaphor
Calling rag-picking a “fine art” is an exaggeration. It means that people have become very skilled at it over the years. This shows how serious and organised the work has become, even though it is low and poor. - “The steel canister seems heavier than the plastic bag he would carry so lightly over his shoulders.”
Narrative Method: Symbolism and Contrast
The canister is not just heavy because of weight. It feels heavier because now Saheb works under someone else. The plastic bag was light and his own. This line shows how he has lost his freedom and joy.
Lost Spring – 50 MCQs with Answers
- What is Saheb looking for in the garbage dumps?
A) Food B) Toys C) Gold D) Clothes
Answer: C) Gold - Where is Saheb originally from?
A) Bihar B) Dhaka C) Kolkata D) Seemapuri
Answer: B) Dhaka - What does Saheb’s name mean?
A) Rich man B) God of Streets C) Lord of the Universe D) Master of City
Answer: C) Lord of the Universe - What does the author suggest to Saheb about his future?
A) Join army B) Go to school C) Start a business D) Learn a skill
Answer: B) Go to school - Why can’t Saheb go to school?
A) No interest B) Has no money C) No school nearby D) Is too young
Answer: C) No school nearby - What does the author promise Saheb jokingly?
A) A job B) A house C) A bicycle D) A school
Answer: D) A school - How does Saheb react to the author’s promise?
A) Ignores it B) Gets angry C) Believes it D) Laughs
Answer: C) Believes it - Why are the boys barefoot according to one of them?
A) It is a ritual B) No money C) Mother didn’t take shoes down D) It is cool
Answer: C) Mother didn’t take shoes down - What reason is given for barefoot tradition?
A) Culture B) Superstition C) Poverty excuse D) Disease
Answer: C) Poverty excuse - What did the boy in Udipi pray for?
A) Books B) Food C) Shoes D) Toys
Answer: C) Shoes - Where did Saheb’s family settle after leaving Dhaka?
A) Kolkata B) Seemapuri C) Noida D) Gurgaon
Answer: B) Seemapuri - What is the population of ragpickers in Seemapuri?
A) 5,000 B) 10,000 C) 2,000 D) 20,000
Answer: B) 10,000 - What do ration cards provide to the people in Seemapuri?
A) Citizenship B) School admission C) Food grains D) Free house
Answer: C) Food grains - How long have people lived in Seemapuri?
A) 5 years B) 10 years C) 20 years D) 30 years
Answer: D) 30 years - What is garbage to children, according to the author?
A) A mystery B) A means of survival C) Full of wonder D) Dirty work
Answer: C) Full of wonder - What is garbage to adults?
A) A job B) A duty C) A treasure D) A means of survival
Answer: D) A means of survival - What sport does Saheb enjoy watching?
A) Cricket B) Football C) Tennis D) Hockey
Answer: C) Tennis - Where does Saheb work later in the story?
A) Tea stall B) Garage C) School D) Bakery
Answer: A) Tea stall - What is Saheb’s salary at the tea stall?
A) 500 rupees B) 700 rupees C) 800 rupees D) 1000 rupees
Answer: C) 800 rupees - What does Saheb carry to the milk booth?
A) Plastic bag B) Steel canister C) Clay pot D) Bottle
Answer: B) Steel canister - What dream does Mukesh have?
A) Pilot B) Motor mechanic C) Doctor D) Police officer
Answer: B) Motor mechanic - What city does Mukesh live in?
A) Agra B) Kanpur C) Firozabad D) Bareilly
Answer: C) Firozabad - Firozabad is famous for?
A) Toys B) Shoes C) Bangles D) Textiles
Answer: C) Bangles - What is the work environment like in the bangle industry?
A) Bright and open B) Dark and hot C) Cool and clean D) Modern
Answer: B) Dark and hot - What major health issue affects bangle workers?
A) Skin disease B) Blindness C) Fever D) Asthma
Answer: B) Blindness - What has Mukesh’s grandfather gone blind from?
A) Fire B) Smoke C) Glass dust D) Light
Answer: C) Glass dust - Who commands respect as the daughter-in-law in Mukesh’s house?
A) His mother B) His sister C) His brother’s wife D) His aunt
Answer: C) His brother’s wife - What type of food was cooking in Mukesh’s house?
A) Dal B) Potato curry C) Spinach D) Rice
Answer: C) Spinach - What does the grandmother say about destiny?
A) It can be changed B) It is god-given C) It is luck D) It is earned
Answer: B) It is god-given - How do families in Firozabad see their work?
A) As a curse B) As a duty C) As tradition D) As temporary
Answer: C) As tradition - What is used to compare poverty in Firozabad?
A) Fire B) Web C) Chain D) Net
Answer: B) Web - Who traps the bangle workers in poverty?
A) Their families B) Politicians C) Middlemen and sahukars D) Factory owners
Answer: C) Middlemen and sahukars - Why don’t people in Firozabad form cooperatives?
A) Fear of police B) No unity C) No time D) Lack of money
Answer: A) Fear of police - What has killed the ability to dream in young men?
A) Old age B) Anger C) Long hours of labour D) Education
Answer: C) Long hours of labour - Who helps the writer visit Mukesh’s house?
A) His father B) His brother C) Mukesh himself D) A neighbour
Answer: C) Mukesh himself - What does Mukesh proudly say about his house?
A) It is new B) It is big C) It is being rebuilt D) It has fans
Answer: C) It is being rebuilt - What kind of dress is Savita wearing?
A) Red saree B) White frock C) Pink dress D) Yellow salwar
Answer: C) Pink dress - What does the author compare Savita’s hand movement to?
A) A bird B) A machine C) A dancer D) A robot
Answer: B) A machine - What do bangles symbolize for Indian women?
A) Beauty B) Wealth C) Marriage D) Luck
Answer: C) Marriage - What does the old woman say she never had in her life?
A) Jewellery B) Full meal C) Freedom D) Love
Answer: B) Full meal - What did the old man build for his family?
A) A bangle shop B) A school C) A house D) A garage
Answer: C) A house - What burden is passed from father to child in Firozabad?
A) Land B) Debt C) Caste and work D) Illness
Answer: C) Caste and work - How do Mukesh’s eyes look when he speaks of his dream?
A) Sad B) Angry C) Bright D) Hopeless
Answer: C) Bright - What does the steel canister represent in Saheb’s life?
A) Wealth B) Slavery C) Lost freedom D) Success
Answer: C) Lost freedom - How many children work in the glass industry, according to the text?
A) 10,000 B) 15,000 C) 20,000 D) 25,000
Answer: C) 20,000 - What is Mukesh’s final answer to the writer’s question about flying a plane?
A) Yes B) Maybe C) Never D) No
Answer: D) No - What does the plastic bag represent in Saheb’s past?
A) Burden B) Freedom C) Shame D) Loss
Answer: B) Freedom - What does the author compare the boys to when they roam the streets?
A) Birds B) Shadows C) Clouds D) Bees
Answer: A) Birds - How long do barefoot boys stay on the streets before disappearing?
A) Afternoon B) Noon C) Evening D) Night
Answer: B) Noon - What does the story mainly focus on?
A) School education B) Industrial success C) Child labour and poverty D) Urban development
Answer: C) Child labour and poverty
- What literary method is used in Saheb’s name “Saheb-e-Alam” being opposite to his life?
Answer: Irony - Which device is used in the line “Drowned in an air of desolation”?
Answer: Metaphor - “Seemapuri… yet miles away from Delhi, metaphorically” reflects which narrative method?
Answer: Metaphor - What does the contrast between children’s and elders’ views of garbage show?
Answer: Dual perspective through contrast and metaphor - “As her hands move mechanically like the tongs of a machine” uses which figure of speech?
Answer: Simile - “She still has bangles on her wrist, but not light in her eyes” uses what device?
Answer: Metaphor - What does the image of “web of poverty” signify in the text?
Answer: Metaphor showing entrapment - How does Anees Jung make poverty feel like a trap?
Answer: Through metaphorical language like “web” - “Scrounging for gold” in garbage is an example of which device?
Answer: Hyperbole - What does the “steel canister” symbolise in Saheb’s later life?
Answer: Loss of freedom - The shift from plastic bag to steel canister reflects what kind of narrative contrast?
Answer: Symbolism of freedom vs burden - What poetic device is used in “few airplanes fly over Firozabad”?
Answer: Symbolism (of lack of progress) - What is shown through the image of barefoot boys “appearing like the morning birds”?
Answer: Simile and imagery - “Rag-picking has acquired the proportions of a fine art” is an example of what?
Answer: Hyperbole - How does the author make real-life poverty sound poetic in the text?
Answer: By using imagery, metaphors, and emotional contrast
- How does the name “Saheb-e-Alam” become ironic in the story? Explain the contrast between the name’s meaning and the boy’s real life.
Answer: The name “Saheb-e-Alam” means “Lord of the Universe,” which suggests power and luxury. But in reality, Saheb is a barefoot ragpicker who scrounges garbage to survive. The irony lies in the vast difference between his name and his poor condition. The author uses this contrast to highlight the emptiness of identity in the face of poverty. - Describe how the author uses the metaphor “web of poverty” to show the hopelessness of the bangle workers in Firozabad.
Answer: The “web of poverty” metaphor shows that poverty traps families like a spider web—once caught, they cannot escape. It reflects the layered problems of caste, tradition, and exploitation that surround these workers. The author uses this image to show how deep and inescapable their condition is. - Explain the difference in how children and elders view garbage, as described by the narrator. What narrative techniques are used here?
Answer: For children, garbage is “wrapped in wonder”; for elders, it is survival. This contrast is created using metaphor and dual perspective. The children see hope, like finding coins, while elders see garbage as their daily bread. The author uses this to show how poverty kills wonder with age. - How does the writer use contrast and imagery to describe barefoot boys on the streets? What does this image suggest?
Answer: The boys are described as “an army of barefoot boys who appear like the morning birds.” This simile and imagery show them as innocent and free yet poor. The contrast between their cheerful movement and lack of basic footwear highlights the normalisation of poverty in their lives. - What is the symbolic difference between Saheb’s plastic bag and the steel canister? How does the writer use these to reflect his changing life?
Answer: The plastic bag symbolises freedom and childhood, while the steel canister symbolises burden and lost identity. Earlier, Saheb carried the bag lightly—it was his own. Later, the canister is heavy—it belongs to someone else. This contrast shows his shift from free ragpicker to a worker under control. - How does the author use hyperbole in the line “Scrounging for gold”? What effect does it have?
Answer: The phrase “scrounging for gold” is an exaggeration. There’s no real gold in garbage, but for the poor, even a rupee coin is treasure. The hyperbole shows how valuable garbage is to them. It also draws attention to their harsh reality with emotional force. - What literary device is used in the phrase “Drowned in an air of desolation”? How does it affect the tone?
Answer: This is a metaphor. “Drowned” usually refers to water, but here it means being fully surrounded by sadness. The use of this metaphor makes the description of the old temple more vivid and gives a heavy, sorrowful tone to the setting. - Why does the author say “Few airplanes fly over Firozabad”? What does this suggest symbolically?
Answer: This symbolic line shows that Firozabad is far removed from development and modern life. Airplanes represent progress and movement, and their absence shows how stuck the people of Firozabad are in poverty and tradition. - How does Anees Jung describe the skill of ragpickers in Seemapuri using poetic language?
Answer: The author says rag-picking has “acquired the proportions of a fine art.” This is a metaphor and hyperbole. It suggests that people have become skilled in this work over generations. It also adds dignity to an otherwise lowly and ignored job. - What effect does the simile “like the tongs of a machine” have when describing Savita’s hands?
Answer: This simile shows how Savita works like a machine—without emotion or thought. It reflects the mechanical nature of child labour. The author uses this comparison to show how poverty and tradition have taken away her childhood and understanding of the meaning behind her work.
- How does Anees Jung use contrast and irony to bring out the harsh realities of children like Saheb in Lost Spring?
Answer: Anees Jung uses irony and contrast effectively. Saheb’s full name, “Saheb-e-Alam,” means “Lord of the Universe,” which is ironic because he is a ragpicker, roaming barefoot in poverty. He does not even know what his name means. The author doesn’t call him helpless; instead, she shows it through contrast between his name and his condition. Another contrast is seen when she promises a school jokingly, and Saheb seriously believes her. This shows how children like him live in hope but face broken promises. The transition from carrying a plastic bag to a steel canister also shows the loss of freedom. The canister, which is not his own, represents his new life of labour under someone else’s control. This contrast highlights how poverty steals their independence and childhood.
- How is symbolism used in Lost Spring to reflect the theme of lost freedom and identity in the lives of poor children?
Answer: Symbolism is used in simple, everyday objects. In the beginning, Saheb carries a plastic bag—light and his own. Later, when he starts working at a tea stall, he carries a steel canister. The plastic bag symbolises his childhood and freedom, even in poverty. The steel canister, which belongs to the tea shop owner, symbolises burden and loss of independence. Another symbolic line is “Few airplanes fly over Firozabad,” which shows how disconnected the town is from progress. The “web of poverty” is also symbolic—it shows that poverty is not just about lack of money, but a trap created by tradition, caste, and exploitation. These symbols help the reader feel the weight of poverty more deeply.
- Describe how the author uses imagery and metaphor in her description of the bangle-making town of Firozabad.
Answer: The author uses rich imagery and metaphor to describe Firozabad. She writes about “spirals of bangles—sunny gold, paddy green, royal blue, pink, purple,” showing the beauty of the bangles. But she contrasts this beauty with the dark and dangerous places where they are made. Children work in “dingy cells without air and light” and lose their eyesight before adulthood. The author says their “eyes are more adjusted to the dark than to the light outside,” which is a metaphor for how these children are used to suffering and don’t even see a different life. The town is full of colour, yet there is no light in their lives. The imagery makes the suffering more visible and emotional.
- Explain how Anees Jung presents the role of tradition and caste as narrative forces in the lives of the poor in Lost Spring.
Answer: The author shows that tradition and caste are major forces that keep people poor. Mukesh’s family belongs to the caste of bangle-makers. His grandmother says, “Can a god-given lineage ever be broken?” which shows that they believe they are born to suffer and cannot escape their work. This belief is passed down from generation to generation. Even though the work causes blindness and suffering, they do not try to leave it. The author does not criticise them directly—she presents their words, their homes, and their actions to show how deeply tradition controls their lives. This method creates sympathy without preaching, and lets the reader understand how powerful social forces are.
- What narrative methods does Anees Jung use to highlight the emotional and physical cost of child labour in both parts of Lost Spring?
Answer: Anees Jung uses metaphor, imagery, contrast, and real-life examples to show the pain of child labour. In the first part, Saheb is shown as a boy who once smiled but now looks dull after starting work. His plastic bag becomes a symbol of freedom; the steel canister becomes a symbol of lost joy. In the second part, children in Firozabad work in dark rooms, handling hot glass. The line “Their eyes are more adjusted to the dark than to the light outside” shows how child labour steals their vision and hope. The writer also describes a girl whose hands move “like the tongs of a machine,” showing how they work like robots. All these methods make the suffering visible and emotional.
- Discuss how Lost Spring brings out the theme of ‘stolen childhoods’ using the lives of Saheb and Mukesh. Support your answer with examples from the text.
Answer: Lost Spring is a story of children whose childhood is lost not by choice, but because of poverty, social injustice, and lack of opportunity. Anees Jung shows this through two real-life examples—Saheb and Mukesh.
Saheb is a ragpicker who left his home in Dhaka after storms destroyed his fields. He now scrounges for gold in garbage dumps. The author captures the tragedy of his life using contrast and irony. His name “Saheb-e-Alam” means “Lord of the Universe,” but he is barefoot, carrying a plastic bag, and has no control over his life. When he starts working at a tea stall, his face loses its carefree smile. The shift from the light plastic bag (his own) to the heavy steel canister (not his) shows the weight of responsibility that has replaced his freedom.
Mukesh, from Firozabad, is born into a family of bangle makers. Generations of his family have been trapped in this job. Children work in hot, dark rooms and often lose their eyesight. Girls like Savita work without even understanding the meaning of the bangles they help make. The author uses metaphors like “web of poverty” and “eyes adjusted to the dark” to show how deeply rooted the suffering is. Mukesh is different—he wants to become a motor mechanic. His dream, though small, is bold in a place where dreams are rare.
Through both stories, Anees Jung paints a powerful picture of how childhood is stolen from the poor—not by war or disaster—but by society’s silence and tradition.
- Examine the narrative methods used by Anees Jung in portraying poverty in Lost Spring. How does her style make the reader feel the pain of the characters?
Answer: Anees Jung doesn’t preach or shout about poverty. Instead, she uses simple but powerful narrative methods like contrast, metaphor, imagery, and irony to let the pain speak for itself.
For example, in Saheb’s story, the irony of his name—“Lord of the Universe”—speaks louder than any direct statement. He is a ragpicker, barefoot, living in Seemapuri, where people survive without identity but with ration cards. The metaphor “Garbage is gold” shows how poverty turns trash into treasure. Children find coins in it and elders depend on it to feed their families.
The author also uses sharp visual imagery. Barefoot boys appear like morning birds—free, yet fragile. She remembers a boy from Udipi who once prayed for shoes. Years later, she sees his son wearing them. This quiet comparison shows that some prayers are answered, but many like Saheb remain unanswered.
In Firozabad, poverty is shown not just in money but in tradition. “Web of poverty” is a strong metaphor that shows how people are caught in generations of suffering. The phrase “eyes adjusted to the dark” symbolises how children lose light—both literally and emotionally.
Her style is poetic but rooted in fact. That makes the reader feel the truth—not just know it.
- “The dreams of the poor are crushed under the weight of tradition, poverty, and social injustice.” How does Anees Jung highlight this in Lost Spring?
Answer: In Lost Spring, Anees Jung shows that poor children do not live normal lives. They are born into poverty and tradition, which kills their dreams even before they can grow.
Saheb once smiled when someone promised to build a school. But later, he begins working at a tea stall and loses that smile. Though he now earns 800 rupees and meals, he has lost his freedom. The steel canister he carries is not his own. The author uses this symbol to show that his dreams have been replaced by burden.
Mukesh lives in Firozabad, where everyone makes bangles. His grandmother says, “Can a god-given lineage ever be broken?” This shows how tradition keeps them trapped. Boys and girls work in dangerous conditions and many go blind. Savita helps make bangles without knowing their importance. The old woman beside her has never had a full meal. The author uses these characters to show how poverty kills joy, freedom, and hope.
Mukesh dares to dream—to become a motor mechanic. He knows it will be hard, but says, “I will walk.” This shows courage, but also how limited the poor are in their options. The dream of flying a plane seems too big even to think.
Anees Jung’s writing is gentle but sharp. She doesn’t shout about injustice—she quietly shows how it works, and that makes it powerful.
- How does Lost Spring reflect the power of language and storytelling in exposing social reality? Give examples from both parts of the text.
Answer: Lost Spring is not a speech or a report—it is a story. That’s what gives it power. Anees Jung uses soft, poetic language to show hard, bitter truths. She brings two real stories—Saheb and Mukesh—and through their eyes, we see India’s hidden reality.
She uses irony, such as in Saheb’s name “Lord of the Universe,” to show how poor children live lives opposite to what their names suggest. Her language is simple, but full of images—boys like morning birds, eyes adjusted to the dark, a prayer for shoes, a plastic bag vs. a steel canister. These images stay in the reader’s mind long after the story ends.
The tone is not angry, but thoughtful. She never calls anyone a villain—she lets the system, tradition, and silence speak for themselves. For example, in Firozabad, no one talks about breaking the chain of bangle-making. Even the suggestion of starting a cooperative brings fear of police action. Through this, she shows how deep-rooted injustice is.
Her storytelling turns facts into feelings. It is not just a report of child labour—it becomes a human experience.
- “Mukesh’s dream is small, but it is a sign of rebellion.” Analyse this statement in the light of Lost Spring. How does Anees Jung use narrative techniques to show hope amidst despair?
Answer: Mukesh’s dream of becoming a motor mechanic may seem small to many, but in the world of Firozabad, it is a big act of courage. Everyone around him makes bangles. Even his father, who worked as a tailor and bangle maker all his life, never tried to change his fate.
The author shows that people in Firozabad are caught in a cycle of poverty and tradition. Children work in dark rooms and lose their eyesight. Elders say it is their destiny—“karam.” But Mukesh says, “I want to be a motor mechanic.” He even says he will walk to the garage. This small statement shows that he is ready to break the cycle.
Anees Jung uses contrast to highlight this. While others accept their fate, Mukesh dares to dream. His eyes shine with hope, unlike the lifeless eyes of the old bangle worker. The author also uses metaphor when she says “the garage is a long way from his home”—this means not just distance, but the difficulty of breaking away.
Though Mukesh says “No” when asked if he wants to fly a plane, it is not a rejection of dreams. It shows he knows his limits, but still dares to dream something he can reach. Through this, the author ends the story with a flicker of hope in a dark world.
