DELHI PUBLIC SCHOOL

DHARAN

PROBLEM OF RAG PICKER

(LOST SPRING)
− ANEES JUNG

NAME: SHASHANK SHEKHAR

REG NO:
Class: XII “A2”
Year :2024 – 2025
 CONTENT
• INTRODUCTION
− Overview
− Purpose of the Project
− Brief Introduction of the Characters

• TOPIC
− PROBLEM OF RAG PICKER (LOST SPRING)

• THEMES
− PROBLEM OF CHILD LABOUR
− CORRUPTION IN INDIA
− IMPORTANCE OF BANGLE IN INDIAN MARRIAGE
− CHILDHOOD DREAMS
• CONCLUSION
− SUMMARY OF ARCS
− LIFE OF RAG PICKERS

• BIBLOGRAPHY
 INTRODUCTION
Overview of lost spring

Anees Jung’s Lost Spring: Stories of Stolen Childhood delves into the harsh realities of child labor
and poverty in India, offering an empathetic portrayal of children trapped in cycles of exploitation.
Through the narratives of Saheb and Mukesh, Jung highlights the socio-economic struggles faced
by marginalized communities. Saheb, a young ragpicker in Seemapuri, dreams of education but is
constrained by the pressing need for survival. Even when he transitions to working at a tea stall,
he loses the sense of freedom he once had, symbolized by the shift from carrying a plastic bag to
a steel canister owned by his employer. Mukesh, a boy from Firozabad, represents a glimmer of
hope with his determination to become a motor mechanic and escape the oppressive bangle-
making industry, which has blinded and impoverished generations in his family. Jung’s lyrical
prose, enriched with metaphors and vivid imagery, contrasts the beauty of glass bangles with the
misery of those who craft them, exposing the paradox of societal inequality. The text critiques
systemic failures, including the persistence of caste-based labor and the lack of enforcement of
child labor laws, while questioning the collective apathy of society. Ultimately, Lost Spring serves
as a powerful commentary on the need for systemic change to protect children’s rights and ensure
they are not robbed of their childhood and dreams.
 Purpose of project

The purpose of this project is to highlight the socio-economic challenges and systemic injustices
faced by marginalized children in India, as depicted in Lost Spring: Stories of Stolen Childhood.
By exploring the personal stories of individuals like Saheb and Mukesh, it aims to raise awareness
about the harsh realities of child labor, poverty, and exploitation, while advocating for systemic
changes to address these issues. The project seeks to inspire empathy, encouraging society to take
action in supporting underprivileged communities through education, enforcement of child labor
laws, and breaking the cycle of caste-based occupations. Furthermore, it aims to prompt critical
reflection on the paradoxes within society, such as the beauty of products like bangles contrasted
with the suffering of those who create them. Ultimately, this project aspires to amplify the voices
of the marginalized and foster a collective responsibility toward building a more equitable and just
society.
 Brief Introduction of the Characters
Saheb-e-Alam: A young ragpicker in Seemapuri, Saheb comes from a refugee family that
migrated from Dhaka in search of a better life. Despite his harsh reality of scavenging garbage for
survival, he harbors dreams of going to school and living a dignified life. His eventual job at a tea
stall symbolizes the loss of his freedom and individuality.

Mukesh: A determined boy from Firozabad, Mukesh is born into a family of bangle makers but
aspires to break free from this generational trade. His dream of becoming a motor mechanic
highlights his resolve to escape poverty and exploitation despite the constraints of his environment.

Saheb’s Mother: She explains their migration from Dhaka due to natural calamities that destroyed
their home and livelihood. Her focus is on survival, reflecting the harsh realities faced by displaced
families.

Mukesh’s Grandmother: She embodies the acceptance of fate, believing that their caste and
occupation as bangle makers are predestined. Her resignation reflects the generational burden of
poverty.

Mukesh’s Brother’s Wife: A young woman managing the household, she commands respect as
the daughter-in-law of the family and represents the traditional roles imposed on women in
patriarchal societies.

Old Bangle Maker: Mukesh’s grandfather, who has spent his life in the bangle-making industry.
He symbolizes the generational struggle of workers who have remained trapped in poverty despite
years of hard labor.

Savita: A young girl in Firozabad who works alongside older women, soldering pieces of glass
into bangles. She represents the loss of innocence as children are forced into labor, with little
awareness of the cultural significance of their work.

Elderly Woman: An older woman working with Savita, she continues to toil in the bangle industry
despite her failing eyesight. She exemplifies the unending cycle of labor and deprivation in
Firozabad.

Middlemen and Bureaucrats: Though not directly named, they play a crucial role in the text as
part of the exploitative system that perpetuates poverty and prevents workers in the bangle industry
from organizing or improving their conditions.

TOPIC
 PROBLEM OF RAG PICKER

The ragpickers in Lost Spring: Stories of Stolen Childhood face numerous challenges that highlight
the harsh realities of poverty and survival. Living in Seemapuri, on the outskirts of Delhi, these
families reside in makeshift structures without basic amenities like sewage, drainage, or clean
water. Children like Saheb, driven by the need to support their families, spend their days
scavenging garbage for anything of value. Despite their desire for education, the lack of schools
and their financial struggles prevent them from escaping this cycle of deprivation. Their work
exposes them to severe health risks, as they operate in unhygienic conditions, often barefoot, with
no protective measures. As refugees who fled from Bangladesh, these ragpickers live without legal
identity, which excludes them from many rights and opportunities, even as they possess ration
cards for food. The generational cycle of poverty traps these children, who grow up as partners in
survival, inheriting the same struggles as their parents. This life of relentless hardship not only
affects their physical health but also their emotional well-being, as seen when Saheb transitions to
working at a tea stall, losing the small sense of freedom he once had. The plight of ragpickers
underscores the need for systemic changes, including education, healthcare, and legal recognition,
to break the cycle of poverty and provide a better future for these marginalized communities.
 THEMES
PROBLEM OF CHILD LABOUR

The problem of child labor, as depicted in Lost Spring: Stories of Stolen Childhood, is a pervasive
issue rooted in poverty, lack of education, and systemic exploitation. Children like Mukesh and
Saheb are forced into labor at an early age, sacrificing their childhood to support their families. In
places like Firozabad, where generations work in the hazardous bangle-making industry, children
endure harsh conditions in dimly lit, poorly ventilated workshops, often losing their eyesight to
the fine dust of glass. Despite laws prohibiting child labor, enforcement is weak, and these children
are trapped in a cycle of exploitation perpetuated by middlemen and societal apathy. Similarly, in
Seemapuri, children take up rag-picking to contribute to their family's survival, exposing
themselves to health hazards and denying themselves the opportunity for education. This lack of
education keeps them trapped in poverty, unable to break free from the roles imposed by their
circumstances. Child labor not only robs children of their right to education and a carefree
childhood but also perpetuates the cycle of poverty, leaving entire communities vulnerable to
exploitation. Addressing this issue requires systemic reforms, better enforcement of laws, and
providing accessible education and opportunities for marginalized families to improve their socio-
economic conditions.
 CORRUPTION IN INDIA

In Lost Spring: Stories of Stolen Childhood, corruption in India is subtly reflected through the
systemic neglect of the poor, particularly children forced into labor. While the story does not
directly address political corruption, it highlights how bureaucratic inefficiencies, weak law
enforcement, and societal apathy perpetuate cycles of poverty and exploitation. For instance, in
the bangle-making industry of Firozabad, the exploitation of child labor continues despite laws
prohibiting it, primarily due to the lack of effective enforcement by the authorities. Middlemen,
who profit from the labor of these children, have significant control over the community, further
exploiting the workers and preventing any collective action or resistance. Similarly, in Seemapuri,
the families of ragpickers, despite holding ration cards, lack formal recognition and legal identity,
rendering them invisible to the state. This reflects how corruption in the form of bureaucratic
inefficiencies and political indifference to the plight of marginalized communities ensures that
children like Saheb and Mukesh remain trapped in poverty. The failure of institutions to provide
education, healthcare, or adequate living conditions for these children is a clear example of how
corruption and neglect allow the cycle of exploitation to persist, undermining any real progress
toward social justice and equality.
 IMPORTANCE OF BANGLE IN INDIAN MARRIAGE

In Lost Spring: Stories of Stolen Childhood, the significance of bangles in Indian marriages is
portrayed as a symbol of tradition and auspiciousness, particularly for women. Bangles are deeply
rooted in Indian cultural practices, representing a bride’s suhaag (marital status) and good fortune.
For instance, the character of Savita, a young girl working in the bangle industry, is shown
mechanically soldering glass pieces into bangles, unaware of their cultural significance. The author
reflects on how one day, when Savita becomes a bride, she will understand the sanctity of the
bangles she helps create. The contrast between the beauty and cultural value of the bangles and
the suffering of the workers who make them highlights a grim paradox.
For families in Firozabad, bangles are not just ornaments but also a way of life, passed down
through generations. However, the tradition of bangle-making traps them in a cycle of poverty and
exploitation. Women like Mukesh’s grandmother, who have spent their entire lives in this
occupation, carry the symbolic weight of bangles on their wrists but endure lives filled with
hardship and deprivation. This depiction underscores the irony of how an object celebrated for
bringing joy and prosperity in marriage can simultaneously represent the burden of labor and
suffering for those who produce it. Through this contrast, the lesson critiques the societal and
economic structures that uphold such traditions while ignoring the plight of the marginalized.

CHILDHOOD DREAMS

In Lost Spring: Stories of Stolen Childhood, childhood dreams are a poignant theme, representing
both hope and the harsh reality of unfulfilled aspirations among impoverished children. The story
captures the innocent dreams of children like Saheb and Mukesh, who, despite their challenging
circumstances, aspire for a better life. Saheb dreams of going to school and having a life beyond
rag-picking. His excitement when jokingly promised a school reveals the innate optimism and
longing for opportunities common to children. However, his reality—scrounging garbage for
survival—stands in stark contrast to his dreams, and even when he transitions to working at a tea
stall, he loses the freedom and carefree spirit that defined his childhood.
Mukesh, on the other hand, dreams of becoming a motor mechanic, breaking away from his
family’s traditional occupation of bangle-making. Unlike Saheb, Mukesh’s determination to
pursue his dream, despite limited resources, reflects a glimmer of hope and resilience. Yet, his
dream is tempered by the stark realities of his environment, where the ability to dream itself is a
rarity due to generations of poverty and exploitation.
The lesson emphasizes how poverty and systemic neglect steal the childhood and dreams of
countless children, forcing them into labor and denying them the opportunities to aspire and
achieve. It calls attention to the need for education, support, and societal change to allow children
the freedom to dream and the means to turn those dreams into reality.

CONCLUSION

SUMMARY OF ARCS

Stories of Stolen Childhood by Anees Jung are structured around two main narratives, focusing on
the lives of Saheb and Mukesh, which together highlight the themes of poverty, child labor, and
lost dreams.
Saheb’s Arc
Saheb-e-Alam is a young ragpicker living in Seemapuri, a slum on the outskirts of Delhi. Born
into a family of Bangladeshi refugees, Saheb’s life is defined by extreme poverty and survival. He
spends his days searching through garbage dumps for items of value, dreaming of education and a
better future. Despite his optimistic nature and the meaning of his name, "lord of the universe,"
Saheb’s reality is one of deprivation and unfulfilled promises. His transition to working at a tea
stall signifies a loss of freedom as he takes on responsibilities that strip him of his carefree
childhood. This arc poignantly illustrates how poverty crushes the dreams and innocence of
children like Saheb.

Mukesh’s Arc
Mukesh, a boy from Firozabad, comes from a family of bangle makers trapped in a generational
cycle of labor and poverty. Unlike others in his community, Mukesh dreams of breaking free from
this oppressive life by becoming a motor mechanic. His determination to learn a new skill
symbolizes hope and resilience. However, his arc is also shaped by the harsh realities of his
environment, where hazardous working conditions and systemic exploitation dominate daily life.
The story of Mukesh reflects the struggle of balancing dreams with the limitations imposed by
poverty and tradition.

Connecting Themes

Both arcs depict the universal plight of underprivileged children robbed of their childhood due to
societal neglect and systemic failures. While Saheb’s story emphasizes the loss of freedom and
individuality, Mukesh’s arc highlights the resilience and ambition that can emerge despite
adversity. Together, they call attention to the urgent need for societal reform to protect children’s
rights and nurture their aspirations.

LIFE OF RAG PICKERS

The life of ragpickers, as portrayed in Lost Spring: Stories of Stolen Childhood by Anees Jung, is
a stark reflection of poverty, survival, and systemic neglect. Ragpickers, like Saheb and his
community in Seemapuri, live on the margins of society, struggling to meet their basic needs. Their
homes are makeshift shelters of tin and tarpaulin, lacking essential amenities like clean water,
drainage, and sanitation. They have no formal identity, as most are refugees who migrated from
Bangladesh in search of food and livelihood. For them, survival takes precedence over dignity and
identity.
Children like Saheb scavenge through garbage dumps daily, searching for items of value to
contribute to their family’s survival. To these children, garbage is more than refuse—it represents
a glimmer of hope, as they sometimes find coins or small treasures. However, this work exposes
them to unhygienic and hazardous conditions, endangering their health. Most of these children
remain barefoot, reflecting the severe lack of resources even for basic necessities.
Despite their resilience and longing for a better future, opportunities for education and upward
mobility are virtually nonexistent. Promises of improvement, such as building schools, are rarely
fulfilled, leaving their dreams crushed. The ragpickers' lives highlight the harsh realities of poverty
and the systemic failures that perpetuate their suffering. Their story emphasizes the need for
education, healthcare, and social reform to break the cycle of deprivation and provide them with a
chance at a better life.

BIBLOGRAPHY

I have taken help from the following websites and sources to complete my project.

https://app.grammarly.com
/http://www.thesaurus.com
www.google.com
ENGLISH NCERT BOOK - FLAMING