Lost Spring by Anees Jung

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Introduction

“Lost Spring” sheds light on the harsh realities of childhood marred by poverty. Anees Jung brings our attention to the inhuman conditions in which children in slums are forced to live, robbing them of not just their childhood but also any hope for a better future. The vicious cycle of poverty entraps generations, making it nearly impossible to break free. Through the stories of two boys, Saheb and Mukesh, Jung highlights their dreams—simple aspirations like education or a better life—and contrasts them with a society that seems determined to keep them shackled in their current plight.

Anees Jung’s “Lost Spring” is an excerpt from her book Lost Spring: Stories of Stolen Childhood, where she delves into the grim realities of children trapped in poverty. This chapter explores the lives of two children whose worlds are defined by deprivation but who still dare to dream beyond their harsh circumstances. Anees Jung herself serves as the narrator, guiding us through these poignant tales and shedding light on the resilience and aspirations of these young souls despite the crushing weight of their struggles.

"Sometimes I find a rupee in the garbage"

 The narrator introduces us to Saheb, a young ragpicker she often sees during her morning routine. Curious about his life, she strikes up a conversation and learns that his family fled Dhaka after storms destroyed their home. They migrated here in search of survival. When the narrator suggests he attend school, Saheb mentions there isn’t one nearby. On impulse, she promises to start a school for him, which fills Saheb with hope. However, when he later asks about the school, the narrator realizes the bitter truth—empty promises like hers are all too common for children like Saheb, whose lives are shaped by unfulfilled dreams.

The narrator reflects on the harsh realities of children living in extreme poverty, describing how many roam barefoot on the streets. While some claim it’s a tradition, she suspects this explanation is simply a way to normalize their perpetual state of poverty. She recalls an incident where a man from Udipi shared a childhood memory of praying at a temple for a pair of shoes. Decades later, when she revisits the same town and temple, she notices a young boy walking around in shoes—a sign that, for some, prayers are eventually answered, even if the journey out of poverty remains rare.

To provide context for Saheb’s life, the narrator describes Seemapuri, a settlement near Delhi where ragpickers from Bangladesh have lived since 1971. These families lack proper identification or permits, with ration cards being their only entitlement—used for food and voting. Stripped of other rights, they have turned ragpicking into a survival skill. For children like Saheb, finding a rupee or ten is a moment of joy. One day, the narrator notices Saheb wearing worn-out tennis shoes, one with a hole. Yet, for a boy who spent his life barefoot, even those imperfect shoes feel like a dream fulfilled.

The narrator later spots Saheb carrying a steel canister instead of his usual plastic bag. She learns he has started working at a tea stall, earning ₹800 a month along with daily meals. When she asks if he likes his new job, Saheb appears downcast. Working under someone has robbed him of his freedom, and the carefree spirit he once had is gone. The steel canister he now carries feels far heavier than the plastic bag he used to collect rags with—a stark symbol of the burden of lost independence.

Anees Jung’s “Sometimes I Find a Rupee in the Garbage” captures the heartbreaking reality of children like Saheb, whose childhoods are stolen by poverty. Through Saheb’s story, the narrator paints a vivid picture of Seemapuri, where thousands of ragpickers live in dire conditions, surviving on garbage and clinging to dreams of a better life. Saheb, despite his struggles, exudes a spark of hope, evident in his excitement when the narrator promises to open a school—a promise she later realizes she cannot keep. This highlights the false assurances that society frequently offers to children like him, only to let them down. Saheb’s story is steeped in irony; his name, meaning “Lord of the Universe,” contrasts sharply with his reality, where even a pair of torn tennis shoes feels like a luxury. When Saheb moves from ragpicking to working at a tea stall, earning ₹800 and meals, he loses the little freedom he once had, and the steel canister he now carries becomes a heavy symbol of his stolen independence. Through her compassionate narrative, Jung not only sheds light on systemic neglect and societal apathy but also prompts readers to reflect on their own privileges. Saheb’s life is a poignant reminder that poverty is more than just a lack of resources—it is a relentless thief of dreams, freedom, and dignity.

 “I Want to Drive a Car”  

“I Want to Drive a Car” delves into the lives of bangle makers in Firozabad, exposing the crushing poverty that dominates their homes and streets. The narrator meets Mukesh, a young boy from this town, who dreams of escaping his inherited fate. Mukesh takes her to his house, where she witnesses the harsh conditions in which bangle makers toil—working around dangerously hot furnaces in poorly ventilated, dimly lit spaces. What’s even more tragic is their ignorance of the laws that forbid child labor in such hazardous environments, trapping them in a cycle of exploitation and despair.

The narrator notes that bangle-making is a hereditary occupation, confined to a specific caste that has passed the craft from one generation to the next. Despite the collective efforts of entire families working tirelessly in this trade, poverty remains their constant companion. Mukesh’s family, like many others in the area, struggles to make ends meet and cannot afford even a proper house. The weight of their circumstances—barely being able to afford three meals a day—has crushed their will to challenge their situation, leaving them trapped in a cycle of despair and helplessness.

When the narrator suggests forming a cooperative to improve their conditions, the bangle makers reveal their fear of retaliation from powerful forces—being beaten or arrested by the police for attempting change. They explain how their ancestors were trapped by middlemen, and the younger generations are still bearing the consequences. Poverty and caste-based stigma keep them downtrodden, while a network of sahukars, policemen, and middlemen ensures they remain oppressed. This vicious cycle leaves no room for escape, forcing them to stay in their inherited profession despite its hopelessness. Yet, Mukesh stands apart with a glimmer of rebellion in his eyes as he dreams of becoming a motor mechanic. When the narrator humorously asks if he’d like to be a pilot, Mukesh shyly dismisses the idea, content with his realistic dream. Flying a plane feels unattainable, but his determination to break free from his tragic circumstances shines through.

In this section of Lost Spring, Anees Jung shifts her focus to the bangle makers of Firozabad, unraveling the layers of poverty, caste oppression, and systemic exploitation that define their lives. The narrative highlights how the community is bound to the profession of bangle-making, a trade passed down through generations, which traps them in a cycle of poverty and despair. The narrator’s interaction with Mukesh provides a poignant lens through which we can understand both the crushing weight of inherited traditions and the faint spark of rebellion that keeps hope alive.

The bangle-making industry in Firozabad is a tragic emblem of intergenerational poverty. Entire families work around dangerous furnaces in poorly ventilated rooms, inhaling harmful fumes, unaware of—or perhaps resigned to ignoring—the illegality of child labor under such hazardous conditions. Despite their relentless labor, these families barely manage to survive, unable to afford basic necessities like a proper house or regular meals. The futility of their efforts is further exacerbated by the stigma of caste and the manipulation of a deeply entrenched system of middlemen, sahukars, and policemen. This unholy trinity ensures that the community remains powerless, too afraid to challenge the status quo or dream of a better life.

The narrator Identifies a vicious circle at play, where exploitation is normalized, and rebellion is suppressed. Suggestions like forming a cooperative to collectively fight for better conditions are dismissed as dangerous, as the fear of police brutality and retaliation keeps the bangle makers subdued. This fear, coupled with the weight of tradition, leaves them no choice but to resign themselves to their fate, perpetuating the same cycle for future generations. The story exposes the systemic rot that allows such exploitation to flourish while society turns a blind eye.

Amid this bleakness, Mukesh stands out with his modest yet determined dream of becoming a motor mechanic. His ambition to break away from the world of bangle-making is a quiet act of defiance against a system that insists on conformity. When the narrator playfully asks if he’d like to be a pilot, Mukesh’s embarrassment and practicality reflect both the limitations imposed by his circumstances and his inner resolve to pursue something achievable. His dream, though humble, represents a spark of hope in an otherwise oppressive environment.

This section of Lost Spring serves as a powerful critique of societal and systemic failures that allow such exploitation to persist. Anees Jung’s compassionate storytelling captures not just the physical hardships of the bangle makers but also the emotional toll of living without hope. The story forces readers to confront the uncomfortable reality of how tradition, caste, and systemic oppression conspire to keep entire communities trapped in poverty. Yet, through Mukesh, it also reminds us that even in the darkest corners, the human spirit continues to dream and aspire for change, however modest it may be.

Conclusion:

  The conclusion of Lost Spring highlights the stark inequality and cruelty perpetuated by human-made systems of suppression. Anees Jung shows how the vicious cycle of poverty, exploitation, and socioeconomic oppression creates a divided society—one where a privileged few enjoy human rights and dignity, while the less fortunate live in fear and deprivation. The greatest victims of this imbalance are children, whose innocence is stolen as they are forced into labor, deprived of education, and denied basic necessities like food, clothing, and shelter. These children, unable to break free from the chains of poverty, grow up to perpetuate the same cycle, passing on a legacy of illiteracy and suffering to the next generation. Jung’s narrative serves as a powerful reminder of the urgent need to address these injustices and create a society where every child has the opportunity to live with dignity, freedom, and hope.