Saheb's Journey
Saheb and his family left their green fields and migrated from this neighboring country after storms swept away their homes.
Dhaka
This is the deeply ironic meaning of Saheb’s full name, Saheb-e-Alam.
Lord of the Universe
Mukesh’s family has spent generations working in this Indian city, famous for its glass-blowing industry.
Firozabad
Defying his family's tradition, Mukesh insists on being his own master by pursuing this profession.
Motor Mechanic
She is the author of "Lost Spring."
Anees Jung
The ragpickers live in this slum area on the periphery of Delhi, yet miles away from it metaphorically.
Seemapuri
Saheb is thrilled to find a discarded pair of these, which a rich boy threw away because one had a hole in it.
Tennis Shoes
The author describes the dangerous conditions of the glass furnaces, which are characterized by high temperatures and a lack of these two basic elements.
Air and Light
Mukesh’s grandmother believes their situation is inevitable, blaming their poverty and blindness on this concept of destiny or fate.
Karma
In the title "Lost Spring," the season of spring serves as a metaphor for this stage of human life
Childhood
To the elders of Seemapuri, garbage is survival, but to the children, it is wrapped in this.
Wonder
Saheb stands by the fenced gate of a club, intently watching two young men dressed in white playing this sport.
Tennis
The ultimate tragedy for many children and adults working in the bangle industry is that the polishing dust causes them to lose this before they become adults.
Eyesight
The bangle makers refuse to organize into these groups, fearing they will be hauled up by the police and beaten for doing something illegal.
Cooperatives
The primary social issue criticized in both Saheb's and Mukesh's stories is this illegal and exploitative practice.
Child labour
The 10,000 ragpickers of Seemapuri live without an identity or permits, but they do have these documents that get their names on voter lists and enable them to buy grain.
Ration cards
At the end of his story, Saheb is paid 800 rupees and all his meals to work at this type of establishment.
Tea Stall
This is the name of the young girl in a drab pink dress who sits alongside an elderly woman, mechanically soldering pieces of glass.
Savita
The author notes that the bangle makers are trapped in a vicious circle comprised of the sahukars (moneylenders), the middlemen, the policemen, the bureaucrats, and these figures.
Politicians
The lesson is an excerpt from a larger book whose subtitle is "Stories of" this.
Stolen Childhood
The physical structures the ragpickers live in are made of mud, entirely devoid of sewage, drainage, or running water, and topped with roofs made of these two materials.
Tin and Tarpaulin
The narrator notes that Saheb is "no longer his own master" because this heavy object he now carries seems heavier than the plastic bag he used to carry.
Steel Canister
The women in Mukesh's household adhere to a custom of pulling this garment over their faces when in the presence of older male relatives.
Veil - Ghoonghat
When asked if he dreams of flying an airplane, Mukesh stays silent and looks at the ground, satisfied instead with dreaming about these machines moving down his town's streets.
Cars
Throughout the text, the author highlights the contrast between the children’s innocence and this specific term she uses for the relentless, inescapable poverty they face.
Grinding Poverty