Plot
Lakshmi is a thirteen-year-old girl who lives with her family in a small hut in the mountains of Nepal. Her family is desperately poor, but her life is full of simple pleasures, like raising her black-and-white speckled goat, and having her mother brush her hair by the light of an oil lamp. But when the harsh Himalayan monsoons wash away all that remains of the family’s crops, Lakshmi’s stepfather says she must leave home and take a job to support her family.
He introduces her to a charming stranger who tells her she will find her a job as a maid working for a wealthy woman in the city. Glad to be able to help, Lakshmi undertakes the long journey to India and arrives at “Happiness House” full of hope. But she soon learns the horrible truth: she has been sold into prostitution.
An old woman named Mumtaz rules the brothel with cruelty and cunning. She tells Lakshmi that she is trapped there until she can pay off her family’s debt – then cheats Lakshmi of her meager earnings so that she can never leave.
Lakshmi’s life becomes a nightmare from which she cannot escape. Still, she lives by her mother’s words – “Simply to endure is to triumph” – and gradually, she forms friendships with the other girls that enable her to survive in this terrifying new life. She also teaches herself to read and speak in English through listening the conversations of people around her and books she manages to take.
Eventually, Lakshmi meets an American man, who arrives and disguises himself as a client to gather the evidence he needs to persecute Mumtaz and her associates. Mumtaz is ultimately arrested, thus freeing Lakshmi and the other girls.
Read more about this topic: Sold (novel)
Famous quotes containing the word plot:
“The plot! The plot! What kind of plot could a poet possibly provide that is not surpassed by the thinking, feeling reader? Form alone is divine.”
—Franz Grillparzer (1791–1872)
“James’s great gift, of course, was his ability to tell a plot in shimmering detail with such delicacy of treatment and such fine aloofness—that is, reluctance to engage in any direct grappling with what, in the play or story, had actually “taken place”Mthat his listeners often did not, in the end, know what had, to put it in another way, “gone on.””
—James Thurber (1894–1961)
“After I discovered the real life of mothers bore little resemblance to the plot outlined in most of the books and articles I’d read, I started relying on the expert advice of other mothers—especially those with sons a few years older than mine. This great body of knowledge is essentially an oral history, because anyone engaged in motherhood on a daily basis has no time to write an advice book about it.”
—Mary Kay Blakely (20th century)