The police lose the boys when they flee with the street kids, running in all directions. On top is a grave for his daughter, Pia Dante, which makes the boys very sad. She says her name is Pia Dante, and Raphael turns as white as a sheet, thinking Pia is a ghost. Pia only survived because some street kids from the graveyard shanties fed her scraps of food. The boys go to get some food for Pia, who looks weak. She starts to get feverish as she eats, but Rat mashes up a banana and feeds it to her slowly, saving her life.
Raphael says the money looks like food and drink, a new life, and freedom from the stink. The boys and Pia sneak back into Behala in the dead of night with the money in a couple of sacks.
Rat rifles through the cupboards and he finds a few donated backpacks and school uniforms. Rat, Gardo, Raphael, and Pia stuff four backpacks with money and they unfurl the rest into the growing typhoon wind, which whips up the money and spreads it far and wide across the dump.
In the last chapter—collectively narrated by Raphael, Gardo, Rat, and Pia—the four of them sneak onto a train wearing the donated school uniforms blending in with other school kids and they ride nine hours to Sampalo. They since learned to fish, bought fishing boats, and they plan to live out the rest of their days happy and clean on the beach.
He implores the person who finds the money to remember that it belongs to the poor and that it should be returned to them. Plot Summary. All Symbols Trash Brightest Light. Mulligan shows us that corrupt people are dangerous to others in Point of View. Even though there are different Point of Views throughout the story to have trash make more sense to the reader. In sister Olivia's Point of View we get just how corrupt people are harming others.
She is from a foreign country and it makes it more shocking to find out …show more content… It shows that the Philippines could not be in the state they are now but the Government is siphoning of that money for themselves and not caring about the rest of the country as they had all the money. I don't really agree, but I still don't like this book. It tells the tale of 3 dumpsite boys, Raphael, Gardo and Rat, who live on the trash heaps of Behala and sort through it, hoping to find anything they can sell or recycle.
Their lives are rugged, poverty stricken, unadventurous. This changes when the boys find something in the trash: a bag, with a key and a wallet. I was anxious that the book was never seen as an attack on one country.
Corruption and child-exploitation are vile facts of life that exist or have existed in every country in the world. I did not want to localize the book when its issues are international.
Not really, no. I used to teach from 11 upwards, so I suppose I was writing for the children I taught…but really, I write for myself. I like books that are plot-driven, with characters that intrigue me. I had a safe and happy childhood half an hour from central London. I met teachers who cared passionately about literature, and instilled some kind of work-ethic. I was out of work. Mrs Thatcher, bless her, was closing the country down, so I was making nothing.
I was made redundant, and as if by magic a friend invited me out to India, to visit an orphanage. India simply turned me upside down.
I got a job teaching there, and returned to the UK determined to spend time in the classroom. Sitting around waiting for an arts subsidy no longer seemed an option.
Yes: writing it was an exciting period. I think most writers simply take a story forwards, without any agenda as such. I know and love the George Orwells of the world, who do have major social purposes, and hope to confront, educate and change. I have met street-children. I visited the dumpsites.
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