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85 pages 2 hours read

Camron Wright

The Rent Collector

Fiction | Novel | Adult | Published in 2012

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Chapters 10-12Chapter Summaries & Analyses

Chapter 10 Summary

Lucky Fat bursts into Sang’s home and asks for her help with his friend, who is bleeding. When Sang arrives at Lucky Fat’s home, she discovers a beautiful young girl, “eleven or twelve at most” (76), named Maly. However, Maly is not injured but has begun menstruating. Sang explains to Maly that she is “experiencing what is called rodow, meaning season,” which is “a moment to celebrate in a girl’s life, not to fear” (78). However, Maly and Lucky Fat explain that now that Maly is “a woman,” her brother, who has joined one of the gangs of Stung Meanchey, will take her “to the city’s red-light district and […] [sell her] to a brothel as a child prostitute” (78).

Although there have always been troublesome gangs at the dump, consisting of orphaned and abandoned adolescent boys, the “gangs [are now] […] more aggressive, more brazen, and nearly deadly” (80). The increasing violence leads to Ki’s insistence that the residents must do something about the gangs, but as Sang ironically notes, this is the very reason that most people do not want to be involved. She explains that in the 1970s, during the Khmer Rouge revolution, many Cambodian citizens “were slaughtered by the vicious dictator Pol Pot and his government,” which has produced “an entire generation of children who have been taught that to stay alive in the world, it’s best to lie low, mind your own business, and let others do the fighting” (80). Ki is trying to get some of the other pickers to come together to fight against the gangs when Sang approaches him about how best to help Maly.

Sopeap arrives for another lesson and gives Sang some of Aesop’s Fables to read, beginning with “The Dancing Monkeys.” Sopeap wants Sang to understand “that woven into meaningful literature, so tightly that it can’t be separated, is a telling lesson, even in stories as short as this one” (83). Sopeap argues, “Good stories teach!” (83), but Sang does not understand the story. Sopeap reveals that she is tired and not “a good teacher today” (85).

Ki comes home and reveals that the gangs have started a rumor that someone has kidnapped Maly. That night, Lucky Fat brings Maly to Sang, who is also dealing with Nisay’s continued illness. Sang cancels her lesson with Sopeap, who asks Sang some interesting questions, but Sang is more concerned with how to help Maly and cure Nisay.

Chapter 11 Summary

Sang and Lucky Fat have been sharing responsibility for Maly, with Sang taking her at night and returning her to Lucky’s during the day. Sang also goes to her mother for help, although she is afraid that her mother will be angry with her for endangering their family. However, Sang’s mother is proud of her and believes she can find a solution for Maly.

When Sopeap returns to their lesson, she begins by apologizing and tells Sang that she forgot to tell her the most important rule of learning about literature, namely, “[l]iterature should be loved” (90). Ki comes home from picking and reveals that he has convinced two or three others to join him in standing up to the gangs. Ki is happy, but Sang is concerned and tries to dissuade him. Ki stands his ground, however, and compares his attempts to standing up to the gangs to Sang’s persistence in learning to read. He also reveals that Sang’s mother is one of those who has joined his cause.

The next day, as Sang waits for Sopeap, she thinks about Nisay and wonders if leaving him with her mother or one of her neighbors is the right thing to do while she learns about literature. Sopeap tries to reassure her: “Education is almost always good, especially when it brings us to an understanding of our place in the world” (93). Sopeap also explains that “we are literature—our lives, our hopes, our desires, our despairs, our passions, our strengths, our weaknesses. Stories express our longing not only to make a difference today but to see what is possible for tomorrow” (93).

However, she also warns Sang again of the changes that learning about literature can lead to, such as asking questions that are impossible to answer. Sopeap calls these the “deepest questions of mankind: What is the meaning of my life? […] Do the ancestors listen and care about me? Why is life so hard? What is good and what is evil? What must I do about it?” (93). She then gives Sang a new story to read, Tum Teav by Preah Botumthera Som, which bears some resemblance to Maly’s plight. Sopeap seems to know about Sang’s involvement with Maly, which disturbs Sang because if Sopeap knows, others must know as well.

Chapter 12 Summary

Sang visits her mother, playfully scolding her for insisting two women who do not get along work together to build a shelter only because their arguments amuse her. Lena teases Sang in response, saying that Sang killed her father. Lena’s labor with Sang was painfully long, and Sang’s father died while waiting. Sang remembers that her grandfather “said [she] refused to leave the ancestors, who must have been gathered around telling jokes” (96). As a child, Sang told herself that her father “gave up his life” for her to “ease the pain of one of [her] biggest regrets growing up” (96). She has never even seen a picture of him.

Lena then tells her that she has been able to make arrangements for Maly, but this will only work if the Rent Collector helps. Sang asks Sopeap if they can skip a month’s rent to pay for Maly’s journey, but Sopeap insists on giving Sang the money instead. As Maly prepares to leave, the thought of Maly leaving saddens Sang: “Despite [her] head explaining to [her] heart that she is not [her] own daughter, that her leaving is for the better, [Sang’s] chest still aches” (99). Sang gives Maly a book Sopeap has given her, a “celebrated Cambodian epic” (99), titled Reamker. She tells Maly that one day she will also learn to read. Maly says goodbye to Lucky Fat, and Lena takes Maly to her destination.

Chapters 10-12 Analysis

In these chapters, the focus is on the past’s influence on both the present and future. Sang blames the aftermath of the Khmer Rouge revolution for a peculiar passivity that afflicts the Cambodians who were born and raised during and immediately after that dark time. The Khmer Rouge came to power in 1975. In the regime’s subsequent four-year reign, 2 million people died: The Khmer Rouge executed 60% outright, and the rest died from disease and starvation. This genocide haunts the story as it continues to haunt Cambodia today; a tribunal established to punish those in charge was still sentencing people as of 2018.

Sang argues that the genocide taught people to “lay low, mind [their] own business, and let others do the fighting” (80). This engages with an age-old question of what to do in the face of evil. Sang and Ki, for example, quickly decide to help Maly, whose brother will sell her as a child prostitute unless they intervene. However, Sang does not agree with Ki’s plan to form a group of pickers to stand up to the gangs that roam the dump. She is afraid for his safety and wants him to leave well enough alone. Sang cannot see the similarities between what she is willing to do for Maly and what Ki is willing to do for Stung Meanchey’s residents.

Chapter 11 also provides another example of Sopeap’s occasional lapses in judgment. She tells Sang again of the possible dangers of studying literature, of its power to make her question everything, including: “[w]hat is good and what is evil” (93), and how we must respond to it. However, she fails to see that Sang has already been engaging with those questions; literature just gives her more tools to express those thoughts.

In Chapter 12, Wright continues to explore the past’s influence on the present and future but on a smaller scale, when Sang thinks about her father, who died while Sang was being born. Although she never knew him, his absence has left a hole in her life. As a child, she created a story in which her father gave up his life for her: “[W]hoever was in charge that day had decided to allow a limited number of my relatives on the earth at one time,” so her “father somehow pulled a phlah bdo (a secret switch) and volunteered himself instead” (96). Although Sang dismisses this as just “a child’s silly story” (96), it functions as another example of the power of story. In this instance, it reflects a story’s ability to comfort and heal.

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