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72 pages 2 hours read

Minfong Ho

The Clay Marble

Fiction | Novel | YA | Published in 1991

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Chapters 9-12Chapter Summaries & Analyses

Chapter 9 Summary

By the time Dara reaches Nong Chan, it is evening, and she feels frightened and lost, with no clear idea of how she will find the stone beam in the maze-like camp. She sees a sickle-shaped moon in the sky, and fantasizes about climbing into it—lying in its curve as in a hammock—to search the land for her mother.

Feeling Jantu’s clay marble in her hand seems to give her strength, and in the morning, after wandering the camp for hours, she remembers that the stone beam was close to one of the food truck signposts: number 3. With some help from strangers, she manages to find the sign, and finally, the remnants of their campsite. She is devastated to find it deserted. Moreover, the toy village she built with Jantu has been trampled and destroyed. Only the stone beam is as it was. Weeping, she lays her cheek against its warm surface, with its delicate carvings, and derives some strength and comfort from its ancient durability.

Chapter 10 Summary

Dara hears a mocking voice behind her: It is Chnay, the bully who destroyed Jantu’s mobile. He tells her, somewhat gloatingly, that her family was there the previous day but left, after hearing that it was unsafe. It was Sarun, he says, who destroyed her toy village by driving the oxcart over it. He says her family did not tell him where they were going, because no one pays any attention to him; but that they probably went to seek shelter at a certain Khmer Serei base camp, one commanded by a General Kung Silor. The Khmer Serei, he says, are planning a counter-offensive against the Vietnamese and need fresh recruits; they hope to lure male refugees into their ranks in exchange for food and shelter.

Shocked, Dara feels herself go limp, and Chnay softens, showing some sympathy for her: He gives her some food from his pocket, and tells her how to get to Kung Silor’s camp, which is about three miles away. Warming to him and not wanting to make the journey alone, she asks Chnay if he would like to accompany her, and he agrees.

Chapter 11 Summary

After a long, tiring walk, Dara and Chnay reach the Khmer Serei camp, which immediately strikes Dara as sinister, even fanatical: Its “strident” national anthem is full of words like “blood” and “death.” As evening descends, Chnay finds a place for them to shelter and says that he will help her look for her family in the morning. Dara realizes that, however bad things are, she has at least found a friend.

Over the next few days, the two of them methodically search the huge camp for Dara’s family, surviving on meager handouts from strangers and food stolen by Chnay. One day, passing the kitchen tent, they smell roast chicken and decide rashly to steal some. They are caught by the cooks, who turn them over to a fierce-looking man wearing what appears to be a crescent moon against his bare chest (Dara soon realizes that it is actually a huge tiger’s tooth). This turns out to be General Kung Silor himself. Dara reaches into her pocket to stroke the magic marble, which gives her the courage to speak bluntly to the General. She tells him that hunger gave her no choice but to steal. Furthermore, she asks him for a job in the kitchen in exchange for regular meals. Impressed by her boldness, the General quickly assents. Chnay is in awe of her “spirit,” but Dara feels that she owes it all to Jantu’s clay marble.

Chapter 12 Summary

For days, Dara works long hours in the kitchen with no one to talk to but the cooks’ pet monkey, while Chnay continues his search for her family, always reporting back to her in the evening for food. He never has any good news to offer, and Dara begins to feel frustrated with him. One night, finally, he tells her that he saw someone who looked like Sarun marching in formation with other soldiers, rehearsing for an upcoming flag-raising ceremony at which many new recruits will be sworn in to the Khmer Serei army. Dara is shocked and doubtful, but Chnay insists that he is not lying.

The next day, Dara is sent by the head cook to a makeshift shed to help winnow rice to feed the many new recruits. At first, she takes comfort in the familiar sights and sounds of women pounding rice with wooden poles—to break the hard husks of the rice—but then is horrified to discover that they are pounding the special rice seed that Sarun told her about: the rice meant for planting, not eating. Each grain of this rice seed has the potential to produce fifty grains of rice, but it is being destroyed to feed the Khmer Serei army. She protests to the cook, who says they have no choice: The army is being built up for the new offensive and must be fed. Dara feels as if something has been “torn” from her—and from the women, children, and future of Cambodia itself—to feed these men and their war machine.

In despair, she leaves the shed and seeks the open air, where she sees columns of soldiers parading by. One of them is her brother, staring blindly forward, his mouth “set in a grim line” (103). Stunned, she cries his name, but before she can catch up with him she hears a familiar voice behind her. Its love and tenderness make her body go limp; she turns and falls into her mother’s arms.

Chapters 9-12 Analysis

At Nong Chan, Dara finds that the toy farm has been destroyed, apparently by Sarun, driving the family cart to the Khmer Serei base camp. This foreshadows Sarun’s attempts to enlist in that army, trampling his family’s dreams of restarting the farm. Not finding her family, she leans her head against the warm stone of the ancient crossbeam, a substitute for the warmth of her mother’s lap. The crossbeam, which sheltered her and Jantu as they molded the toy farm, symbolizes the bedrock of family life. Its timeless solidity calms her, echoing her earlier fantasy of lying on the crescent moon (a traditional symbol of femininity) while looking down for her mother. The moon, in fact, is “sickle-shaped,” evoking the farm life she associates with her family.

Nevertheless, like the clay marble, none of these objects can really help her beyond lending her some strength, and soon she must set off again to find her family. Help, unexpectedly, comes in the ragged shape of Chnay the bully, reintroducing the theme of Friendship and Loyalty in a new and unexpected connection. He tells her that soldiers of the Khmer Serei have lured her family to their base camp, claiming (perhaps falsely) that Nong Chan is too “dangerous.” The Serei, he says, needs recruits, and many refugees are signing up, desperate for food and protection.

Chnay does not seem to trust the Khmer Serei; nevertheless, he agrees to accompany Dara to their camp to help look for her family. Here, and later after the death of Jantu, the sardonic Chnay shows more compassion and sensitivity to Dara’s needs than does Sarun, Dara’s own brother, who chooses mostly to march in lockstep with the Serei’s heartless military code. This irony exemplifies the story’s stark divide between family and military life. A war orphan, Chnay envies Dara her family, but—despite all his macho pestering—he does not confuse this yearning for belonging with a passion for uniforms and guns. By the end of the novel, he will be creating, not destroying. Perhaps his young age has insulated him from the lure of things military; for whatever reason, he is one of the novel’s very few males who does not succumb to the siren song of war.   

The Effects of War on Civilians are raised again when Dara learns about the Khmer Serei’s recruitment efforts amongst the refugees. Dara’s first glimpse of the Khmer Serei camp fills her with dread, particularly the soldiers’ anthem (full of words like “liberation,” “freedom,” “blood,” and “death”) which is “strident,” like the voices of the Khmer Rouge guards who murdered her father and so many others. Their leader, General Kung Silor, wears a medallion around his neck that Dara first takes to be a crescent moon, like the “sickle-shaped” one in the sky that she wanted to cradle herself in. But it turns out to be something else entirely—not a symbol of agriculture and nurturing femininity but a tiger’s tooth, a masculine image of violence and rapacity. This underscores the cynical way Sarun and other desperate young men are lured into armies like the Khmer Serei (an ersatz “family”) with promises of food and protection.

The army versus family binary comes to a climax shortly later, when Dara discovers that the Khmer Serei are crushing rice seed—precious to the hopes of Cambodia’s farming families—to feed their new recruits. As with the General’s moon/tiger tooth necklace, what seems at first to be nurturing and domestic (the women pounding the rice remind Dara of her farm village) reveals itself to be an epitome of destruction and waste: “That’s meant for us,” Dara thinks, “for the women and children…for our new lives” (102). To stress this wasteful desecration, a passing soldier treads some of the rice seed into the ground.

Dara’s own brother, she learns just minutes later, is on his way to becoming one of these soldiers. Sarun, like the precious rice seed, has been taken away from his family—which needs him—to be thrown into the grinder of war.

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