Southeast University Journal of English Department Vol.

1, Issue 1, 2016

Darkness, Light and Beyond: Reading Aravind

Adiga’s The White Tiger

Sheikh Mehedi Hasan

Assistant Professor
Department of English Language and Literature
Jatiya Kabi Kazi Nazrul Islam University

ABSTRACT

The paper attempts to analyse how Aravind Adiga‟s The White Tiger juxtaposes the two
contrasting faces of present Indian society and polity through a unique character Balram
Halwai. It intends to explore to what extent Balram is able to escape from the Darkness
and enter into the Light, to what extent he is controlled by social hierarchies and functions
of power when he wants to unshackle the chain of servitude, to what extent the world of
Light illuminates his persona, and to what extent he is able to resist the system and go
beyond the so-called Dark-Light binary. The article brings about issues of the New World
Order such as multinational capitalism, global imperialism, dynamics of deprivation and
discrimination, caste, class-consciousness, the myth of India shining or sinking and so on.
Regarding the process of individual identity formation in the web of power apparatuses, it
mainly focuses on two aspects throughout the analysis— the predicament of the third-
world subalterns in the grip of neo-colonialists and their chances of resistance to the neo-
colonial hegemony formulated mainly through the conditions of global capitalism in
postcolonial societies.
]

Introduction
“Incredible India” is a slogan that attracts a huge number of tourists around the
world to experience unity in diversity in India. “Digital India” 1 is another
slogan very recently chanted by the key persons of Indian Government to
denote the emergence of a technologically shining India. On the other hand,
the world has observed barbarous attacks on minority and lower caste people
in Uttar Pradesh in India. In one incident, a Muslim was beaten to death on the

1
“In order to create participative, transparent and responsive government, Prime Minister
Narendra Modi launched the much ambitious 'Digital India' programme on Wednesday, July
1, 2015, at the Indira Gandhi Indoor Stadium in the national capital.” For details see Panwar.
http://www.oneindia.com/india/live-pm-narendra-modi-ravi-shankar-prasad-launch-digital-
india-programme-1793574.html

17
 Darkness, Light and Beyond: Reading Aravind Adiga’s The White Tiger

excuse that he was suspected to possess meat or non-veg in his house, and in
another incident a lower caste woman was stripped naked in public. These
apparently contrasting scenarios not only describe a binary construction of
Indian society, but also problematise the very notion of India emerging as a
superpower in the new world order.
The Oscar winning Bollywood film Slumdog Millionaire (2008)
presents a character Jamal Malik from the “other” India who finds his fortunes
by winning the grand prize of the television game show Kaun Banega
Crorepati (Who will become a Millionaire?), an Indian version of the UK
game show Who Wants to Be a Millionaire? He answers the questions not
through formal education, but through experiences and practical knowledge
learnt from struggles of life, from the streets, and from the reality of living and
surviving in the “other” India. His overwhelming inquisitiveness and latent
talent suppressed by the system of capitalist society are evident in Balram, the
protagonist of The White Tiger who also learns from the streets, from life,
from the air, from his surroundings, and remains a perpetual eavesdropper.
Slumdog Millionaire juxtaposes, among others, two sides of India: one having
technologically developed cultures and capitals like call-centres and call-girls,
outsourcings and outings, hi-tech cities, online shopping, clubs and pubs, and
TV reality shows and other entertainment shows for the elites; another having
shanties, shit and garbage, exploitation, child labour, child prostitution, human
trafficking, and organ trade.
The present article attempts to offer a brief analysis of Aravind
Adiga‟s The White Tiger, considering issues of the New World Order such as
multinational capitalism, global imperialism, dynamics of deprivation and
discrimination, caste, class-consciousness, the myth of India shining or sinking
etc. The focus will mainly be on two aspects throughout the analysis— the
predicament of the third-world subalterns in the grip of neo-colonialists in
postcolonial capitalist cities and their chances of resistance to the neo-colonial
hegemony formulated mainly through the conditions of global capitalism in
so-called postcolonial societies.

The Darkness versus the Light

The novel progresses with a binary narrative of Indian society in a letter form
having seven sections/ chapters. Balram Halwai, the only narrator spends
seven nights writing the letter to the Chinese Premiere, Wen Jiabao. The novel
seems to provide a journalistic view of Indian society since most incidents are
like newspaper reports, and some images and stories even look like those of
Bollywood movies.

18
 Southeast University Journal of English Department Vol. 1, Issue 1, 2016

The White Tiger is a record of Balram‟s perilous journey to discover

and rediscover his self and identities in different phases of life. The novel
depicts two extreme sides of India—the Darkness and the Light. He describes
the government village school in the Darkness where he studied— teachers
looting the food and money sanctioned for students, government hospitals in
villages where people die as doctors keep busy serving in private clinics, lack
of drinking water, defunct sewerage system and so on. He describes through
his extraordinary narrative skill that when the small malnourished pale young
bodies move from table to table in the tea stall, serving and cleaning, they look
like nothing but human spiders. He also finds innumerable human spiders
moving in the lanes and lawns of Delhi. On the other hand, he points out that
India has entrepreneurs, hi-tech cities, online marketing, call centres and all
other facilities of a capitalist country (Adiga 4). One more contrast is that
Delhi, the city of the light has the Red Fort, but Laxmangarh, Balram‟s village
of the darkness has a Black Fort (ibid. 21).
Through his eyes we see a different India that is not compatible with
the Bollywood manufactured India. His India consists of feudal landlords who
are described as ferocious animals. They eat up property and lands of village
peasants and the poor. Balram is the son of a land loser-turned-rickshaw
puller. After losing lands to the feudal landlord, his father ended up as a
rickshaw puller to support his family. Though Balram belongs to the Halwai
caste and is supposed to make sweets by profession, he has to work as a coal-
breaker and tea-boy in a small tea stall. He appears to be a social critic
committed to subverting any notion of India shining. The Ganges he talks of is
not a sacred river supposed to wash away sins of the devotees, but the most
polluted river filled with filth and shit.
After killing his master Ashok, a rich businessman in Delhi and
stealing his money Balram flees to Bangalore. He takes up his master‟s name
“Ashok Sharma” and runs a business as an entrepreneur by bribing the police
and politicians. He becomes a neo-capitalist, one of the members of the
bourgeoisie, in the shining India. Occasionally he speaks for a sort of socialist
revolution in India; he even tries to justify the murder of his master as an
action of the repressed against the oppressor. Though Balram has settled down
in the world of capitalists, he is often haunted by his past sin, the murder of his
master. He has dreams to do newer businesses in order to contribute to
building a really shining India. He believes that the future of the world capital
lies in the East indicating the emergence of China and India as economic
superpowers.

19
 Darkness, Light and Beyond: Reading Aravind Adiga’s The White Tiger

Balram comments on democracy, election system, corruption, caste,

and class. He claims that because of Indian democracy he has a birthday 2. He
is critical of the followers of Mahatma Gandhi since he finds people involved
in all types of corruption, keeping his portrait in their offices as a signpost of
their innocence. Elections are just a circus-show in the village, even in big
cities votes can be rigged. Most importantly, Balram talks about the national
numbness and a serious lack of conscience among the Indian middle class.
The lower class or subalterns are forced to remain asleep, that is, they do not
have any voice or agency to speak up. It is compared to the Rooster Coop
where everyone is locked in a system, and nobody is able to scale its
boundary. Though they know very well that their lives are coming to an end
soon, they even do not wish to resist as “Indians are the world‟s most honest
people, . . ” (Adiga 174). Balram thinks that the British locked all the Indians
(as if they were animals) in a zoo; but when they quit India, the zoo was
opened and the animals dispersed into utter wilderness, untameable and
uncontrollable. According to him, at present, “the very same thing is done
with human beings in this country.” (Ibid. 174). He argues that 99.9 percent of
Indians mostly consisting of lower class or working class people are caught in
the Rooster Coop (ibid. 175-76).
On almost all pages of the novel a dark India, an “other” India is
projected with mocking and shocking images.

Balram: A Subaltern or a Survivor?

In writing the letters to the Chinese Premier Balram uses English in order to
expose the colonial inheritance India still bears, unveil the slimy side of the
Darkness, the other India, and reveal the farce of multinational capitalism in
third-world cities. Balram starts the first letter this way—
“Mr Premier,
Sir.
Neither you nor I speak English, but there are some things
that can be said only in English.” (Adiga 3).
In Shakespeare‟s The Tempest Prospero enslaves Caliban and teaches
him his language (English) to civilise him. But when Caliban discovers the
hypocrisy and fickleness of his white master‟s civilisation, he uses his
master‟s language to confront him. He uses the language to curse, to stress

2
To include his name in the voter list, “a man in a government uniform” asked him about his
age or date of birth. When Balram replied that he did not know his age as his parents did not
make note of his birth-date, the man said, “I think you‟re eighteen. I think you turned eighteen
today.” In this way, he “got a birth day from the government.” (Adiga 96-97).

20
 Southeast University Journal of English Department Vol. 1, Issue 1, 2016

what the truth is, and to articulate how he is oppressed, deprived and
devastated; in a word, what he does by using English is resist:
“Caliban: „You taught me language; and my profit on‟t
Is, I know how to curse.‟” (Act-1, Scene-II)

Similarly, Balram uses the English language to expose the wounds on

the body of “Mother India”, which are layered with pretence and promises of
nationalism, democracy, and modernism in the guise of global capitalism. He
thinks only this English phrase “What a fucking joke” (Adiga 7) can be used
to denote the double-standard of Indian entrepreneurs, businessmen,
politicians, and above all the Indian society: “straight and crooked, mocking
and believing, sly and sincere, at the same time.” (ibid. 9). To narrate a
hilarious as well as horrific story of other India he uses English tinged with
unprecedented phraseology, jaw-dropping images, razor-sharp irony, macabre
humour, and sometimes a sort of “breezy absurdity.”

Spivak‟s claim— “the subaltern cannot speak . . . there is no space

from which the subaltern can speak” (271-313)— has raised a lot of debate
and criticism. The debates carried on among the metropolitan academics
centre on whether the subaltern has agency and voice to speak. Here the
interesting thing is that until the privileged academics continue the debates and
discussions on behalf of the subalterns, exercising their power, position and
agency, the subaltern will never have any voice to speak and resist. Some
Marxists like Irfan Habib, in Indian caste contexts, point out that subaltern
scholars such as Spivak are happy to narrate the tragic stories of the
subalterns, but they fail to lead them to acts of resistance (7). Since there are
caste ideologies considered universal and often sacred in terms of religion,
which the subalterns share with the ruling class or feudalists, they cannot even
raise their voice against oppression and injustice, let alone protest and resist
strongly. That is exactly what is depicted through the village folks of
Laxmanghar (Balram‟s native village) in The White Tiger. However, when
given the omnipotent agency to represent and resist, they, like Balram, can
speak marvellously with mordant wit.
Balram is completely free to generate his awful articulations; he can
retort to anything he thinks worthy of paying attention to. When a subaltern is
given voice, s/he may speak in a powerful language that can challenge the
pillars of established discourses. The language of one‟s heart certainly
diminishes the dynamics of elite taste and sensibility, for s/he cannot be
silenced by telling him/ her a “fucking joke.” He was somehow able to escape
from the Darkness to the Light even though he had to murder his master in

21
 Darkness, Light and Beyond: Reading Aravind Adiga’s The White Tiger

doing so. He is seen writing letters to the Chinese Prime Minister sitting in his
office room in front of the silver Macintosh laptop he bought online. In
contrast, poor drivers, who remain drivers lifelong, could never narrate their
stories because they are usually silenced by the system or frequently disappear
or rot in jails. Therefore, it should be noted that when Balram enjoys having
money, power and agency after changing himself into an entrepreneur, only
then is he able to speak or tell his story.

Politics of Name and Identity

Name is a marker of someone‟s caste background and social status in India.
Most times in Indian society caste-identity, whether in the Darkness or in the
Light, proves to be more credible than other identities. When Balram seeks
employment as a driver, his driving skill is not considered, it is only his caste
that can guarantee him the job. After he takes part in a driving test, the master
asks him—
„“What‟s your last name again?‟
„Halwai.‟
„Halwai. . .‟ He turned to the small dark man. „What caste is
that, top or bottom?‟” (Adiga 62)

Balram knows that his fortune depends on the answer to this last
question. However, caste-identity is not only considered for menial jobs in
rural places or in a feudal society, but also taken for granted in official job
interviews. Prakash Jha‟s film Arakshan (2011) starts with a scene in which
the protagonist Deepak Kumar (played by Saif Ali Khan) appears before an
interview board. The first question one of the board members asks is—
“Deepak . . . Kumar (stressing “Kumar” with a scornful tone), what is your
full name?” Before selecting him for the job, they first want to know his
family background and social status. Quite surprisingly, they have not asked
any questions with regard to his subject and specialisation. After confirming
that he is from a lower caste background, they start humiliating him. The
interview ends with Deepak Kumar‟s protest in a mild manner: “You‟ve been
repeatedly mocking my caste and status.” He then boldly states— “A person‟s
intelligence and performance do not depend on his background.” To prove his
statement, he refers to Babasaheb Ambedkar, who outlined India‟s
Constitution: “It was a backward caste person who drafted our country‟s
Constitution.”
Deepak Kumar stood first in his M. Sc in the university‟s merit list, but
he is not identified with that. Just after learning his caste identity, the
interviewers‟ attitudes change drastically—and they know that they are not
selecting him even though he is the topper. This brief scene speaks volumes

22
 Southeast University Journal of English Department Vol. 1, Issue 1, 2016

about the discriminatory and exclusionary practice on the basis of caste

identity in the twenty first century Indian society. This scene underscores how
one‟s identity is fixed in the social hierarchy, even before his birth. The scene
further reminds one of the wound of deep-rooted social divisions in India,
which is yet to be healed. The people involved in the scene are all from the
educated class who are supposed to evaluate a job seeker‟s identity on the
basis of performance, aptitude, and qualification rather than his pre-
determined caste background. This ever-existing caste hierarchy, in fact,
challenges discourses centring on the making of “Mother” India, “shining”
India, or its claim to being “the world‟s largest democracy”.

Balram refers to the caste system that existed in the past and how
everyone in their place was happy. It was like a clean, well-kept, orderly zoo.
“Goldsmiths here. Cowherds here. Landlords there. The man called a Halwai
made sweets. The man called a cowherd tended cows. The untouchable
cleaned faeces.” (Adiga 63). However, he argues that though in older days
“there were one thousand castes and destinies in India, in the present day
capitalist India, there exist only two castes: “Men with Big Bellies, and Men
with Small Bellies.”(ibid. 64). Balram‟s comment seems naïve as he offers a
sort of holistic observation, ignoring the urge to abolish the system. Ambedkar
differs from Gandhi on the caste issue— while the former professes the
elimination of the entire system, “identifying the problem as the “symptom” of
the entire system, the symptom which can only be resolved by way of
abolishing the entire system”, the latter accepts the system as essential and
fundamental, calling the outcastes or untouchables euphemistically
“Harijans”(children of God) and “allowing them to „fall in love with
themselves‟ in their humiliating identity, to accept their degrading work as a
noble necessary social task, to perceive even the degrading nature of their
work as a sign of their sacrifice, of their readiness to do the dirty job for
society.” (Zizek, unnumbered)

In The White Tiger, a few characters such as Vijay can be located who
could overcome the caste boundary by becoming involved in politics, working
as sidekicks to the big politicians and thus making money and acquiring status.
Probably, this is the reason Balram estimates that in India there are only two
castes: the rich and the poor. Again, it is a fact that caste issue is over-
politicised to exploit particular caste communities as a means of coming to
power. Many politicians speak for a casteless and classless society, but they
would not practice it in their lives. In this regard, M. N. Srinivas in his book
Caste in Modern India mentions a thoughtful anecdote. In Mysore during
April 1954, there was a fight between Holeyas (Harijans) and Okkaligas
(Peasants) as Holeyas were demanding Okkaliga girls be given in marriage to

23
 Darkness, Light and Beyond: Reading Aravind Adiga’s The White Tiger

them. When one Okkaliga leader complained to Srinivas, he tried to “explain

to him the aims and ideals of the Congress and the Republic [casteless and
classless society], . .” The Okkaliga leader replied shrewdly, hitting the nail on
the head: “Then let them [the elected representatives] invite Holeyas to their
homes for dinner, and give them their daughters in marriage, and we will
follow suit.” (71).
Though the attempt to abolish caste system is one of the social reforms
promised by all political parties in India, it is found inseparably rooted in all
strata of society. Habib in his essay “Caste in Indian Society” concludes,
“Caste still remains perhaps the single most important divisive factor in our
country [India].” (179).

Ashok Sharma: A Global Citizen of Tomorrow’s India?

The effects of globalisation in the age of multinational capitalism can affect

one‟s identity construction. Driven by the ultimate urge of global capitalism, a
new capitalist citizen can emerge with a sense of cultural cosmopolitanism,
accessibility to communication network across the globe, an eastward flow of
global capital, and an all-through availability of cheap commodities in third-
world cities. Nick Stevenson in “Globalisation, National Cultures and Cultural
Citizenship” develops an argument with respect to the media of mass
communication, globalisation processes and what is called cultural citizenship.
Stevenson argues that in the British and European contexts the flow of
globalisation makes national cultures more powerful whereas in postcolonial
or third-world cities globalised elites seem less aware of national cultures and
ethics. In relation to Mr. Ashok, one of the important characters in Balram‟s
narratives, we can attempt to link together the conditions of globalising
processes and the possibilities of global citizenship in the context of the
development of communication systems and the fast flow of capitals eastward.

Mr. Ashok and his Christian wife Pinky represent the upper class
Indian citizens who aspire to be more global (American-Indian) than Indian.
Ashok is mainly portrayed through Balram‟s forceful narratives. Convinced by
his father and brother, who are feudal masters-turned-city-scams, that there are
a lot of opportunities in India emerging as an economic superpower, Ashok
along with his wife Pinky comes back to India to run his family business.
Ashok appears to be clumsy at first when he comes to know that in
Delhi business, politics, prostitution, and bribery are interrelated. To Balram,
Delhi, the capital of a glorious nation is “[t]he seat of Parliament, of the
president, of all ministers and prime ministers. The pride of our civil planning.

24
 Southeast University Journal of English Department Vol. 1, Issue 1, 2016

The showcase of the republic. . . . And the truth is that Delhi is a crazy
city.”(Adiga 118). Delhi is not only depicted as a messy city with unplanned
lanes, buildings, housings growing abruptly, streets having peculiar names and
numbers, never ending traffic jams and thousands of people from the Darkness
living like animals “under the huge bridges and overpasses,” and “defecating
in the open . . . in front of the slum”, but also a “make-it-happen” city with
business-scams, ministers taking bribes, all forces of globalisation and
urbanisation: IT industries, real estate business, pubs, bars, five star hotels,
call-girls, and what not. Just back from America, Ashok is quite tensed about
high-taxes, but his brother Mukesh informs him of the “fixer” fellow who
fixes up tax-free business in Delhi. He adds— “This is India, not America.
There is always a way out here.” (ibid. 121).
Later, Ashok ends up being part of the global network of elites who
thrive in any part of the world as agents of global political economy. He
aspires to stay back in Delhi as he senses that the Indian economy is shining
for the neo-capitalists in Gurgaon, the modernest suburb of Delhi having all
prospects—American Express, Microsoft, and offices of all big American
companies, shopping malls each having a cinema inside — to be a first world
city such as New York (Adiga 122). But he fails pathetically to be a truly
cosmopolitan citizen; he remains merely a player in the global network of
power, politics and corruption.

Conclusion
Unquestionably, the grim world The White Tiger portrays through Balram is
“far removed from the glossy images of Bollywood stars and technology
entrepreneurs that have been displacing earlier (and equally clichéd) Indian
stereotypes featuring yoga and spirituality.” (Kapur Unnumbered). But the
rich urban Indians are not prepared to see this projection of Indian life and
society. In Kapur‟s view, after the novel was awarded the Man Booker Prize,
“some in India lambasted it as a Western conspiracy to deny the country‟s
economic progress.” (unnumbered). However, through unsentimental prose
and an unprecedented character Adiga seems committed to stripping away
“the sheen of a self-congratulatory nation and reveals instead a country where
the social compact is being stretched to the breaking point.” (ibid.).

As a novelist Adiga‟s achievement is not beyond question. The over-

simplification of the narrative to highlight all the evils and vices of Indian
society may seem biased and monotonous. The novel is sometimes
overwhelmed by the blank, bleak, and pervading horror of “the Darkness”

25
 Darkness, Light and Beyond: Reading Aravind Adiga’s The White Tiger

where there seems no light, no passage for one to come out to see a ray of
sunlight. Besides, all characters are not developed naturally, especially Ashok
and his wife seem to be stereotyped projections of upper-class elites and on
certain occasions they are reduced to caricatures. Though Balram remains at
the centre of the novel, he does not sound true all the time. Overall, the
narrative of the novel lacks the profundity of complex human relations.
Balram narrates his story, mostly using his verbal prowess whereas the
complexity of his inner thoughts does not bloom fully.
To sum up, we can assert that the real nature of Indian society is
somewhere between the media depiction of India shining and Balram‟s
projection of the “other” India. Undoubtedly, India‟s prospect of emerging as
a superpower in world politics and economy throws a number of challenges
before the vast country of the South Asian region. Sameer Amin in his essay
“India, a Great Power?”, presenting the concept of India shining along with
the picture of real India, brings about all the possible challenges India has to
come across and deal with to be really shining in the world. He doubts that
“independent India has not tackled the major challenge of radically
transforming structures inherited from colonial capitalism” and questions the
possibility of “India‟s accession to the status of a great modern power . . .
without undergoing real social revolution.” (unnumbered). As a huge country,
India must have a lot of problems and prospects stemming out of diversities
and the very notion of “unity-in-diversity”. 3 It is difficult to depict Indian
society as a whole, as there are so many layers and dimensions based on
cultural, linguistic, regional, religious, indigenous and other aspects. The
attempt to generalise India‟s diversities into one framework is a futile and
ridiculous one. However, Adiga‟s characters somehow manage to bring forth
some tensions and issues of the present Indian society that deserve to be
pondered upon.

3
It is a cliché about diversities of South Asia. Bose and Jalal suggest that it would be more
appropriate to characterise South Asian countries such as India and their peoples as presenting
a picture of “immense diversity within a broad contour of unity.” (4).

26
 Southeast University Journal of English Department Vol. 1, Issue 1, 2016

Works Cited

Aarakshan. Dir. Prakash Jha. Perf. Amitabh Bachchan, Saif Ali Khan, Deepika
Padukone. Eros International, 2011. Film.
Adiga, Aravind. The White Tiger. India: HarperCollins, 2009. Print.
Amin, Sameer. “India, a Great Power?” Monthly Review 56.9 (February, 2005).
Web. 27 March 2012. <http://monthlyreview.org/2005/02/01/india-a-great-
power>
Bose, Sugata, and Ayesha Jalal. Modern South Asia: History, Culture, Political
Economy. India: OUP, 2001. Print.
Habib, Irfan. Essays in Indian History: Towards a Marxist perception. New Delhi:
Tulika Books, 2002 (reprint). Print.
Kapur, Akash. “The Secret of his Success.” Rev. of The White Tiger by Aravind
Adiga. The New York Times 7 November 2008. Web. 20 January 2013.
<http://www.nytimes.com/2008/11/09/books/review/Kapurt.html?_r=1&adxn
nl=1&adxnnlx=1360772100-XaxGeRmNWkSlBTAdgSSyoQ&>
Panwar, Preeti. “Highlights: I dream of a digital India where high speed digital
highways unite the nation, says PM.” OneIndia 1 July 2015. Web. 10
November 2015. http://www.oneindia.com/india/live-pm-narendra-modi-ravi-
shankar-prasad-
launch-digital-india-programme-1793574.html
Shakespeare, William. The Tempest. Great Britain: Wordsworth Edition Limited,
2004. Print.
Slumdog Millionaire. Dir. Danny Boyle. Perf. Dev Patel, Freida Pinto. Eros
Entertainment, 2008. Film.
Spivak, Gayatri Chakravorty. “Can the Subaltern Speak?” Marxism and the
Interpretation of Culture. Eds. Cary Nelson and Lawrence Grossberg. USA:
University of Illinois, 1988. Print.
Srinivas, M N. Caste in Modern India. India: Asia Pub. House, 1962. Print.
Stevenson, Nick. “Globalisation, National Cultures and Cultural Citizenship.” The
Sociological Quarterly 38.1 (Winter, 1997): 41-66. Jstor. Web. 08 April
2012. <http://www.jstor.org/stable/4121265>
Zizek, Slavoj, “The Apostate Children of God.” Outlook India 20 August 2012.
Web. 22 Aug. 2012. <http://www.outlookindia.com/article.aspx?2819

27