46 pages • 1 hour read
Aravind AdigaA modern alternative to SparkNotes and CliffsNotes, SuperSummary offers high-quality Study Guides with detailed chapter summaries and analysis of major themes, characters, and more.
On the first night of seven covered in The White Tiger, Munna Balram Halwai, otherwise known as the titular White Tiger, addresses a letter to Premier Wen Jiabao of China, as the Chinese leader prepares to arrive in India. Offering to explain the “real” India beyond its choreographed diplomacy, Balram describes his beginning in what he calls the Darkness, the rural village of Laxmangarh.
Balram’s first letter expresses admiration for China and its progress, comparing what he conceives as India’s shortcomings, and claiming that the future belongs to “brown” and “yellow” men (those of India and China). Balram suggests that he inform Jiabao about former Bangalore (now Bengaluru), where Balram now resides, by sharing his life story—which comprises his time in Laxmangarh, Delhi, and finally, Bangalore. Claiming to be an entrepreneur, Balram explains his authority to give insights, especially after his conversations with Mr. Ashok and Pinky Madam, who once employed Balram as a driver and servant.
Interspersed throughout this history, Balram quotes his own wanted poster, critiquing the police for their failures. Foreshadowing Balram’s murder of Ashok before fleeing to Bangalore, the wanted poster offers Balram opportunities to explain his family situation in Laxmangarh, a place where Buddha reached enlightenment and Balram’s father, Vikram, worked as a rickshaw puller (as he is speculated to have owned a tea shop before it was seized by corrupt police officers). Balram remembers the four landlords who control Laxmangarh, whom he likens to animals (the Stork, the Buffalo, the Raven, and the Wild Boar).
Balram recounts his mother’s death and funeral pyre at the River Ganga (Ganges), along with his memories of the river’s black mud and pollution. He remarks how his grandmother Kusum runs the family, attempting to pull him out of school when a lizard frightens him in a classroom. He describes his limited schooling, confessing that his teacher Krishna christened him Balram, because Balram’s family simply named him “Munna” (the Indian word for “boy”). Renamed after the sidekick of the god Krishna, Balram shows promise in school. An inspector visits the school and notes Balram’s intelligence, comparing him to a white tiger, a rare animal.
Balram discloses that he left school when the landlord, the Stork, demanded to be paid back after Balram’s family borrowed money to afford a dowry for his cousin. He remembers joining his brother at a tea shop, to clean and serve tea, as he belongs to the caste who makes sweets (with his surname “Halwai” meaning “sweet-maker”). He reminisces about politics overheard while working at the shop, and the campaign promises of the Great Socialist, who claims every boy in India can become prime minister.
Balram describes an abandoned fort, which his grandmother Kusum claims his mother stared at while she was alive, confessing that he didn’t have the courage to climb it and look over Laxmangarh until he returned with Ashok, his former employer and the Stork’s son, years later. Eight months after that visit, he slits Ashok’s throat.
In his letter to Premier Wen Jiabao on the second night, Balram reminisces about Ashok, likening his killing to the murder of a second father. He admits that Ashok’s murder likely resulted in the murder of Balram’s entire family. Claiming to see the murdered Ashok in the rearview mirror when he looks there, Balram calls him his ex, detailing Ashok’s physical attractiveness. Recalling Ashok’s wife Pinky Madam, Balram partly credits his success to the couple’s in-car conversations, their use of Hindi and English as they spoke about India and America.
Balram describes his becoming a driver, first by discussing his father’s death from tuberculosis: Balram and his brother took their father to a regional public hospital in Laxmangarh, but it lacked doctors and proper sanitation because of corruption. Balram later joins his brother in Dhanbad, after he is fired and leaves the tea shop. Describing those working in tea shops as “human spiders” (43), he admits to having eavesdropped and done little work, becoming unemployable in Laxmangarh. His brother has gotten married and sent most of his wife’s dowry to their grandmother Kusum, and Balram tries to learn to drive. An old taxi driver in Dhanbad offers to teach Balram for 300 rupees, and Kusum reluctantly sends the payment, provided Balram supports the family once he’s employed.
Balram remembers how difficult it was to get a job, a reality he contrasts with his current life in Bangalore, in which he cannot hire enough drivers for his taxi service. During his initial job search, he sees the landlord, the Stork, on a balcony of a large home and speaks with the estate’s Nepali guard. After being questioned about his caste and family by the Stork’s son Mukesh Sir, later called the Mongoose, Balram applies for the job of Second Driver. Joining Ram Persad, the First Driver, Balram details his responsibilities—including driving a Murati Suzuki, cleaning, massaging the Stork’s chronically pained legs, playing cricket with one of the children at the compound, walking the two Pomeranians Puddles and Cuddles, and going to the store with Ram to buy English liquor. Balram and Ram never grow close despite sharing a room, with Ram taking the bed and Balram, the floor. Ram drives a Honda City, the fancier of the Stork’s two cars. Assuming bad intentions on Ram’s part, who maintains depictions of gods throughout his side of the room, Balram buys 24 idols at the market, and the men simultaneously pray to their gods each morning.
Balram hears Ram and the Nepali guard discuss Pinky Madam and her Christian identity, commenting on the unsuitability of Ashok and Pinky Madam’s marriage, which took place in America. As Ram and the Nepali guard are friends, the latter forces Balram to wash Puddles and Cuddles, presumably to humiliate him. After Balram finishes, Ashok apologizes for the disrepair of Balram’s room and asks for him and Pinky Madam to be driven to Laxmangarh. During the drive, the couple quarrels, as Pinky Madam discovers they aren’t returning to America as promised. Arriving at the Stork’s mansion in Laxmangarh, Ashok compliments the house and Pinky Madam critiques its chandelier, which the Stork loves; such chandeliers are eventually installed in Balram’s Bangalore home.
Balram visits his family, and Kusum tells him that she arranged his marriage (as she wants his wife’s dowry) and serves a chicken dish. He refuses to marry and throws the chicken dish at the wall. He leaves and finally climbs the abandoned fort that his mother used to observe, looking across Laxmangarh. Balram drives Ashok and Pinky Madam back home, and the couple discuss India; Ashok marvels at Balram’s apparent piety, seeing him touch his eye out of respect as they approach a temple. Balram repeats the gesture as they pass different temples and trees, happy that the couple is moved by his religiosity. However, rebels supportive of the Great Socialist block their way, and Balram returns to the present, discussing democracy with Premier Jiabao.
The White Tiger offers a first-person narrative through letters to Wen Jiabao, the Chinese premier in 2003-2013, written by Balram Halwai of Bangalore. These opening chapters define the trajectory of Balram, as he exemplifies India’s growth, its struggle between castes—that of Collectivism, Individualism, and the Search for Identity. Narrated over seven nights and two mornings, the novel depicts the challenges and promises of India’s emergent economy. Despite the country’s rampant corruption and inequality (as depicted by the novel), people like Balram can rise from their caste and part with tradition.
Balram addresses Corruption, Politics, and India, especially the Socioeconomic Inequality in India that defines those of the Darkness (largely rural areas). Like the River Ganga (Ganges), corruption flows throughout the country, threatening to wash away each person in it. Author Aravind Adiga implies that responsibility for this corruption lies with those in power—the landlords who live in the Darkness and the Light (urban areas, from Delhi to Bangalore), the Great Socialist who pushes the rich to exploit the poor he allegedly seeks to help, and the ministers who promise change but only take bribes.
Again, the ubiquity of this corruption becomes apparent when nature itself becomes a metaphor through the River Ganga, which Balram notes flows with waste and bodies. Balram describes it as a “river of Death, whose banks are full of rich, dark, sticky mud whose grip traps everything that is planted in it, suffocating and choking and stunting it” (12). Gesturing to the river as a burial place—as this is where his mother’s body was burned and buried—it also becomes a metaphorical trap. It seems to give life, supplying water and mud. But like the Great Socialist and the landlords who support him, the river ultimately steals life and traps people.
The landlords in the Darkness and the Light also function as an extension of nature, one cruel and devastating. Balram likens the four landlords who control Laxmangarh to four animals, whose method of feeding on the land and its people determine their animal counterpart. The Stork, Mr. Ashok’s father, “owned the river that flowed outside the village, and he took a cut of every catch of fish caught by every fisherman in the river, and a toll from every boatman who crossed the river to come to our village” (20-21). Along with the Buffalo, the Raven, and the Wild Boar, these landlords only stay in the village to feed; like the river, their presence seems natural, but their actions break down the people of the Darkness. Sustained by the Great Socialist, who masquerades as a champion of the poor and feeds on the landlords’ greed, these landlords demonstrate the ubiquity of corruption and its reach, far beyond the land touched by the River Ganga.
This corruption leads to more inequality, as the poor of India are forced to pay for bribes and unfair loans, whether to landlords, the Great Socialist, or the ministers who promise improvements. When Balram and his brother take their father, weakened by tuberculosis that should have been treatable, to the only public hospital in their region, they notice the lack of doctors and sanitation. This is due to government doctors bribing officials so they can “work in some private hospital for the rest of the week” (41). Corruption touches everyone, like the mud of the River Ganga, as doctors have no incentive to remain at a hospital where patients can’t pay. Separated by caste and income, the poor of the Darkness become isolated from the economic advances of India.
Burdened by corrupt elections in the Darkness, those in poverty have no recourse. Balram, like his brother and father, must leave school after the Stork forces repayment of a loan. This lack of education creates barriers between those in the Darkness and those who learn in the Light, a boundary made clear when Ashok and Pinky Madam question Balram after he becomes their driver. While Balram doesn’t detail his answers to Ashok’s questions, they strike Ashok as ridiculous enough to explain India’s lack of progress. Calling Balram “half-baked,” Ashok diminishes those who don’t complete their education. However, Balram claims this mantle with pride:
[…] thousands of others in this country like me, are half-baked, because we were never allowed to complete our schooling. Open our skulls, look in with a penlight, and you’ll find an odd museum of ideas…these half-formed ideas bugger one another, and make more half-formed ideas, and this is what you act on and live with. The story of my upbringing is the story of how a half-baked fellow is produced (8).
Having not completed a formal education, Balram isn’t constrained by conventions he never truly learned. More of an adventurer and businessman than the formally educated Ashok, Balram relishes his status because it allows him to occupy two worlds: “I am in the Light now, but I was born and raised in Darkness” (11).
By Aravind Adiga
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