Creative Writing Critique: Chicken of India Unite! (Satis Shroff)
Review: Aravind Adiga: The White Tiger. Atlantic Books, London, 2008. Man Booker Prize 2008. German version: ‘Der Weisse Tiger’ published by C.H. Beck, 2008.
Aravind Adiga was a correspondent for the newsmag Time and wrote articles for the Financial Times, the Independent and Sunday Times. He was born in Madras in 1974 and is a Mumbai-wallah now. The protagonist of his first novel is Balram Halwai, (I’m a helluva Mumbai-halwa fan, you know) who tells his story in the first person singular. Halwai has a fantastic charisma and shows you how you can climb the Indian mainstream ladder as a philosopher and entrepreneur. An Indian entrepreneur has to be straight and crooked, mocking and believing, sly and sincere, at the same time (sic). Balram’s prerogative is to turn bad news into good news, and the White Tiger, who’s terribly scared of lizards, slits the throat of his boss to attain his goal, and doesn’t even regret his deed.
In the subcontinent, however, Aravind Adiga’s novel has received sceptical critique. Manjula Padmanabhan wrote in ‘Outlook’ that it lacks humour, and the formidable Delhi-based Kushwant Singh 92, who used to write for the Illustrated Weekly of India and is regarded as the doyen of Indian English literature, found it good to read but endlessly depressing.
‘And what’s so depressing?’ you might ask. I found his style refreshing and creative the way he introduced himself to Wen Jiabao. At the beginning of each capital he quotes from a part of his ‘wanted’ poster. The author writes about poverty, corruption, aggression and the brutal struggle for power in the Indian society. A society in which the middle class is reaching economically for the sky, in which Adiga’s biting and scathing criticism sounds out of place, when deshi Indians are dreaming of manned flights to the moon, outer space and mountains of nuclear arsenal against China or any other neighbouring states that might try to flex muscles against Hindustan.
India is sometimes like a Bollywood film, which the poverty-stricken masses enjoy watching, to forget their daily problems for two hours. The rich Indians want to give their gastrointestinal tract a rest and so they go to the cinema between bouts of paan-spitting and farting due to lack of exercise and oily food. They all identify themselves with the protagonists for these hundred and twenty minutes and are transported into another world with location shooting in Switzerland, Schwarzwald, Grand Canyon, the Egyptian Pyramids, sizzling London, fashionable New York and romantic Paris. After twelve songs, emotions taking a roller-coaster ride, the Indians stagger out of the stuffy, sweaty cinemas and are greeted by the blazing and scorching Indian sun, slums, streets spilling with haggard, emaciated humanity, pocket-thieves, real-life goondas, cheating businessmen, money-lenders, snake-girl-destitute-charmers, thugs in white collars and the big question: what shall I and my family eat tonight? Roti, kapada, makan, that is, bread, clothes and a posh house are like a dream to most Indians dwelling in the pavements of Mumbai, or for that matter in Delhi, Bangalore, Mangalore, Mysore, Calcutta (Read Günter Grass’s Zunge Zeigen) and other Indian cities, where they burn rubbish for warmth.
The stomach groans with a sad melody in the loneliness and darkness of a metropolis like Mumbai, a city that never sleeps. As Adiga says, ‘an India of Light, and an India of Darkness in which the black, polluted river Mother Ganga flows.’
Ach, munjo Mumbai! The terrible monsoon, the jam-packed city, Koliwada, Sion, Bandra, Marine Drive, Juhu Beach. I can visualise them all, like I was there. I spent almost every winter during the holidays visiting my uncles, aunts and cousins, the jet-set Shroffs of Bombay. I’m glad that there are people like Aravind Adiga, Salman Rushdie, Arundhati Roy and Kiran Desai who speak for the millions of under-privileged, downtrodden people and give them a voice through literature. Aravind deserves the Man Booker Prize like no other, because the novel is extraordinary. It doesn’t have the intellectual poise of VS Naipaul or Rushdie’s masala language. It has it’s own Mumbai matter-of-fact speech, a melange of Oxford and NY. And what we get to hear when we take the crowded trains from the suburbs of this vast metropolis, with its mixture of Marathi, Gujerati, Sindhi and scores of other Indian languages is also what Balram is talking about. Adiga was bold enough to present the Other India than what film moghuls and other so-called intellectuals would have us believe.
Balram’s is a strong political voice and mirrors the Indian society which wants to present Bharat in superlatives: superpower, affluent society and mainstream culture, whereas in reality there’s tremendous darkness in the society of the subcontinent. Even though Adiga has lived a life of affluence, studied at Columbia and Oxford universities, he has raised his voice in his book against the nepotism, corruption, in-fighting between communal groups, between the rich and the super-rich, a dynamic process in which the poor, dalits, Mohandas Karamchand Gandhi’s Children of God (untouchables), ‘scheduled’ castes and tribes have no outlet, and are to this day mere pawns at the hands of the rich in Hindustan, as India was called before the Brits came to colonise the sub-continent. Balram, Adiga’s protagonist, shows how to assert oneself in the Indian society, come what may. I hope this book won’t create monsters without character, integrity, ethos, and soulless humans, devoid of values and norms. From what sources are the characters drawn? The story is in the form of a letter written by the protagonist to the Chinese Premier Wen Jiabao and is drawn from India’s history as told by a school drop-out, chauffeur, entrepreneur, a self-made man with all his charms and flaws, a man who knows his own India, and who presents his views frankly and candidly, sometimes much like P.G. Wodehouse’s Bertie Wooster. The author’s attitude toward his characters is comical and satirical when it comes to realities of life for India’s poverty stricken underdogs, whether in the form of a rickshaw puller, tea-shop boy or the driver of a rich Indian businessman. His characters are alive and kicking, and it is a delight to go with Balram in this thrilling ride through India’s history, Bangalore, Old and New Delhi, Mumbai and its denizens. The major theme is how to get along in a sprawling country like India, and the author reveals his murderous plan brilliantly through a series of police descriptions of a man named Balram Halwai. The theme is a beaten path, traditional and familiar, for this is not the first book on Mumbai and Indian society. Other stalwarts like Kuldip Singh, Salman Rushdie, Amitabh Ghosh, VS Naipaul, Anita and Kiran Desai and a host of writers from the Raj have walked along this path, each penning their respective Zeitgeist. In this case, the theme is social, entertaining, escapist in nature, and the reader is like a voyeur in the scenarios created by Balaram. The climax is when the Chinese leader actually comes to Bangalore. So much for Hindi-Chini Bhai-Bhai. Unlike Kiran Desai (The Inheritance of Loss) Adiga says, “Based on my experience, Indian girls are the best. (Well second best. I tell you, Mr Jiaobao, it’s one of the most thrilling sights you can have as a man in Bangalore, to see the eyes of a pair of Nepali girls flashing out at you from the dark hood of an autorickshaw (sic). As to the intellectual qualities of the writing, I loved the simplicity and clarity that Adiga has chosen for his novel. He intersperses his text with a lot of dialogue with his characters and increases the readability score, and is dripping with satire and humour, even while describing an earnest emotional matter like the cremation of Balram’s mother, whereby the humour is entirely British—with Indian undertones. The setting is cleverly constructed. In order to have pace and action in the story Adiga sends Balram to the streets of Bangalore as a chauffeur, and suddenly you’re in the middle of a conversation and narration where a wily driver Balram tunes in. He’s learning, ever learning from the smart guys in the back seat, and in the end he’s the smartest guy in Bangalore, evoking an atmosphere of struggle for survival in the jungles of concrete in India. Indeed, blazingly savage, this book. A good buy this autumn.
About the Author: Satis Shroff lectures on Creative Writing at the University of Freiburg and is the published author of three books on www.Lulu.com: Im Schatten des Himalaya (book of poems in German), Through Nepalese Eyes (travelgue), Katmandu, Katmandu (poetry and prose anthology by Nepalese authors, edited by Satis Shroff). His lyrical works have been published in literary poetry sites: Slow Trains, International Zeitschrift, World Poetry Society (WPS), New Writing North, Muses Review, The Megaphone, The Megaphone, Pen Himalaya, Interpoetry. Satis Shroff is a member of “Writers of Peace”, poets, essayists, novelists (PEN), World Poetry Society (WPS) and The Asian Writer.
Satis Shroff is a poet and writer based in Freiburg (poems, fiction, non-fiction) who also writes on ecological, ethno-medical, culture-ethnological themes. He has studied Zoology and Botany in Nepal, Medicine and Social Sciences in Germany and Creative Writing in Freiburg and the United Kingdom. He describes himself as a mediator between western and eastern cultures and sees his future as a writer and poet. Since literature is one of the most important means of cross-cultural learning, he is dedicated to promoting and creating awareness for Creative Writing and transcultural togetherness in his writings, and in preserving an attitude of Miteinander in this world. He lectures in Basle (Switzerland) and in Germany at the Akademie für medizinische Berufe (University Klinikum Freiburg) and the Zentrum für Schlüsselqualifikationen (University of Freiburg). Satis Shroff was awarded the German Academic Exchange Prize.