than-not been airbrushed beyond recognition in the popular imagination andsidestepped, on account of moral inconvenience, by the mainstream culturalcommentators.
In his debut novel Aravind Adiga anatomizes many of the subterranean
sociological contradictions of the ‘rooster coop’ that is India (for most of its
citizens anyway) in a hard-hitting mind-expanding manner.He renders readily comprehensible, the fabricated made-for-television character of
the ‘India Emerging’ narrative that has painstakingly been manufactured,
propagated and re-enforced in the cultural consciousness of urban middle classIndia (and indeed in the minds of media reportage-
dependent international ‘IndiaObservers’).
One can’t help but suspect that Adiga had in mind to subtly embody a
revolutionary manifesto for the subalterns and the oppressed of India in this book.The whole book is suffused with philosophical irony and replete with tragicomicreferences to the daily subjugations that the countless Indian underclasses areinflicted with, as a matter of culturally sanctioned custom.
The protagonist Balram Halwai is a reification of the pathetic subhumanizationinherent in the production relations and cultural patterns in rural India and also abiographical argument for violent social upheaval. The setting of the first half of the story, a nondescript village called Laxmangarh, is an all-purpose allegory foralmost any part of the Indian hinterland. Other characters in the book, mostnotably the Mr. Ashok and his landlord ilk, through their motivations and actionshelp add completion to the description of the psychological-mechanics of oppression that the story brings forth with fresh authenticity. The crisp folksyinteractions between Balram and his fellow poor and Balram's missives on India tothe Chinese president Wen Jiabao (who Balram is writing a letter to) are brilliantlypiquant!!
Adiga after receiving The Man Booker Prize