There's a kind of continuous murmur or growl beneath middle-class life in India, and this noise never gets recorded. I spend a lot of my time loitering about train stations, or bus stands, or servants' quarters and slums, and I listen and talk to the people around me. I wrote all day long for the next month, and by early January 2007, I could see that I had a novel on my hands.įrom where did the inspiration for Balram Halwai come? How did you capture his voice?īalram Halwai is a composite of various men I've met when traveling through India. Then, for reasons I don't fully understand myself, in December 2006, when I'd just returned to India after a long time abroad, I opened the draft and began rewriting it entirely. As a writer, I don't feel tied to any one identity I'm happy to draw influences from wherever they come.Ĭould you describe your process as a writer? Was the transition from journalism to fiction difficult?Ī first draft of The White Tiger was written in 2005, and then put aside. The odd thing is that I haven't read any of them for years and years - I read Ellison's Invisible Man in 1995 or 1996, and have never returned to it - but now that the book is done, I can see how deeply it's indebted to them. The influences on The White Tiger are three black American writers of the post-World War II era (in order), Ralph Ellison, James Baldwin, and Richard Wright. It might make more sense to speak of influences on this book, rather than on me. Who are some of your literary influences? Do you identify yourself particularly as an Indian writer? Aravind Adiga talks about his powerful debut novel, The White Tiger, and discusses how his fictional account ties strongly to the reality of contemporary India.

The white tiger novel writer