Balram’s “Autobiography of a Half-Baked Indian” begins with pompous salutations and a rear-end-kissing ritual—an apt introduction to a work for which satire is the primary narrative engine. Humorously and scathingly, The White Tiger diagnoses the ills of modernizing India through its use of juxtaposition and exaggeration. Balram portrays Indian society at its illogical extremes, creating a fictional world that is comically absurd in its injustice and corruption.
Balram’s satire draws attention to India’s deep social flaws—it breaks apart the country’s exoticized stereotypes and rosy public-relations slogans. Gandhi presides over tea shops and public squares, while Vijay bludgeons peasants who demand political representation. The election officials fabricate Balram’s birthdate for the sake of political expedience. In a mockery of democracy, the Great Socialist proclaims equality for all children while embezzling one billion rupees. Balram’s caricatures expose the neediness of both the rich and poor, who backstab each other for privileges while abusing their power. The White Tiger exploits the jarring contrasts between appearance and reality to sarcastic effect.
This satirical bent speaks even more to India’s caste structure and its expectations of servitude. Balram’s narration is so exaggerated because his underclass status forces him to such comic, groveling extremes. But the novel suggests that satire may also be a coping mechanism—Balram’s experience is so dehumanizing that he can only put up with it through extreme humor and mock performance. He flings potatoes from the Mongoose’s dosa, worships trees, and kisses the Stork’s feet as a way of asserting his freedom within the “Rooster Coop”’s oppressive pecking order. Satire breaks down convenient illusions and lies; in doing so, it lays the foundations for something new.