阿拉文德·阿迪加一九七四年出生于印度海港城市马德拉斯，后移居澳大利亚。毕业后曾任《时代周刊》驻印度通讯记者，并为《金融时报》、《独立报》、《星期日泰晤士报》等英国媒体撰稿。现居孟买。《白老虎》是其处女作。

Aravind Adiga's extraordinary and brilliant first novel takes the form of a series of letters to Wen Jiabao, the Chinese premier, from Balram Halwai, the Bangalore businessman who is the self-styled “White Tiger” of the title. Bangalore is the Silicon Valley of the subcontinent, and on the eve of a state visit by Jiabao, our entrepreneur Halwai wishes to impart something of the new India to the Chinese premier - “out of respect for the love of liberty shown by the Chinese people, and also in the belief that the future of the world lies with the yellow man and the brown man now that our erstwhile master, the white-skinned man, has wasted himself through buggery, mobile phone usage and drug abuse”.

Halwai's lesson about the new India is drawn from the rags-to-riches story of his own life. For Halwai, the son of a rural rickshaw-puller, is from the “Darkness”: “Please understand, Your Excellency, that India is two countries in one: an India of Light, and an India of Darkness. The ocean brings light to my country. Every place on the map of India near the ocean is well-off. But the river brings darkness to India - the black river.”

The black river is the Ganges, beloved of the sari-and-spices tourist image of India. (“No! - Mr Jiabao, I urge you not to dip in the Ganga, unless you want your mouth full of faeces, straw, soggy parts of human bodies, buffalo carrion, and seven different kinds of industrial acids.”)

At first, this novel seems like a straightforward pulled-up-by-your-bootstraps tale, albeit given a dazzling twist by the narrator's sharp and satirical eye for the realities of life for India's poor. (“In the old days there were 1,000 castes...in India. These days, there are just two castes: Men with Big Bellies, and Men with Small Bellies.”) But as the narrative draws the reader further in, and darkens, it becomes clear that Adiga is playing a bigger game. For The White Tiger stands at the opposite end of the spectrum of representations of poverty from those images of doe-eyed children that dominate our electronic media - that sentimentalise poverty and even suggest that there may be something ennobling in it. Halwai's lesson in The White Tiger is that poverty creates monsters, and he himself is just such a monster.