The perfect companion piece to Slumdog Millionaire, and if you didn't like that movie, you won't like this book for the same reasons. It's a no-nonsense bulldozing mordant splenetic jackhammer of a story written as a tough slangy 300 page fast-reading monologue. It's a novel of information, not art. It tells you all about modern India with a traditional rags-to-riches fable. Our hero murders his employer unapologetically, and that's how he gets his riches. This is not rocket science. This is smashing a guy over the head with a broken bottle of Johnny Walker. 
 But 90% of the book is not really the story, it's an anguished howl of rage about a distance of eighteen inches. In India, and indeed in other places too, the Rich and the Poor inhabit different universes. But the rich hire some of the poor as servants. This novel is the story of a servant who was a driver. In the car, the driver is separated from his employer (the word used here is Master) by the short distance of 18 inches. But economically, psychologically, medically, it's really 400 light years, as we know. And yet, every day, there they are, cheek by jowl, 18 inches apart, the one regarding the other with irritated amusement or annoyance or contempt, depending on mood, and being reciprocated with fawning fear and even awe. Our hero Balram is the rare beast (white tiger) who does not succumb to this fear and awe. But it's a struggle, and I was glad to be along for the ride. 
 In the London Review of Books, Sanjay Subrahmanyam almost trashes The White Tiger. His main beef is the language of the novel : 
 "What of Balram Halwai? What does he sound like? Despite the odd namaste, daal, paan and ghat, his vocabulary is not sprinkled with North Indian vernacular terms. His sentences are mostly short and crudely constructed, apparently a reflection of the fact that we're dealing with a member of the 'subaltern' classes. He doesn't engage in Rushdian word-play. But he does use a series of expressions that simply don't add up. He describes his office as a 'hole in the wall'. He refers to 'kissing some god's arse', an idiomatic expression that doesn't exist in any North Indian language. 'Half-formed ideas bugger one another, and make more half-formed ideas' and the Chinese prime minister is advised never to 'let that blasphemous idea into your yellow skull'. On another matter, he sneers: 'They're so yesterday.' A clever little phrase appears: 'A statutory warning - as they say on cigarette packs - before we begin.' Dogs are referred to as 'mutts'. Yet whose vocabulary and whose expressions are these? On page after page, one is brought up short by the jangling dissonance of the language and the falsity of the expressions. This is a posh English-educated voice trying to talk dirty, without being able to pull it off. This is not Salinger speaking as Holden Caulfield, or Joyce speaking as Molly Bloom. It is certainly not Ralph Ellison or James Baldwin, whom Adiga has claimed as his models in speaking for the underdog. What we are dealing with is someone with no sense of the texture of Indian vernaculars, yet claiming to have produced a realistic text." 
 and then devastatingly: 
 "The paradox is that for many of this novel's readers, this lack of verisimilitude will not matter because for them India is and will remain an exotic place. This book adds another brick to the patronising edifice it wants to tear down." 
 He's right, it didn't matter to me that a guy who doesn't speak English is represented as using hundreds of idiomatic English phrases. But for me that problem is the same as the one posed by the question "how can this first person narrator remember conversations in detail which happened years ago and anyway, who the hell is she talking to?" - i.e. it's a device, we suspend our disbelief, we do it all the time : every time we watch a movie we could be asking ourselves (but don't) "whose point of view is this all from?". Who gathered all those documents together to form the text known as the novel "Dracula"? Well, no one, because Bram Stoker made it all up. How could Clarissa have found the time to write all those long, long letters in "Clarissa"? And so on. (note : Subrahmanyam was the only really dissident voice I found regarding The White Tiger so I thought his argument was worth considering.) 
 Postscript 
 The White Tiger is the 9th Booker Prize Winner I've read and redresses the balance between the Splendid (this one, Midnight's Children, Remains of the Day and Sacred Hunger) and the What Were They Thinking (Life & Times of Michael K, Hotel Du Lac, Possession, Life of Pi and especially, remarkably, horrendously, Vernon God Little).