Paper no: 15 Mass media and Communication. Type of Media.

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Name: Mehta Kavita Dineshbhai.

Course: M.A English

Semester: 4

Batch: 2016 – 2018

Roll No: 10

Enrollment No: 2069108420170020

Submitted to: SMT S.B Gardi.

                       Department of English, MKBhav uni

Email id: kavitamehta164@gmail.com

Paper no: 15 Mass media and Communication.

Topic: Type of Media.

Introduction:

         In general, "media" refers to various means of communication. For example, television, radio, and the newspaper are different types of media. The term can also be used as a collective noun for the press or news reporting agencies. In the computer world, "media" is also used as a collective noun, but refers to different types of data storage options. Computer media can be hard drives, removable drives, CD-ROM or CD-R discs, DVDs, flash memory, USB drives, and yes, floppy disks.

For example, if you want to bring your pictures from your digital camera into a photo processing store, they might ask you what kind of media your pictures are stored.

              Traffic congestion is a condition on road networks that occurs as use increases, and is characterized by slower speeds, longer trip times, and increased vehicular queuing. The most common example is the physical use of roads by vehicles. When traffic demand is great enough that the interaction between vehicles slows the speed of the traffic stream, this results in some congestion. As demand approaches the capacity of a road, extreme traffic congestion sets in.

             Public transport is a shared passenger transport service which is available for use by the general public, as distinct from modes such as taxicab, car pooling or hired buses which are not shared by strangers without private arrangement. Public transport modes include buses, trolleybuses, trams and trains, rapid transit and ferries. Public transport between cities is dominated by airlines, coaches, and intercity rail. High-speed rail networks are being developed in many parts of the world.

The Different Types of Media:

Print Media

Daily Newspapers

Weekly Newspapers

Magazines

Broadcast Media

Television

Internet

Print Media:

                 The oldest media forms are newspapers, magazines, journals, newsletters, and other printed material. These publications are collectively known as the print media. Although print media readership has declined in the last few decades, many Americans still read a newspaper every day or a newsmagazine on a regular basis. The influence of print media is therefore significant. Regular readers of print media tend to be more likely to be politically active.

The print media is responsible for more reporting than other news sources. Many news reports on television, for example, are merely follow-up stories about news that first appeared in newspapers. The top American newspapers, such as the New York Times, the Washington Post, and the Los Angeles Times, often set the agenda for many other media sources.

Daily Newspapers

                  The 1600-plus daily newspapers - "dailies" - in the United States provide an estimated 113 million individuals with their primary source of news every day. Dailies appear in morning and/or evening editions seven days a week. Daily newspapers cover national, state, and local education initiatives; elementary and secondary school education; and other related topics from many different angles - from writing a profile on a state education leader to covering a local school board meeting. The better you understand the various ways dailies can cover a story, the more successful you will be as a spokesperson and the more likely you will be to generate solid media and community attention to your program.

Weekly Newspapers

                Weekly newspapers (or "weeklies") are usually either suburban papers found in close proximity to large cities or rural papers that provide isolated areas with a link to the nearest town or county seat. They may be offered for sale at newsstands, by subscription, or distributed free of charge. Weeklies primarily focus on events and issues that are directly tied to the communities they serve. Most weeklies also offer a calendar of area events. Contact the calendar editor about upcoming community meetings or other events. Many weeklies are understaffed and have a limited ability to leave the news room to cover events, so often the reporters will write stories from press releases or interviews.

 

Magazines

                     Magazines generally offer more comprehensive, indepth coverage of a subject than newspapers. Consequently, they also demand longer lead-times. Getting covered in a magazine usually requires advance planning and a proactive media strategy.

Many magazines have editorial calendars, which provide information about special issues or features planned for the year. To find out what a magazine has planned, request an editorial calendar from the magazine's advertising department at the beginning of each year.

Become familiar with the regular features that appears in every issue and thinks about where and how a story about your community college's efforts to provide a quality education for all students might fit into their format. The editors are always looking for information that will be newsworthy when the magazine is published.

Broadcast media are news reports broadcast via radio and television. Television news is hugely important in the United States because more Americans get their news from television broadcasts than from any other source.

Broadcast media

                Broadcast Media are news reports broadcast via radio and television. Television news is hugely important in the United States because more Americans get their news from television broadcasts than from any other source.

Television

                    Think "pictures" when you think of television news. Television is different from all other media in that it demands visual presentation of your message. To succeed in generating TV coverage for stories related to the Centennial and community colleges at large, you must be able to differentiate between print and TV stories. For example, the image of parents and teachers staging a demonstration in a classroom or students working with innovative technology is more likely to attract a TV crew than "talking heads" announcing the Centennial at a news conference. Beyond simply identifying which of your events will be appropriate for TV coverage, try to devise creative ways to enrich the visual aspects of the story you are trying to tell.

Radio

               The influence of radio broadcasters in the daily lives of Americans is often grossly underestimated and occasionally altogether overlooked by even the most experienced media strategists. Radio is often described as the "captive electronic medium" because it reaches people while they are doing other things in their cars, on the way to and from work, in their homes and offices, even while they exercise with Walkman. Radio programming offers a variety of formats for communicating to a number of distinct audiences. Each radio station offers regular and special programming combinations.

News programs provide a vehicle for releasing important and breaking news. Radio newscasts usually air at least twice every hour, allowing your statement to be edited into many sound bites for repeated use throughout the day.

Regularly scheduled programs (interviews, talk shows, etc.) provide a public platform to discuss education reform and your community's efforts to achieve education goals in greater length and detail than in normal radio newscasts - which are generally very brief.

The Internet

                       The Internet is slowly transforming the news media because more Americans are relying on online sources of news instead of traditional print and broadcast media. Americans surf the sites of more traditional media outlets, such as NBC and CNN, but also turn to unique online news sources such as weblogs. Websites can provide text, audio, and video information, all of the ways traditional media are transmitted. The web also allows for a more interactive approach by allowing people to personally tailor the news they receive via personalized web portals, newsgroups, podcasts, and RSS feeds.

Weblogs—known colloquially as blogs—have become very influential since the start of the twenty-first century. Leading bloggers write their opinions on a variety of issues, and thousands of people respond on message boards. Although many blogs are highly partisan and inaccurate, a few have been instrumental in breaking big stories.

Work cited.

https://www.uniassignment.com/essay-samples/media/the-different-types-of-media-media-essay.php.

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Paper No:14 Absurdity in The Swamp Dweller.

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Name: Mehta Kavita Dineshbhai.

Course: M.A English

Semester: 4

Batch: 2016 – 2018

Roll No: 10

Enrollment No: 2069108420170020

Submitted to: SMT S.B Gardi.

                       Department of English, MKBhav Uni

Email id: kavitamehta164@gmail.com

Paper no: 14 The African Literature.

Topic: The Absurd in “The Swamp Dweller”.

Introduction:

                     The Swamp Dweller is a play that was written by Wole Soyinka and was published in 1958. Wole Soyinka is a writer from Nigeria, and he was the first African to be honored with a Nobel Prize, winning the 1986 Nobel Prize in Literature. Soyinka was politically active during Nigeria’s struggle for independence, even getting arrested later during the Nigerian Civil War.

                  In this play The Swamp Dwellers, the main conflict is between the old and the new way of life in the Nigerian society and Africa in general. In Southern Nigeria, the individual was tightly bound to his society, and with the introduction of more modern ideas, this relationship was not quite as cohesive as it used to be. In addition, the power of nature was also a difficult factor to deal with when trying to survive and build a life and preserve the culture. There are three main categories of characters: parents, corrupt priests and their followers, and individuals who are always moving and changing.

            The Swamp Dwellers charts a deceptively simple plot moving, unlike the Euro-American Absurdism, in a linear manner towards a logical end. Presented in a minimalist style, the play features the remote. Nigerian swamps where an aged couple, Makuri, "an old man of about sixty," and his "equally aged wife," Alu, are waiting for the homecoming of their twin sons, Awuchike and Igwezu. The former, who never appears on stage, sought the city for wealth and luxury, and the latter went out to locate him. There is also the character of the Kadiye who represents the religious authority for the swamp dwellers. The play deals with issues of different levels. On the surface, it is about the typical life of a poor family in the African society. Deeper, it is about the collision of old and new values, the confrontation between the urban and the rural, and the modern and the ancient ways of life. In an absurd. Haris Abdulwahab Noureiddin fashion, Soyinka suggests that man lives in a vicious circle where the mire, suggestive of danger, traces him wherever he turns. In the same vein, the play is about fatalism. Reminiscent of Maurya's children in John Millington Synge's Riders to the Sea, Makuri and Alu's children break away from them heading for the city after survival. Helpless in front of destiny and traditions, the old parents have to be content and must, like Maurya, surrender to their fate. In so-doing, the play "condemns African superstition and glorification of the past," denying, unlike the Euro-American Absurdism, man's passive acceptance of the entrapping circumstances and establishing instead the active quest for salvation.

                    The absurdity of the villagers' life is enacted through a surfeit of technical elements which, in their totality, communicate and animate the feelings of loss, desolation and barrenness. As in Becket's Waiting where the intensity of the action and the singularity of effect is conveyed through a condensation of action and characters, The Swamp runs in one scene over the span of one day. Apart from the attendants to the Kadiye, there are only five characters who make appearance on stage: Makuri and his wife Alu, the old inhabitants of the hut; their son Igwezu, the major character in the play; the blind Beggar, a foil for Igwezu; and the Kadiye, the holy man, the priest of the Serpent of the Swamps and satirically the symbol of corruption. The isolation and remoteness of the location is suggested through the unnamed inanimate setting, "a village in the swamps," and through the sounds of "frogs, rain and other swamp noises". The visual presence of the mire surrounding the place from all directions connotes confinement. The general atmosphere is one of apprehension and fear. Harry Garuba explains that the condensation of action and characters.

                    The entrapment of those villagers is further imparted through the details of the stage setting. Reminiscent of the country road and a tree setting in Waiting which is evocative of the state of isolation and decay, the setting in The Swamp Dwellers, using Harold Hobson's words in his review of Waiting, "has nothing at all to seduce the senses". It is "a hut on stilts, built on one of the scattered semi-firm islands in the swamps...The walls are marsh stakes". That state of abject poverty is enforced by the simple little furniture which includes "a barber's swivel chair, a very ancient one," a barber's tools, and a mat on which Alu sits "unraveling the patterns in dyed 'adire' clothes." That barrenness is intensified by the presence of the decaying Makuri and Alu whose internalized pain is audibly and visually suggested through her constant yelling at the bites of the flies. The stage directions indicate, "Alu appears to suffer more than the normal viciousness of the swamp flies. She has a flick by her side which she uses frequently, yelling whenever a bite has caught her unawares." Makuri, on the other hand, creates the mood of waiting; he "stands by the window, looking out" . In a suggestion of confusion as in many absurdist dramas, the action in the Swamp runs at dusk while "a gentle wash of rain" is heard outside.

                    As in Waiting where a general atmosphere of futile waiting for the unknown, as well as the unidentified, is accompanied with a desolate hope indicated by Estragon's first utterance "nothing to be done", in The Swamp Dwellers a similar atmosphere of foreboding and expectation is conveyed through Alu's question, "Can you see him?" to be replied by Makuri's disappointing answer, "See who?". Beckett's characters, Vladimir and Estragon, wait for Godot upon whom/which they put all hopes. The boredom of their waiting is enacted through their pointless, illogical repetitious actions and words. Godot never comes and the characters end up contemplating suicide. Soyinka's aged characters, Makuri and Alu, having lost all hope in the homecoming of Awuchike, wait for the return of their more loyal son Igwezu who is to come back through the treacherous swamps and the malicious slough:

Alu: [puts aside her work and rises.] I'm going after him. I don’t want to lose him too. I don’t want him missing his foothold and vanishing without a cry, without a chance for anyone to save him…

                 [Alu crosses to doorpost and looks out.]

Alu: I am going to shout his name until he hears me. I had another son before the mire drew him into the depths. I don't want Igwezu going the same way.

The futility and boredom of that waiting is suggested through Makuri and Alu's continuous verbal sword fights about Awuchike possible death accounting for his long absence:

Alu: If you felt for him like a true father, you'd know he was dead. But you haven’t any feelings at all. Anyone would think they weren't your flesh and blood.

Makuri: Well, I have only your own word for that.

Alu: Ugh! You always did have a dirty tongue.

Makuri [slyly.]: The land is big and wide, Alu, and you were often out by yourself, digging for crabs. And there were all those shifty-eyed traders who came to hunt for crocodile skins. . . Are you sure they didn't take your own skin with them . . . you old crocodile!

Against this background of absurdity, all characters become aware of the "existential impasse with which they have to contend". Unlike Beckett's passive characters whose denunciation of divine salvation leads to thoughts of despair and death, Soyinka's are torn between sticking to traditions which dictate blind obedience to the African religious heritage and the choice of giving up on that tradition as illustrated in people's individual and collaborative efforts towards relocation. Since they prefer to be "marionettes" in the hands of a blind fate, Makuri and Alu are severely satirized by Soyinka. In one of the exchanges about Awuchike possible place of residence, Makuri expresses vehement apprehension of the religious authority as one example of past heritages incarnated in the character of the Kadiye and that of the Serpent of the swamps:

Alu: ... Nobody has ever seen him. Nobody has ever heard of him, and yet you say to me...

Makuri [despairingly.]: No one. No one that could swear ... Ah, what a woman you are for deceiving yourself.

Alu: No one knows. Only the serpent can tell. Only the serpent of the swamps, the Snake that lurks beneath the slough.

Makuri: The serpent be...! Bah! You'll make me voice a sacrilege before I can stop my tongue.

                        The absurdity that Soyinka dramatizes through Igwezu's episode is specifically related to the irony of fate. Committed people, socially and religiously, are entrapped while malicious ones are rewarded. Igwezu's dependence on supernatural assistance proves unsuccessful that he questions the authenticity of the gods he worships. An obedient and faithful child to parents and traditions, Igwezu performs all the necessary rites required by his deity to ensure a good harvest and a happy life with his pretty wife. The impotence of his deity strikes him as he fails to make any progress in his life in the city. Worse still, his twin, Awuchike, against all the traditional values of the swamps, seduces his pretty wife.      

                       The character of the Kadiye, the symbol of corruption in the name of religion, presents yet another deeper level of absurdity prompted by the feeling of arbitrariness and the belief in superstition. While all the swamp dwellers live in poverty and lead a tough life, the Kadiye, the holy man and the priest of the swamps, lives in affluence. Satirically, his on-stage appearance is accompanied with rituals of reverence and arrogance. Far from being as passive as his parents, and breaking away from the nihilism of the Euro-American Absurdism, Igwezu revolts against his absurd existence which makes of him a "victim of arbitrary authority".

                      Soyinka creates the character of the blind Beggar whose apparent dramaturgical function is to give another example of man's active search for saving himself and the community. In Soyinka's pagan logic, the character of the blind Beggar, a Muslim, shows the inadequacy of other religious beliefs in saving their followers. Reflecting Soyinka's anti-Islamic position, the beggar is presented as both 'blind' and a 'beggar,' "the afflicted of the gods", as Makuri describes him. Facing more absurd and gruesome circumstances than those of Igwezu - his blindness and the destruction of his crops by droughts and locusts-, the Beggar decides to give up his faith -his blindness, so to speak- and seek the south after self-salvation through finding a land to reclaim. Identifying with the role of the Messiah, the Beggar becomes the "symbol of expiation and enlightenment" he, as a 'bondsman,' incites Igwezu into awareness of the Kadiye's deceptive nature. Through his support, Igwezu takes his first step towards redemption.

                     It is chaos, arbitrariness and claimed absences of providence leading to misery and despair that Wole Soyinka foregrounds in The Swamp Dwellers. Instead of using the avant-gardist techniques to express that malaise, Soyinka adopts the technique of sharp satire incarnated in his stage setting, his character portrayal, and the use of quiet but cynical language which underscores an undercurrent stream of anxiety and anger. Constructive in his dramaturgy, unlike the Euro-American absurdists, Soyinka advances the argument that salvation is attainable not necessarily through any supernatural power, but definitely through individual endeavor and the benevolence of other persons, that is through interpersonal, collective efforts.

                In the face of adversity, Igwezu, supported by the blind Beggar, moves south to escape the barrenness of the swamps and to start anew. In Soyinka's reasoning, as it can be deduced from the play, since man's dependence on supernatural beings has been proven ineffective, man should work to rescue himself. He is either to yield passively to his desolate existence or to seek actively redemption and salvation.

Work cited.

Noureiddin, Haris Abdulwahab. The Absurd in Wole Soyinka's The Swamp Dwellers.

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Paper No :13 Tale of two Indias in The white tiger

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Name: Mehta Kavita Dineshbhai.

Course: M.A English

Semester: 4

Batch: 2016 – 2018

Roll No: 10

Enrollment No: 2069108420170020

Submitted to: SMT S.B Gardi.

                       Department of English, MKBhav Uni

Email id: kavitamehta164@gmail.com

Paper no:13 The New Literature.

Topic: The white Tiger: A Tale of two Indias.

                                                                                                                                                                                                                                                                                                                      Introduction About the novel:

                   The white Tiger, the Booker prize winning novel 2008 by Aravind Adiga, has generated tremendous response both in literary and academic circles. Critics have been equally lavish in praising the book as they have been in condemning it. Hailed as extraordinary and brilliant, thrilling, and insightful, witty and unpretentious, the novel is considered as one of the most powerful books published in the recent years. The present book offers varied interpretations of the novel by eminent Indian critics and is a welcome addition to the fast growing corpus of Indian English fiction.

                   The White Tiger is a tale of two Indias. This novel is framed as a narrative letter, Balram Halwai, whose unique, sarcastic voice carries the reader through his life in “new India.”This novel divided in to eight chapters.

                 The first night

      The second night

           The fourth morning

      The forth night

        The fifth night

      The sixth morning

        The sixth night

      The seventh night.

The White Tiger: A tale of Two Indias.

            Aravind won the man booker prize 2008 for his novel the white tiger which is darkly humorous novel about a man’s journey from Indian village life to entrepreurial success. Aravind won the man booker prize 2008 for his novel the white tiger it is Adiga fifth novel at such an early age, which deals with the present day India.

               The book is a tale of two Indias: the India of Darkness, an India of utter poverty, associated with the fictitious village of Laxmangarh in the Gaya district. The River Ganga, the ‘black river’, as the book puts it, dominates the landscape of this India where water buffaloes are treated better than humans, schools don’t have any chairs and open air sewage flows through the middle of the streets. The second India is the India of Light, the emerging India with its call centers and booming technology companies, associated with Bangalore.

               Much of the irony and criticism in the book is dependent on and at the expense of the narrator and the book’s narrative style. Told in first person by Balram Halwai, as we come to know him for most of the story, the book takes the form of seven letters telling the narrator’s life story, addressed to the Chinese Premier Wen Jiabao, who is to make a visit to India from his ‘Freedom Loving Nation of China’ in order to understand the phenomenon of entrepreneurship. Adiga wields acid, sarcastic humor like a weapon in order to make his point on the nature of Indian society.

                     Being its focalizing agent, the character of Balram is intrinsically important to the novel. He is a traumatized character having lost both father and mother to poverty and to Mother Ganga’s black mud. Balram is most definitely an unreliable narrator as his account of his life is told in retrospective and, therefore, tinted by hindsight. He is a character of dichotomies: he is a free thinker but at the same time superstitious; intelligent but uneducated; rich but with poor taste; an endearing character but ultimately a psychopath. Like the white tiger, with which he is associated, he is a creature of black and white, light and darkness.

                 We learn that Balram did not have a name until he was named by his school teacher. He was simply called Munna, which means boy. His teacher, Krishna, then names him Balram, a god known as being the sidekick of the god Krishna, effectively making him a servant. He later gains another name, white tiger, from which the title of the book stems from, and which is given to him by a government official visiting his school, who deems him to be the smartest child in the village. This name effectively alienates him from the other poor people and also alludes to the predatory beast he eventually becomes. His final name, the name he goes under after becoming an entrepreneur, is that of his late master, who he murdered himself, Ashok. Thus in The White Tiger a person’s very identity is dependant of his position in society.

                 Balram had a dream to become a driver and he could fulfill his dream only by getting employment. He earned money, learned driving and got the job as a second driver in the family of landlord. The protagonist had only one dream to drive Honda City, but senior driver Ram Prasad was the driver of Honda City, so he got Maruti Zen. Ashok the elder son of the Landlord returns back to India after completing his education from America with a Christian girl Pinky Mam. Ashok and Pinky decided to live in Delhi. In the meantime the landlord came to know that actually their senior driver Ram Prasad who was living there as a Hindu actually was a Muslim. When Ram Prasad was exposed he ran away to Dhandad and in this way Balram got the opportunity to drive Honda City of his master Ashok.

                 Delhi corrupted Ashok because he learnt the trick how to take work from political leaders, ministers, brokers, police and judges. Once pinky Madam smashes a child while she is heavily drunk, but Balram is compelled to take the blame of this accident on himself. But there is a nexus with police and judges and the case is solved. So nothing happens to anyone. Thus the novel exposes the corruption in this country which is deeply rooted in the politics. Pinky Mam becomes tired of this system and returns back to New York without informing Ashok. Now Balram becomes puzzled, wanders here and there, and goes to paharganj, not far from the Imperial Hotel. He sees the life of the people lying on the floor of the station, dogs were sniffing at the garbage and then he thinks about his destination without the job of the driver. He describes to Mr. Premier about Delhi:

                Delhi is the capital of not one but two countries two Indias. The light and the darkness both flow in to Delhi. Gurgaon, where Mr. Ashok lived, in the end of the city, and this place, old Delhi, in the other end. Full of things that the modern world forgot all about rickshaws, old stone buildings, and stone buildings, and Muslims.

                          Slum becomes the topic of discussion during election months and rest of the months is only for the rich and the politicians. All these are facts, and the young writer Aravind Adiga dares to depict the real situation of dark India. This dark side to need light. His novel is fact not fiction. Attacking on the false commitment of politicians during election and daily problem of poor the author writes: “the election shows that the poor will not be ignored. The darkness will not be silent. There is no water in our taps, and what do you people in Delhi give us? You give us mobile phones. Can man drink phone when he is thirsty? Woman walks for miles very morning to find a bucket of clean water.”

                    India is developing but Bharat needs better education and facilities regarding the roles and rights. There is problem of population which needs revaluation. Poor India doesn’t care for the better education of their children. Adiga writes: ‘I don’t think so, sir. You know how those people in the Darkness are they have eight, nine, ten children’s sometimes they don’t know the names of their own children. While driving for Mr. Ashok, Balram becomes familiar with the ways of the great men, so he also wants to enjoy the freedom and start going to whores. He need money and one day murders his master, takes all his money and goes to Bangalore. In Bangalore he does the work of a taxi contractor. He becomes famous as Ashok Sharma. He says: “once I was a driver to a master, but now I am a master of drivers.”

                     There are two sides of anything the dark side and the bright side.  Adiga has tried to tell the story of the dark India. Fact is stronger than fiction. Every now and then, we read stories in newspapers which we find difficult to believe, but most of them are true. The fact is that our world is full of wonders and mysteries. Fiction is the result of facts. Literature mirrors society and this real picture of India is shown to us by Aravind Adiga. He writes:  India is dealing with great duality today. There are men with big belies and men with small bellies. It’s a metaphor to capture the duality of human existence in India today. The world needed to see the other side of India.”

                      Thus the writer narrates openly about the rich and the poor. Middle class is somehow away from the bad habits Men drink because they are sick of life. Once the saying “Honesty is the best policy “was applicable but in today’s world only honest man suffers. The writer says about police:  There is no end to things in India, as Mr.Ashok used to say. You can give the police all the brown envelop and red bags you want and they might still screw you. a man in a uniform may one day point a finger at me and say, Time’s up , Munna.

             Aravind Adiga writes candidly about Delhi police. He narrates to Mr. Jiabao, ‘The main thing to know about Delhi is that the roads are good, and the people are bad. The police are totally rotten. Balram says that if police sees anyone without a seat belt, one has to bribe them a hundreds rupees. Balram is a loyal son, so he works in a tea shop to help his father, but he also wants to make his life better and becomes a driver. Here he is also loyal towards his master, rather he worships his master, but the reward which he gets from his master, changes his attitude of life and he learn a new morality of modern life. He is forced to take the obligation of accident. Adiga says that the jails of Delhi are full of drivers who are there behind bars because they are taking the blame for their good solid middle class master. Democracy has no meaning for the poor. Balram had to take the obligation because he was loyal as a dog. He was the perfect servant. Adiga writes about the corruption in the judicial system: “The Judges? Wouldn’t they see through this confection? But they are in the racket too. They take their bribe; they ignore the discrepancies in the case. And life goes on.”

                   The writer is young and daring, he raised voice against the system and wrote openly about the corruption which is in the political thinking during last fifty years. They try to fool public. They promote the bribe system and train the poor innocent people like balram to get involved in this corruption. Balram in hope of better life learns this new morality. The writer describes about the honesty of the poor people, poor driver and their loyalty towards their masters. He says that the trustworthiness of servants is the basis of Indian economy: “master trust their servant with diamonds in this country its true. Every evening on the train out of Surat, where they run the world biggest diamond cutting and polishing business, the servants of diamond merchants are carrying suitcase full of cut diamonds that they have to give to someone in Mumbai. Why doesn’t that servant take the suitcase full of diamonds?  He is no Gandhi, he is human, he is you and me”. In this way Aravind Adiga has tried to tell a very real story, a tale of two Indias.

Work cited:

Eduardo, Lima. A TALE OF TWO INDIAS: THE WHITE TIGER. January 2010. 29 March 2018 <https://edessays.files.wordpress.com/2010/01/lima2010_review-the-white-tiger.pdf>.

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