His village sensibilities continue to manifest through his lingering guilt and superstitions.
Thus, the chandelier also demonstrates the meaninglessness of Balram’s achievement in the greater scheme of a society that continues to oppress its underclass, as well as Balram’s inability to make a full transition from his past life. The chandelier is laughably out of place in his small office space, and later in the novel, Pinky Madam, a true member of the elite class, remarks that she finds chandeliers to be “tacky” (71). However, for all its virtues, the chandelier also represents Balram's inability to ever fully transform himself. He is exercising a control over light and darkness, symbolizing the way he moved himself from one realm to the other to now straddle both. By chopping the light into a strobe effect using a fan, Balram provides some insight into his talent for remaking himself. As a particularly opulent source of light, it further represents his escape from the Darkness. To Balram, the chandelier, a gaudy physical manifestation of wealth, symbolizes his success at transforming himself from a peasant into a Bangalore entrepreneur. In this passage, Balram introduces his audience to one of his most prized possessions, the chandelier in his office. This is the only 150-square-foot space in Bangalore with its own chandelier!” Balram, 5 Just like the strobe light at the best discos in Bangalore. See, when it turns, the small blades chop up the chandelier’s light and flight it across the room. Though it’s cool enough at night in Bangalore, I’ve put a midget fan-five cobwebby blades-right above the chandelier.
It’s a huge thing, full of small diamond-shaped glass pieces, just like the ones they used to show in the films of the 1970s.
Just me and a chandelier above me, although the chandelier has a personality of its own. “There’s no one else in this 150-square-foot office of mine.
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