Life Of Pi Setting English Literature Essay

Life of PiA is set against the disruptive period of Indian history known as the Emergency. In 1975, Prime Minister Indira Gandhi was found guilty of charges related to her 1971 election run and was ordered to vacate. Instead-and in response to a lifting tide of work stoppages and protests that were paralysing the government-Gandhi declared a province of exigency, suspending constitutional rights and giving herself the power to govern by edict. The Emergency lasted for 18 months and was officially ended in March 1977 when Gandhi called for a new unit of ammunition of elections. The historical bequest of the Emergency has been extremely controversial: while civil autonomies in this emerging democracy were badly curtailed and Gandhi ‘s political oppositions found themselves captive, abused, and tortured, India ‘s economic system experienced a much-needed stabilisation and growing. InA Life of Pi, A Piscine ( Pi ) Molitor Patel ‘s male parent, a zookeeper in Pondicherry, India, grows nervous about the current political state of affairs. Speculating that Gandhi might seek to take over his menagerie and faced with dejecting economic conditions, Pi ‘s male parent decides to sell off his menagerie animate beings and travel his household to Canada, therefore puting the chief action of the novel into gesture.

Though merely a comparatively brief subdivision ofA Life of PiA is really set in India, the state ‘s eclectic make-up is reflected throughout the novel. Pi is raised as a Hindu but as a immature male child discovers both Christianity and Islam and decides to pattern all three faiths at the same time. In the Author ‘s Note, an aged Indian adult male describes the narrative of Pi as “ a narrative that will do you believe in God, ” andA Life of PiA continuously grapples with inquiries of religion ; as an disciple to the three most outstanding faiths in India, Pi provides a alone position on issues of Indian spiritualty. India ‘s diverse civilization is farther reflected in Martel ‘s pick of Pondicherry as a scene. India was a British settlement for about two hundred old ages, and accordingly most of the state has been profoundly influenced by British civilization. However, Pondicherry, a bantam metropolis in southern India, was one time the capital of Gallic India and as such has retained a uniquely Gallic spirit that sets it apart from the remainder of the state.

Life of PiA can be characterized as a postcolonial novel, because of its post-Independence Indian scene every bit good as its Canadian writing. Like many postcolonial novels, such as those of Salman Rushdie and Gabriel Garcia Marquez, A Life of PiA can besides be classified as a work of charming pragmatism, a literary genre in which fantastical elements-such as animate beings with human personalities or an island with cannibalistic trees-appear in an otherwise realistic scene. Martel ‘s novel could every bit be described as a bildungsroman ( a coming-of-age narrative ) or an escapade story.A Life of PiA even flirts with nonfiction genres. The Author ‘s Note, for illustration, claims that the narrative of Piscine Molitor Patel is a true narrative that the writer, Yann Martel, heard while backpacking through Pondicherry, and the novel, with its first-person storyteller, is structured as a memoir. At the terminal of the novel, we are presented with interview transcripts, another genre of nonfiction authorship. This commixture of fiction and nonfiction reflects the turn stoping of the novel, in which the veracity of Pi ‘s fantastical narrative is called into uncertainty and the reader, like Pi ‘s Nipponese inquisitors, is forced to face unsettling inquiries about the nature of truth itself.

Subject ( Life of Pi-The Oldman and the Sea )

Many critics have noted the book ‘s resemblance to Ernest Hemingway ‘s novelThe Old Man and the Sea. Both novelsA characteristic an heroic poem battle between adult male and animal. InA The Old Man and the Sea, A a fisherman struggles to draw in a mighty marlin, while inA Life of Pi, A Pi and Richard Parker battle for laterality on the lifeboat. Both the fisherman and Pi learn to esteem their carnal opposite numbers ; each brace is connected in their common agony, strength, and decide. Although they are oppositions, they are besides spouses, Alliess, even doubles. Furthermore, both novels emphasize the importance of endurance. Because decease and devastation are inevitable, both novels present life as a pick between merely two options: licking or endurance until devastation. Digesting against all odds elevates both human characters to the position of heroes.

Theme ( narrative stating )

Though merely six pages long, the Author ‘s Note clues us into the book ‘s beginnings even as it blurs the boundary between fact and fiction. The note claims the text is nonfiction, puting this book forthrightly in the tradition of picaresque novels likeDon Quixote, A which masquerade as fact even though they are evidently plants of imaginativeness. In picaresque novels, the rough worlds of life-poverty, unwellness, and so on-are topic to wry, dry, and even humourous intervention. InA Life of Pi, A Martel uses his storyteller to do serious commentary on everything from faith to political relations, and the mock-journalistic debut emphasizes the intersection of fact and fiction in his literary universe.

The Author ‘s Note blends facts and fictions about Yann Martel ‘s ain inspiration for the book to exemplify the cardinal subject of the book: storytelling. Martel truly had written two not-so-successful books before this one and inspiration had struck him during a visit to India. But did he truly run into Francis Adirubasamy in a java store, and does Pi Patel truly be? The reply is no. On one degree, Martel is merely making what fiction authors do: making an fanciful scenario to please and lure his readers. But on another degree, these opening six pages dexterously lay the foundation for the novel ‘s cardinal subject, which is that storytelling is a manner to acquire around stating the drilling or upsetting or uninteresting truth. Martel does n’t desire to state that this novel was created by fastidiously researching menagerie and faiths and pelagic endurance ushers, acquiring up early every forenoon, and composing for several hours a twenty-four hours. Such an account would jab a hole in the balloon of phantasy that Pi ‘s history inflates over the class of the following three hundred pages ; so, alternatively, he invents a different beginning narrative.

The Author ‘s Note is balanced structurally by Part Three, another short subdivision that is besides concerned with making the feeling that this full book is a work of nonfiction. These bookends do non truly gull the reader, of class, but they give us the ability to suspend our incredulity and put ourselves more to the full in the narrative we are about to read.

Though given merely a brief reference, Pi ‘s mention of his thesis on sixteenth-century Kabbalist Isaac Luria ‘s cosmology theory is really of import to the book as a whole. In kernel, Luria ‘s theory of creative activity provinces that God contracted to do room for the existence. This contraction, calledA Tsimstum, A was followed by visible radiation, carried in five vass. The vass shattered, doing the flicker of visible radiation to drop into affair. God reordered them into five figures, which became the dimensions of our created world. This apparently unimportant item really foreshadows the chief event to come: the sinking of the ship, theA Tsimtsum, which gives Pi the room to make his ain version of the events that follow. Interestingly, like the five figures that make up world for Luria, five characters on the lifeboat ( including Pi himself ) form Pi ‘s narrative.

The Will to Populate

Life of PiA is a narrative about fighting to last through apparently unsurmountable odds. The shipwrecked dwellers of the small lifeboat do n’t merely assent to their destiny: they actively fight against it. Pi abandons his womb-to-tomb vegetarianism and chows fish to prolong himself. Orange Juice, the peaceable Pongo pygmaeus, battles fiercely against the hyaena. Even the badly hurt zebra conflicts to remain alive ; his slow, painful battle vividly illustrates the sheer strength of his life force. As Martel makes clear in his novel, populating animals will frequently make extraordinary, unexpected, and sometimes epic things to last. However, they will besides make shameful and barbarian things if pressed. The hyaena ‘s perfidy and the unsighted Frenchman ‘s bend toward cannibalism show merely how far animals will travel when faced with the possibility of extinction. At the terminal of the novel, when Pi raises the possibility that the ferocious tiger, Richard Parker, is really an facet of his ain personality, and that Pi himself is responsible for some of the hideous events he has narrated, the reader is forced to make up one’s mind merely what kinds of actions are acceptable in a life-and-death state of affairs.

The Importance of Storytelling

Life of PiA is a narrative within a narrative within a narrative. The novel is framed by a ( fictional ) note from the writer, Yann Martel, who describes how he foremost came to hear the antic narrative of Piscine Molitor Patel. Within the model of Martel ‘s narrative is Pi ‘s fantastical first-person history of life on the unfastened sea, which forms the majority of the book. At the terminal of the novel, a transcript taken from an question of Pi reveals the possible “ true ” narrative withinA thatA narrative: that there were no animate beings at all, and that Pi had spent thoseA 227A yearss with other human subsisters who all finally perished, go forthing merely himself.

Pi, nevertheless, is non a prevaricator: to him, the assorted versions of his narrative each contain a different sort of truth. One version may be factually true, but the other has an emotional or thematic truth that the other can non near. Throughout the novel, Pi expresses contempt for positivists who merely put their religion in “ dry, yeastless factualness, ” when stories-which can astonish and animate hearers, and are bound to linger longer in the imagination-are, to him, boundlessly superior.

Storytelling is besides a agency of endurance. The “ true ” events of Pi ‘s sea ocean trip are excessively atrocious to contemplate straight: any immature male child would travel insane if faced with the sorts of Acts of the Apostless Pi ( indirectly ) tells his planimeters he has witnessed. By recasting his history as an unbelievable narrative about humanlike animate beings, Pi does n’t hold to confront the true inhuman treatment human existences are really capable of. Similarly, by making the character of Richard Parker, Pi can disavow the fierce, violent side of his personality that allowed him to last on the ocean. Even this is non, technically, a prevarication in Pi ‘s eyes. He believes that the tiger-like facet of his nature and the civilised, human facet base in tense resistance and occasional partnership with one another, merely as the male child Pi and the tiger Richard Parker are both enemies and Alliess.

The Nature of Religious Belief

Life of PiA begins with an old adult male in Pondicherry who tells the storyteller, “ I have a narrative that will do you believe in God. ” Storytelling and spiritual belief are two closely linked thoughts in the novel. On a actual degree, each of Pi ‘s three faiths, Hinduism, Christianity, and Islam, come with its ain set of narratives and fabrications, which are used to distribute the instructions and exemplify the beliefs of the religion. Pi enjoys the wealth of narratives, but he besides senses that, as Father Martin assured him was true of Christianity, each of these narratives might merely be facets of a greater, cosmopolitan narrative about love.

Narratives and spiritual beliefs are besides linked inA Life of PiA because Pi asserts that both require religion on the portion of the hearer or fan. Surprisingly for such a spiritual male child, Pi admires atheists. To him, the of import thing is to believe insomething, A and Pi can appreciate an atheist ‘s ability to believe in the absence of God with no concrete cogent evidence of that absence. Pi has nil but contempt, nevertheless, for doubters, who claim that it is impossible to cognize either manner, and who therefore refrain from doing a unequivocal statement on the inquiry of God. Pi sees this as grounds of a black deficiency of imaginativeness. To him, doubters who can non do a spring of religion in either way are like hearers who can non appreciate the non-literal truth a fictional narrative might supply.


Territorial Laterality

Though Martel ‘s text trades with the apparently unbounded nature of the sea, it besides surveies the stringency of boundaries, boundary lines, and limits. The careful manner in which Pi marks off his district and differentiates it from Richard Parker ‘s is necessary for Pi ‘s endurance. Animals are territorial animals, as Pi notes: a household Canis familiaris, for illustration, will guard its bed from interlopers as if it were a den. Lttes, as we learn from Richard Parker, are likewise territorial. They mark their infinite and specify its boundaries carefully, set uping absolute laterality over every square inch of their country. To get the hang Richard Parker, Pi must set up his control over certain zones in the lifeboat. He pours his piss over the tarp to denominate a part of the lifeboat as his district, and he uses his whistling to guarantee that Richard Parker stays within his designated infinite. The little size of the lifeboat and the comparatively big size of its dwellers make for a crowded vas. In such a confined infinite, the limit of district ensures a comparatively peaceable relationship between adult male and animal. If Richard Parker is seen as an facet of Pi ‘s ain personality, the impression that a distinguishable boundary can be erected between the two represents Pi ‘s demand to disavow the violent, animalistic side of his nature.

Hunger and Thirst

Unsurprisingly in a novel about a shipwrecked outcast, the characters inA Life of PiA are continually fixated on nutrient and H2O. Ironically, the lifeboat is surrounded by nutrient and H2O ; nevertheless, the salty H2O is undrinkable and the nutrient is hard to catch. Pi invariably struggles to set down a fish or draw a polo-neck up over the side of the trade, merely as he must steadily and systematically collect fresh imbibing H2O utilizing the solar stills. The perennial battles against hungriness and thirst exemplify the crisp difference between Pi ‘s former life and his current 1 on the boat. In urban towns such as Pondicherry, people are fed like animate beings in a zoo-they ne’er have to use much attempt to obtain their nutriment. But on the unfastened ocean, it is up to Pi to fend for himself. His passage from modern civilisation to the more crude being on the unfastened sea is marked by his attitudes toward fish: ab initio Pi, a vegetarian, is loath to kill and eat an animate being. Merely one time the fish is exanimate, looking as it might in a market, does Pi experience better. As clip goes on, Pi ‘s increasing comfort with eating meat signals his embracing of his new life.


Throughout the novel, characters achieve comfort through the pattern of rites. Animals are animals of wont, as Pi establishes early on when he notes that zookeepers can state if something is incorrect with their animate beings merely by detecting alterations in their day-to-day modus operandis. Peoples, excessively, go wedded to their modus operandis, even to the point of predictability, and turn troubled during times of alteration. While spiritual traditions are a premier illustration of ritual in this novel, there are legion others. For case, Pi ‘s female parent wants to purchase coffin nails before going to Canada, for fright that she wo n’t be able to happen her peculiar trade name in Winnipeg. And Pi is able to last his pelagic ordeal mostly because he creates a series of day-to-day rites to prolong him. Without rites, modus operandis, and wonts, the fresh implies, people feel uneasy and unmoored. Rituals give construction to abstract thoughts and emotions-in other words, ritual is an alternate signifier of storytelling.



Piscine Molitor Patel ‘s preferable nickname is more than merely a sawed-off version of his given name. Indeed, the wordA PiA carries a host of relevant associations. It is a missive in the Grecian alphabet that besides containsA alphaA andA Z, A footings used in the book to denote dominant and submissive animals. Pi is besides an irrational mathematical figure, used to cipher distance in a circle. Often shortened toA 3.14, pi has so many denary topographic points that the human head ca n’t accurately grok it, merely as, the book argues, some worlds are excessively hard or disturbing to face. These associations set up the character Pi as more than merely a realistic supporter ; he besides is an allegorical figure with multiple beds of significance.

The Color Orange

InA Life of Pi, A the colour orange symbolizes hope and endurance. Just before the scene in which theA TsimtsumA sinks, the storyteller describes sing the grownup Pi at his place in Canada and run intoing his household. Pi ‘s girl, Usha, carries an orange cat. This minute assures the reader that the terminal of the narrative, if non happy, will non be a complete calamity, since Pi is guaranteed to last the calamity and father kids of his ain. The small orange cat recalls the large orange cat, Richard Parker, who helps Pi survive during hisA 227A yearss at sea. As theA TsimtsumA sinks, Chinese sailors give Pi a lifejacket with an orange whistling ; on the boat, he finds an orange lifebuoy. The whistling, buoy, and tiger all aid Pi survive, merely as Orange Juice the Pongo pygmaeus provides a step of emotional support that helps the male child maintain hope in the face of hideous calamity.

A His full name performs two related and yet antithetical maps in the text: foremost, it emphasizes the thought that a really strong swimmer like Pi might realistically hold survived in the ocean after a shipwreck ; and 2nd, it is such an uneven name that is has the ring of fable, positioning Pi as a mythic or legendary character. The actual, mathematic symbol pi, an about impossibly long figure whose combinations ne’er repetition, besides symbolizes Pi ‘s long journey, with all its fluctuations.

3. Discourse the importance of credibility in this novel.

Answer for Study Question 3 & gt ; & gt ;

Pi is a truster in the fullest sense of the word: he uses his rational mind to take him every bit far as he can travel and so he takes inventive springs. As Pi himself tells the two Nipponese functionaries who interview him in Mexico, many things are hard to believe, but we convince ourselves to make so however: “ Love is difficult to believe, inquire any lover. Life is difficult to believe, inquire any scientist. God is difficult to believe, inquire any truster. ” We give ourselves to these fictions, these discrepancies on world, because they give us a ground to maintain traveling. Where is the joy in a life deprived of love affair and passion? Where is the self-awareness in a life that is simply a biological accident? Where is the comfort in an being that has no rime or ground? A life that is wholly rational or fact based is about non deserving populating. To Pi, and to anyone who believes in things that he can non needfully see nor turn out, religion is a span between the coldness of fact and the heat of emotion. The ability to believe is a trademark of consciousness and consciousness, one ground faiths are so ferociously protected and so widely practiced. To believe in something makes us experience more alive, more connected to the universe around us, giving construction to our apprehension of the existence and our topographic point in it in a manner that pure scientific discipline, based entirely on observation, ne’er can.

Beyond helping as a foundational subject for the text, credibility is built-in to the really construction of the novel. Even as Pi asks us to believe his carnal narrative, Martel asks us to believe the narrative he tells, of run intoing Francis Adirubasamy and looking up Pi Patel in his Toronto phone book. We, the reader, know that these things did non truly go on to Martel, yet we suspend our incredulity so as to go more entirely absorbed in the text. Martel ‘s fictional narrative far rivals the truth, which is likely that he had an thought, did his research, and so worked really difficult for months and months to compose his novel. That the novel begins with a supposedly nonfictional Author ‘s Note and ends with the transcript of an interview and the text of an official study establishes the larger message that all storytellers-both Pi and Martel included-require the audience ‘s trust, or belief.


3. In visible radiation of the fact that this is a fresh about imaginativeness, why does Martel get down with the Author ‘s Note, which gives the feeling that Pi ‘s history is truth, non fiction?

4. One of the ways that Pi keeps himself sane and occupied while entirely in the center of the ocean is by composing in his diary. What does his journaling say about the human demand for communicating?

5. The two Nipponese functionaries who interview Pi do n’t believe that he truly landed on a man-eating island. When they say that carnivorous trees and fish-eating algae do non be, Pi responds, “ Merely because you ‘ve ne’er seen them. ” What does this exchange say about human apprehension of what is existent and possible?

Why does Pi give two histories of his ordeal? Which is the true narrative, and which one would you instead believe?



Major Subjects

Belief in God

Belief in God is clearly a major subject inA Life of Pi, and has been the most controversial in reappraisals of the book. Throughout the novel, Pi makes his belief in and love of God clear-it is a love profound plenty that he can exceed the classical divisions of faith, and worship as a Hindu, Muslim, and Christian. Pi, although amazed by the possibility of missing this belief, still respects the atheist, because he sees him as a sort of truster. Pi ‘s vision of an atheist on his decease bed makes it clear that he assumes the atheist ‘s signifier of belief is one in God, without his recognizing it until the terminal. It is the agnostic that truly fusss Pi ; theA decisionA to doubt, to miss belief in anything, is to him inexcusable. This is underscored in that indispensable transition in the novel when Pi asks the Nipponese functionaries which of his two narratives they preferred-he sees no ground why they should non believe the better narrative.

Pi ‘s devotedness to God is a outstanding portion of the novel ; it becomes, nevertheless, much less outstanding during his clip aboard the lifeboat, when his physical demands come to rule his religious 1s. Pi ne’er seems to doubt his belief in God while digesting his adversities, but he surely focuses on it less. This in bend underscores the subject of the primacy of endurance.

The Primacy of Survival

The primacy of endurance is the unequivocal subject in the bosom of the book, Pi ‘s clip at sea. This subject is clear throughout his ordeal-he must eat meat, he must take life, two things which had ever been anathema to him before his endurance was at interest. Survival about ever trumps morality, even for a character like Pi, who is profoundly principled and spiritual. When Pi tells the 2nd version of his narrative to the Nipponese work forces, this subject is highlighted even more vividly, because he parallels his survival inherent aptitudes in the 2nd narrative to Richard Parker in the first-it is he, when he must last, who steals nutrient, he who kills the Frenchman. If the first version of the narrative is seen as a fictionalized version of the 2nd, the really fact that he divides himself from his barbarous endurance inherent aptitude shows the power of that inherent aptitude.


The act of storytelling and narrative is a important subject throughoutA Life of Pi, but peculiarly in the narrative frame. That Pi ‘s narrative is merely that-a story-is emphasized throughout, with ejaculations from the writer, Pi ‘s ain mentions to it, and the complete retelling of the narrative for the Nipponese functionaries. ( This is non to advert chapter ninety-seven, which contains two words: “ The narrative. ” ) By including a semi-fictional “ Author ‘s Note, ” Martel draws the reader ‘s attending to the fact that non merely within the novel is Pi ‘s narrative of endurance at sea an unverified narrative, but the full novel itself, and even the writer ‘s note, normally trusty, is a work of fiction.

This is non to state that Martel intends the reader to readA Life of PiA through a lens of incredulity or uncertainness ; instead, he emphasizes the nature of the book as a narrative to demo that one can take to believe in it anyhow, merely as one can take to believe in God-because it is preferred to non believing, it is “ the better narrative. ”

The Definition of Freedom

The true definition of freedom becomes a inquiry early inA Life of Pi, when Pi refutes the claims of people who think that menagerie are cruel for curtailing animate beings ‘ freedom. Pi offers grounds against this, oppugning the very definition of freedom. An animate being in the natural state is “ free ” harmonizing to the oppositions of menagerie, and it is true that that animate being is non restricted in its motion by a physical coop. It is, nevertheless, deeply restricted by its endurance demands and its inherent aptitudes. If that animate being is guided entirely by its demand for nutrient, H2O, and shelter, is it truly free? If it will ne’er deliberately wander exterior of the district it has defined for itself, is it truly free? In a menagerie, where the animate being ‘s demands are ever provided, is n’t it more free?

The inquiry of freedom arises once more as Pi finds himself in a battle for endurance at sea. He is without duty to anyone else, he is without any demand to be anyplace in the universe, he is perpetually in gesture ; yet he has likely ne’er been less free, for he must ever be seting his endurance above all else. An illustration of this is that he can no longer take to be a vegetarian-he must eat meat to remain alive. ThroughoutA Life of Pi, the primacy of endurance, of life, greatly restricts “ freedom, ” and therefore redefines the really word.

The Relativity of Truth

The relativity of truth is non highlighted as a major subject inA Life of PiA until the last portion of the novel, when Pi retells the full narrative to do it more plausible to the functionaries who are oppugning him. He so asks the functionaries which narrative they liked better, since neither can be proven and neither affects the information they are seeking for-how the ship sunk. This inquiry implies that truth is non absolute ; the functionaries can take to believe whichever narrative they prefer, and that versionA becomesA truth. Pi argues to the Nipponese functionaries that there is innovation in all “ truths ” and “ facts, ” because everyone is detecting everything from their ain position. ThereA isA no absolute truth.

Science and Religion

The subject of scientific discipline and faith as non opposed but in concert with each other is present chiefly in the framing of the narrative. It is exemplified in Pi ‘s double major at the University of Toronto of Religion and Zoology, which he admits he sometimes gets assorted up, seeing the sloth that he studied as a reminder of God ‘s miracles. Similarly, Pi ‘s favourite instructor, Mr. Kumar, sees the menagerie as the temple of his godlessness. The subject of the connexion between scientific discipline and faith besides is related to Pi ‘s regard for atheists, because he sees that they worship scientific discipline as he worships God, which he believes is non so really different.

Loss of Innocence

The subject of loss of artlessness inA Life of PiA is closely related to the subject of the primacy of endurance. Its significance is reflected in the geographic construction of the book-in Part 1, Pi is in Pondicherry, and at that place he is guiltless. In Part 2, Pi is in the Pacific Ocean, and it is at that place that he loses his artlessness. That Part 2 Begins, non chronologically with theA TsimtsumA sinking, but with Pi ask foring Richard Parker onto the lifeboat, besides reflects this, for it represents Pi making out for what Richard Parker symbolizes-his ain endurance inherent aptitude. And it is this survival inherent aptitude that is at the bosom of Pi ‘s loss of artlessness ; it is this survival inherent aptitude that drives him to move in ways he ne’er thought he could.

Throughout Part 2 there are other representative minutes of a loss of artlessness, besides the symbolic one of conveying Richard Parker onto the lifeboat. The most of import of these is the decease of the Frenchman, which Pi describes as killing a portion of him which has ne’er come back to life. That portion can surely be read as hisA

In what ways does Pi parallel spiritual belief in God to the menagerie?

Suggested Answer: The chief analogue that Pi draws between these two things is the true freedom that both provide, even in looking to curtail it. He says that disparagers argue that zoos restrict animate beings ‘ freedom and so do them unhappy, and the rites and regulations of faith can likewise be said to curtail human freedom. Pi argues, nevertheless, that menagerie, by supplying an carnal with its endurance demands, in fact give that animal every bit much freedom, for it is content, safe, and would n’t desire to go forth. Similarly, the regulations and rite of faith in fact give people what Pi sees as their religious necessities, and therefore a more important sort of freedom.

Belief is a major subject in this novel. How are belief in God and belief in a narrative paralleled inA Life of Pi?

Suggested Answer: Pi parallels the belief in God with the belief in a narrative by stating that everything in life is a narrative, because it is seen through a certain position, and therefore altered by that position. If this is the instance, he claims that something that does n’t alter factual being and can non be determined eventually either manner can be chosen. Given this, one can, and should, take the better narrative, which Pi believes is the story-the life-that includes a belief in God.

If each character in Pi ‘s two narratives are paralleled, Orange Juice to Pi ‘s female parent, the hyaena to the cook, the crewman to the zebra, and Pi to Richard Parker, what does the Pi in the first narrative represent?

Suggested Answer: While Richard Parker in the first narrative is paralleled to Pi, it can be said that he is paralleled to Pi ‘s endurance inherent aptitude, while the Pi in the first narrative represents Pi ‘s spiritualty and morality. In this manner, Pi ‘s spiritualty is able, with much difficult work, to exercise some control over his survival instinct-at least adequate to stay in being, even when non in control-while the survival inherent aptitude remains powerful and unsafe. Pi says that he would non hold survived without Richard Parker, and this excessively is true in the analogue, for Pi ‘s spiritualty and morality needed Pi ‘s endurance inherent aptitude to maintain his organic structure alive, so that his spiritualty could be every bit good.

If each character in Pi ‘s two narratives are paralleled, Orange Juice to Pi ‘s female parent, the hyaena to the cook, the crewman to the zebra, and Pi to Richard Parker, what does the Pi in the first narrative represent?

Suggested Answer: While Richard Parker in the first narrative is paralleled to Pi, it can be said that he is paralleled to Pi ‘s endurance inherent aptitude, while the Pi in the first narrative represents Pi ‘s spiritualty and morality. In this manner, Pi ‘s spiritualty is able, with much difficult work, to exercise some control over his survival instinct-at least adequate to stay in being, even when non in control-while the survival inherent aptitude remains powerful and unsafe. Pi says that he would non hold survived without Richard Parker, and this excessively is true in the analogue, for Pi ‘s spiritualty and morality needed Pi ‘s endurance inherent aptitude to maintain his organic structure alive, so that his spiritualty could be every bit good.