Survival
Fear
Nature
Religion
Desperation
Man Vs. Nature
Survival Story
Cast Away
Fish Out of Water
Survival Against All Odds
Animal Companion
Spiritual Journey
Stranded
Call to Adventure
Cultural Clash
Family
Spirituality
Animal Behavior
Animals
Hope
About this ebook
WINNER OF THE MAN BOOKER PRIZE
The international bestseller and modern classic of adventure, survival, and the power of storytelling is now an award-winning play.
After the sinking of a cargo ship, a solitary lifeboat remains bobbing on the wild blue Pacific. The only survivors from the wreck are a sixteen-year-old boy named Pi, a hyena, a wounded zebra, an orangutan—and a 450-pound Royal Bengal tiger.
Soon the tiger has dispatched all but Pi Patel, whose fear, knowledge, and cunning allow him to coexist with the tiger, Richard Parker, for 227 days while lost at sea. When they finally reach the coast of Mexico, Richard Parker flees to the jungle, never to be seen again.
The Japanese authorities who interrogate Pi refuse to believe his story and press him to tell them "the truth." After hours of coercion, Pi tells a second story, a story much less fantastical, much more conventional—but is it more true?
Life of Pi is at once a realistic, rousing adventure and a meta-tale of survival that explores the redemptive power of storytelling and the transformative nature of fiction. It's a story, as one character puts it, to make you believe in God.
Yann Martel
YANN MARTEL was born in Spain in 1963 of Canadian parents. Life of Pi won the 2002 Man Booker Prize (among other honors) and was adapted to the screen in the Oscar-winning film by Ang Lee. Martel is also the author of the novels The High Mountains of Portugal, Beatrice and Virgil, and Self, the collection of stories The Facts Behind the Helsinki Roccamatios, and a collection of letters to the prime minister of Canada, What Is Stephen Harper Reading?. He lives in Saskatchewan, Canada.
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Reviews for Life of Pi
13,865 ratings546 reviews
- Rating: 5 out of 5 stars5/5
Nov 16, 2024
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- You Can Become A Master In Your Business - Rating: 5 out of 5 stars5/5
Sep 7, 2024
A classic. The novel is better than the movie by far. It’s the type of book you do not want to put down. I savored each page. - Rating: 5 out of 5 stars5/5
Jul 19, 2024
This book was really entertaining all the way through, but as I'm sure others have said, the ending really changes how you see the whole story. I'm not sure whether I feel that the story works better as it is told or as an allegory like they imply at the end. - Rating: 4 out of 5 stars4/5
Nov 17, 2022
This book was so much more than just a tale about a boy marooned on the sea, it was a story of change, both perspective wise as well as location wise. There was such beautiful description of the sea, the various life at sea, the weather surrounding the sea, how the sea can heal as well as harm, and so much more. We really get to see the ocean for what it is to a human—a desolate surface land, lacking the proper tools for one's survival.
Watching Pi grow from a zoo boy to a shipwreck & castaway survivor was incredible to witness. If not for the carnivorous moss island, and this event actually happened to someone, I would've believed it to be a true story. I knew I would like this book from the start and I am happy that my expectations were exactly met.
This is definitely a book I would recommend if you have not read it, or (strangely) haven't heard of it before.
(P.S, this is the second booker prize winner that I have finished in my Booker-Prize-reading journey. Keeping with the sea theme, I think the next Booker Prize winner I read will be "The Sea, the Sea" by Iris Murdoch—I am extremely intrigued by it and am excited to dive into the story (at some point).) - Rating: 5 out of 5 stars5/5
Oct 31, 2022
At first glance, this piece of literary fiction is the story of Pi, son of a zookeeper, his spiritual development as a student of three religions and his memorable journey across the Pacific Ocean in the company of a 450-pound Bengal tiger, but it can also be read as a fable, metaphor, or commentary on the nature of humankind. Imaginative, compelling, at times gruesome, themes include storytelling, survival, and faith. The narrative provides a juxtaposition of animal instinct and transcendent faith, and how a person can inhabit both ends of the spectrum simultaneously. Each reader will likely have a different reaction to this tale, depending on his or her personal beliefs. At the very least, it provides much food-for-thought about the meaning of life.
Content warnings include detailed descriptions of suffering and slaughter of animals, eating items normally viewed as grossly inedible, dismemberment, starvation, and bodily functions. Recommended to book clubs for the discussion potential, and readers of literary fiction or modern classics. - Rating: 5 out of 5 stars5/5
Jul 6, 2023
Captivating and unusual. Who knew that being the son of a zookeeper could endanger your life - then help save it?! All kinds of interesting tidbits embedded in this book. What a tale!! (pun intended) - Rating: 5 out of 5 stars5/5
Aug 22, 2022
A wonderful survival at sea story that ends up to be a parable about religion. It works on many levels. - Rating: 4 out of 5 stars4/5
Aug 22, 2022
A great story about faith, survival and the psychological/emotional journey of trying to reconcile life's diverse views and challenges. - Rating: 5 out of 5 stars5/5
Aug 25, 2022
This book was amazing. Really feel in love with it. Didn't think I would at first because it was so popular and made into movie. Not that type of reader. But Life of Pi had something in it for me to enjoy. Was very surprised how it was written too. It was like reading a book in the 20s. Very experimental.
Loved two of the major themes in the book: zoology and theology. I've always had an interest in the study of animals and this books had plenty of that in it. The religious themes were good too. Basically if you accept all religions, then you can accept this book.
This book is not fro everyone though. I can see most people getting confused with the writing style. It's non-liner and also you can't trust the narrator at times. However, that what makes a book fiction. You can't read fiction think everything is possible. - Rating: 4 out of 5 stars4/5
Aug 20, 2024
I liked the discussion between metaphysics and the animals. It was a lot of fun. - Rating: 4 out of 5 stars4/5
Jan 30, 2024
Life of Pi is a odd sort of fantasy, philosophy, adventure story that really puzzled me. Granted, I did read it in one go in about 2 hours in a sleepless haze, but nevertheless I still felt it was trying to be overtly meaningful in a counterproductive way.
Initially, I enjoyed the story. It is presented as a story by a writer who serves as a narrative voice. This writer interviews Piscine Molitor Patel, the eponymous Pi, named after a pool in France, in his middle age in Canada, with his story recalled in the first person.
The first part of the novel deals with Pi's childhood in Pondicherry, India. The two main foci are the zoo which Pi's father runs, and Pi's love of religion. Pi goes into great detail regarding the way in which the animals behave with each other - an example of rhinos cohabiting with goats is an oft-mentioned one in which animals care less for the actual species but more for the role they play. A great deal is dicussed regarding the morality of zoos and the illusion of the proud wild beast. Abruptly, we then suddenly have Pi discover that he wants to be Hindu, Christian and Muslim in quick succession, with little explanation for this devotion than "I just want to love God." I think Martel raises some provoking, albeit not original, points about atheism, morality and human behaviour - most of the time it is just not very subtle. My copy notes in the back that Martel thinks chapters 21 and 22 are particularly significant. All I really got from them is that love is a good thing, and that agnosticism (used incorrectly, as far as I can tell) is simply indecision.
The second part changes tack significantly, detailing Pi's adventures after the ship he is on sinks and he is stranded at sea on a lifeboat. I have to admit, the inital Author's Note fooled me slightly, so I was not wholly sure whether the novel was based on a real story or not. From my ignorant viewpoint, Martel presents an initially fairly realistic description of open-sea survival. Pi wakes in the storm and ends up the next day in the lifeboat with a hyena, a zebra, an orang-utan and a lion called Richard Parker. Pi has a period of fear and shock while the animals devour each other gruesomely, leaving only Richard Parker. Using supplies on the lifeboat, Pi is then able to build a small raft to be safe from the lion as well as collect fresh water and fish for food. Eventually though, he pulls on his zoo experience and establishes him as the dominant "lion" in their relationship. They travel, with vivid descriptions of storms, wildlife, and Pi's feelings. At one point, he notices Richard Parker has gone blind, and he soon follows. He comes across another castaway, who boards and tries to eat him but is mauled by Richard Parker. They then find some kind of floating acid algae tree island, which apparently lures fish to be dissolved and eaten. Eventually they find their way to Mexico.
I mentioned that I found the story initially convincingly realistic. I suspect the absurdity of Pi's adventures towards the end of the novel was intended as some kind of point - when being interrogated in hospital, Pi tells two versions of his story - one without animals and one with, the former being far more acceptable to the shipping company. Perhaps the point is that it doesn't matter whether it is true or not? Pi says only: "So it goes with God.". The events also seem to conspire at the end to make it impossible to check the veracity of Pi's story - Richard Parker disappears almost immediately on reaching land and the boat shows only some remnant bones.
Other things strike me as odd. The character of Mamaji, or Francis Adirubasamy, seems to me to exist purely to decieve the reader. His entire contribution is to provide a pretext for the author/narrator to find out about Pi's story, and to provide the provenance for Pi's curious name. Teasing related to the name also makes up a portion of the first part. Perhaps it is for "character development"? The initial author's note claims that the story will "make you believe in God", yet the initial focus on Pi's religious fervor disappears almost completely. Pi makes no thought comments about being driven by God, or inspired by God - he instead places the cause of his survival on Richard Parker. Equally, the "love" that is apparently so important is absent towards the end of the book - who is Pi going to love other than a tiger? Does God work through Richard Parker? Pi does have a delusional episode in which he "talks" to Richard Parker. My impression is that Pi survives because of his own determination, knowledge and tenacity - undermining this divine aspect somewhat. The tendency of Pi to hoard food following his experience - cookies in the hospital, canned goods in Canada - also seems to be meaningless or vague to the point of it.
My final impression is that Life of Pi is a novel which perhaps too hard to try something. Unlike say, Hemingway's The Old Man and the Sea, I felt like I was having meaning and depth forced at me rather than subtly. It makes it impossible to try to take the novel at face value as an adventure narrative - the fantastical island and similar events mean that the reader ends up having to try and decipher "deeper" meaning from the text. 3/5 for an enjoyable, albeit ultimately frustrating read. - Rating: 3 out of 5 stars3/5
Nov 28, 2023
Okay, I understand the hype around this book now. I felt the beginning was a little slow and it took a bit to get to the ocean, but it's necessary background. The story itself is fantastical and awe inspiring, especially with the ending. I can see how a film adaptation would struggle to tell this story right, despite the cinematic visuals that Pi describes. I probably won't reread this book any time soon, but I'm glad to have read it now. - Rating: 4 out of 5 stars4/5
Nov 11, 2023
Reread this book in preparation for seeing the stage performance by the National Theatre filmed live and presented at Cineplex.
When I read the book the first time, I was lost at the cannabilistic island. I’d followed the story eagerly until then, but at that point I wondered if Martel had run out of ideas and needed some extra words. I’m still not convinced that scene adds anything except as an indication of Pi’s madness. Which is perhaps the point, perhaps Pi himself was the island…
And I remember being horrified as the “real” story was revealed. Horrified and disappointed. I wanted the Robert Parker version to be the true one.
Now, second time through, I see it as more of a philosophical treatise than I once did. Clever, vibrant, with unexpected depths and meaning. If you haven’t read it lately, it’s worth a revisit. - Rating: 5 out of 5 stars5/5
Mar 15, 2022
I read this book twice and I loved it both times. - Rating: 4 out of 5 stars4/5
Aug 28, 2023
A good read, witty, imaginative,. - Rating: 2 out of 5 stars2/5
Dec 30, 2022
I'm not quite sure I 'got' this book as so many seem to find it fascinating and interesting.
The beginning started off well and I warmed to Pi but it was around halfway into the shipwreck that he started to lose me.
I guess it might also have been the descriptions of animals being killed that abruptly disconnected me from the book, as a veggo I don't like to see animals dying, even if it's only in my head.
Violence aside, the momentum of the book slowed to a crawl for me, I had to force myself to continue on and even felt tempted to just scan over it and skip ahead as the boredom seemed to become greater with each turn of the page. But that wouldn't have been any better either as the end of the book was the worst part. It felt like the writing did a 180 style-wise, along with Pi's character. It also had as much substance and flavour as cardboard. Even the 'twist' didn't really stoke my fire either.
And as far as all of the spiritual stuff goes, it didn't really have me singing any of the God's names... - Rating: 4 out of 5 stars4/5
Aug 8, 2023
Richard Parker
This book started out slow. However the background on our hero Pi is essential to understanding his journey. Of which the story really picks up.
The writing was vivid enough to allow me to see what Pi was seeing. I loved the descriptions of the animals and of India. Richard Parker was an instant love of mine, and I will highly recommend this book to anyone. - Rating: 1 out of 5 stars1/5
Oct 24, 2023
I hated this book. I had to read it for school. And it sucked.
Yeah I spent however many pages reading a made up tale about animals eating each other - when it was humans eating each other. It just made me sick. The whole thing. I hated it. - Rating: 2 out of 5 stars2/5
Jul 3, 2021
adult fiction. I got only 50-60 pages into this book before I got tired. It was interesting, and I'm sure it is a good book for someone else to read, but I just got bored with all of the soul-searching. Some other time maybe, or some other reader. - Rating: 2 out of 5 stars2/5
Jun 18, 2021
Ack! I really wanted to keep going. I found a lot of it charming (in a good way), and it gave me the coolest crazy dreams every night. But it just moves SO SLOWLY. It was for this I kept going even 100 pages in, though I was having my doubts as to its direction. Then the shipwreck happened and I thought surely things would pick up, but Martel has some sort of talent for drawing even that out to tedium so I just gave up. Ah well. On to greener pastures.1 person found this helpful
- Rating: 5 out of 5 stars5/5
May 4, 2021
A story of a boy named Pi and his predicament of having a Tiger in the middle of the Pacific, in a small lifeboat and trying to survive both the elements, and to not be eaten by a hungry tiger. The story is more than this, it's a story of how humans use the power of imagination to compel people to use these as a means to survive through hard times and create such elaborate stories that they are remembered through the ages... similar to how faith guides us through our life and gives us a reason to keep going.. - Rating: 2 out of 5 stars2/5
Apr 26, 2021
I was less enchanted by the last third of the book. The real story was a little hard to stomach. Not a theme I enjoy. - Rating: 5 out of 5 stars5/5
Mar 8, 2021
I thought this was a very fun read. I'm changing my rating -- to 5 stars since I don't remember why I gave it four before.
Would like to re-read this, and would be interested in doing some lit-crit discussion on it.
Hmmm, maybe I should just go and read up on my Italo Calvino, it's still sitting there on the shelf looking at me and wondering when I'm going to finish Baron in the Tree's. - Rating: 4 out of 5 stars4/5
May 24, 2022
Powerful. At certain points, it became heartbreaking. But above all, it is precious. As always, the book is, by far, superior to the movie. The Richard Parker in the movie is imposing. You love the Richard Parker from the book. (Translated from Spanish) - Rating: 5 out of 5 stars5/5
Jul 16, 2020
I wanted to read this book right after I saw the movie (three times in cinema).
The book is gorgeous, with much more details than the movie (obvious).
Five stars well deserved. - Rating: 4 out of 5 stars4/5
Jun 27, 2020
The ending of this book put me into a bit of a mental crisis.
The first 2/3 of the book are beautiful, sad, brutal-ish, and oddly filled with hope? While that ending does a full 180 and makes it more tragic, more real, and forces your head to be filled with too many thoughts to comprehend. I'm obviously not an expert on Classics but I believe this is exactly what a classic is supposed to make you feel.
“Life is so beautiful that death has fallen in love with it, a jealous possessive love that grabs at what it can.”
I definitely do not recommend watching the movie before reading this. The movie is okay but this book brings so much more to the table. Plus the movie removed one of my favorite scenes soo...
“You might think I lost all hope at that point. I did. And as a result I perked up and felt much better.”
I will say, at first there were some points where I thought about dropping the book but (thankfully) I couldn't because at the time this was a mandatory read for one of my classes. It's hard to enjoy a book you're forced to read in school but I ended up liking this one quite a bit, even if I did struggle through the beginning. I was literally yelling "Come on!!! Just get stranded already!!!". Seriously though, don't let that lengthy start discourage you from continuing the book.
I'm not a religious person but at times even I was touched by his faith, since it was the only thing he really had out in the sea. Also, this is kind of irrelevant, but the tiger was cute... Dangerous, yes, but cute. I might have gotten a little attached to him. - Rating: 4 out of 5 stars4/5
Mar 20, 2020
Loved it. Loved the last line (no peeking) - Rating: 4 out of 5 stars4/5
Feb 17, 2020
I read this for the "a book by a canadian author" part of my 2018 reading challenge. I found this go much slower than the first time I read it, but it was still enjoyable. - Rating: 4 out of 5 stars4/5
Feb 26, 2022
An interesting read about coexistence in an extreme circumstance between a castaway and a tiger. The way they manage to survive at sea, without food, without shelter, and exposed to the harshness of the weather is what makes this reading compelling, considering all that could have gone wrong in that situation. (Translated from Spanish) - Rating: 3 out of 5 stars3/5
Dec 31, 2021
My life is like a memento mori painting of European art: a smiling skull always appears by my side to remind me of the madness of human ambition. I mock the skull. I look at it and say, "You have mistaken the man. You may not believe in life, but I do not believe in death. Air!" The skull laughs and comes even closer to me, but it doesn’t surprise me either. The reason death clings so tightly to life has nothing to do with a biological need; it does so out of pure envy. Life is so beautiful that death has fallen in love with it, a jealous and possessive love that grabs everything it can. But life effortlessly leaps over death, and in the end, what little it loses is of no importance—like the body, for example—and melancholy is nothing more than the shadow of a passing cloud. (Translated from Spanish)
Book preview
Life of Pi - Yann Martel
PART ONE
Toronto and Pondicherry
CHAPTER
1
My suffering left me sad and gloomy.
Academic study and the steady, mindful practice of religion slowly brought me back to life. I have kept up what some people would consider my strange religious practices. After one year of high school, I attended the University of Toronto and took a double-major Bachelor’s degree. My majors were religious studies and zoology. My fourth-year thesis for religious studies concerned certain aspects of the cosmogony theory of Isaac Luria, the great sixteenth-century Kabbalist from Safed. My zoology thesis was a functional analysis of the thyroid gland of the three-toed sloth. I chose the sloth because its demeanour—calm, quiet and introspective—did something to soothe my shattered self.
There are two-toed sloths and there are three-toed sloths, the case being determined by the forepaws of the animals, since all sloths have three claws on their hind paws. I had the great luck one summer of studying the three-toed sloth in situ in the equatorial jungles of Brazil. It is a highly intriguing creature. Its only real habit is indolence. It sleeps or rests on average twenty hours a day. Our team tested the sleep habits of five wild three-toed sloths by placing on their heads, in the early evening after they had fallen asleep, bright red plastic dishes filled with water. We found them still in place late the next morning, the water of the dishes swarming with insects. The sloth is at its busiest at sunset, using the word busy here in the most relaxed sense. It moves along the bough of a tree in its characteristic upside-down position at the speed of roughly 400 metres an hour. On the ground, it crawls to its next tree at the rate of 250 metres an hour, when motivated, which is 440 times slower than a motivated cheetah. Unmotivated, it covers four to five metres in an hour.
The three-toed sloth is not well informed about the outside world. On a scale of 2 to 10, where 2 represents unusual dullness and 10 extreme acuity, Beebe (1926) gave the sloth’s senses of taste, touch, sight and hearing a rating of 2, and its sense of smell a rating of 3. If you come upon a sleeping three-toed sloth in the wild, two or three nudges should suffice to awaken it; it will then look sleepily in every direction but yours. Why it should look about is uncertain since the sloth sees everything in a Magoo-like blur. As for hearing, the sloth is not so much deaf as uninterested in sound. Beebe reported that firing guns next to sleeping or feeding sloths elicited little reaction. And the sloth’s slightly better sense of smell should not be overestimated. They are said to be able to sniff and avoid decayed branches, but Bullock (1968) reported that sloths fall to the ground clinging to decayed branches often
.
How does it survive, you might ask.
Precisely by being so slow. Sleepiness and slothfulness keep it out of harm’s way, away from the notice of jaguars, ocelots, harpy eagles and anacondas. A sloth’s hairs shelter an algae that is brown during the dry season and green during the wet season, so the animal blends in with the surrounding moss and foliage and looks like a nest of white ants or of squirrels, or like nothing at all but part of a tree.
The three-toed sloth lives a peaceful, vegetarian life in perfect harmony with its environment. A good-natured smile is forever on its lips,
reported Tirler (1966). I have seen that smile with my own eyes. I am not one given to projecting human traits and emotions onto animals, but many a time during that month in Brazil, looking up at sloths in repose, I felt I was in the presence of upside-down yogis deep in meditation or hermits deep in prayer, wise beings whose intense imaginative lives were beyond the reach of my scientific probing.
Sometimes I got my majors mixed up. A number of my fellow religious-studies students—muddled agnostics who didn’t know which way was up, who were in the thrall of reason, that fool’s gold for the bright—reminded me of the three-toed sloth; and the three-toed sloth, such a beautiful example of the miracle of life, reminded me of God.
I never had problems with my fellow scientists. Scientists are a friendly, atheistic, hard-working, beer-drinking lot whose minds are preoccupied with sex, chess and baseball when they are not preoccupied with science.
I was a very good student, if I may say so myself. I was tops at St. Michael’s College four years in a row. I got every possible student award from the Department of Zoology. If I got none from the Department of Religious Studies, it is simply because there are no student awards in this department (the rewards of religious study are not in mortal hands, we all know that). I would have received the Governor General’s Academic Medal, the University of Toronto’s highest undergraduate award, of which no small number of illustrious Canadians have been recipients, were it not for a beef-eating pink boy with a neck like a tree trunk and a temperament of unbearable good cheer.
I still smart a little at the slight. When you’ve suffered a great deal in life, each additional pain is both unbearable and trifling. My life is like a memento mori painting from European art: there is always a grinning skull at my side to remind me of the folly of human ambition. I mock this skull. I look at it and I say, You’ve got the wrong fellow. You may not believe in life, but I don’t believe in death. Move on!
The skull snickers and moves ever closer, but that doesn’t surprise me. The reason death sticks so closely to life isn’t biological necessity—it’s envy. Life is so beautiful that death has fallen in love with it, a jealous, possessive love that grabs at what it can. But life leaps over oblivion lightly, losing only a thing or two of no importance, and gloom is but the passing shadow of a cloud. The pink boy also got the nod from the Rhodes Scholarship committee. I love him and I hope his time at Oxford was a rich experience. If Lakshmi, goddess of wealth, one day favours me bountifully, Oxford is fifth on the list of cities I would like to visit before I pass on, after Mecca, Varanasi, Jerusalem and Paris.
I have nothing to say of my working life, only that a tie is a noose, and inverted though it is, it will hang a man nonetheless if he’s not careful.
I love Canada. I miss the heat of India, the food, the house lizards on the walls, the musicals on the silver screen, the cows wandering the streets, the crows cawing, even the talk of cricket matches, but I love Canada. It is a great country much too cold for good sense, inhabited by compassionate, intelligent people with bad hairdos. Anyway, I have nothing to go home to in Pondicherry.
Richard Parker has stayed with me. I’ve never forgotten him. Dare I say I miss him? I do. I miss him. I still see him in my dreams. They are nightmares mostly, but nightmares tinged with love. Such is the strangeness of the human heart. I still cannot understand how he could abandon me so unceremoniously, without any sort of goodbye, without looking back even once. That pain is like an axe that chops at my heart.
The doctors and nurses at the hospital in Mexico were incredibly kind to me. And the patients, too. Victims of cancer or car accidents, once they heard my story, they hobbled and wheeled over to see me, they and their families, though none of them spoke English and I spoke no Spanish. They smiled at me, shook my hand, patted me on the head, left gifts of food and clothing on my bed. They moved me to uncontrollable fits of laughing and crying.
Within a couple of days I could stand, even make two, three steps, despite nausea, dizziness and general weakness. Blood tests revealed that I was anemic, and that my level of sodium was very high and my potassium low. My body retained fluids and my legs swelled up tremendously. I looked as if I had been grafted with a pair of elephant legs. My urine was a deep, dark yellow going on to brown. After a week or so, I could walk just about normally and I could wear shoes if I didn’t lace them up. My skin healed, though I still have scars on my shoulders and back.
The first time I turned a tap on, its noisy, wasteful, superabundant gush was such a shock that I became incoherent and my legs collapsed beneath me and I fainted in the arms of a nurse.
The first time I went to an Indian restaurant in Canada I used my fingers. The waiter looked at me critically and said, Fresh off the boat, are you?
I blanched. My fingers, which a second before had been taste buds savouring the food a little ahead of my mouth, became dirty under his gaze. They froze like criminals caught in the act. I didn’t dare lick them. I wiped them guiltily on my napkin. He had no idea how deeply those words wounded me. They were like nails being driven into my flesh. I picked up the knife and fork. I had hardly ever used such instruments. My hands trembled. My sambar lost its taste.
CHAPTER
2
He lives in Scarborough. He’s a small, slim man—no more than five foot five. Dark hair, dark eyes. Hair greying at the temples. Can’t be older than forty. Pleasing coffee-coloured complexion. Mild fall weather, yet puts on a big winter parka with fur-lined hood for the walk to the diner. Expressive face. Speaks quickly, hands flitting about. No small talk. He launches forth.
CHAPTER
3
I was named after a swimming pool. Quite peculiar considering my parents never took to water. One of my father’s earliest business contacts was Francis Adirubasamy. He became a good friend of the family. I called him Mamaji, mama being the Tamil word for uncle and ji being a suffix used in India to indicate respect and affection. When he was a young man, long before I was born, Mamaji was a champion competitive swimmer, the champion of all South India. He looked the part his whole life. My brother Ravi once told me that when Mamaji was born he didn’t want to give up on breathing water and so the doctor, to save his life, had to take him by the feet and swing him above his head round and round.
It did the trick!
said Ravi, wildly spinning his hand above his head. He coughed out water and started breathing air, but it forced all his flesh and blood to his upper body. That’s why his chest is so thick and his legs are so skinny.
I believed him. (Ravi was a merciless teaser. The first time he called Mamaji Mr. Fish
to my face I left a banana peel in his bed.) Even in his sixties, when he was a little stooped and a lifetime of counter-obstetric gravity had begun to nudge his flesh downwards, Mamaji swam thirty lengths every morning at the pool of the Aurobindo Ashram.
He tried to teach my parents to swim, but he never got them to go beyond wading up to their knees at the beach and making ludicrous round motions with their arms, which, if they were practising the breaststroke, made them look as if they were walking through a jungle, spreading the tall grass ahead of them, or, if it was the front crawl, as if they were running down a hill and flailing their arms so as not to fall. Ravi was just as unenthusiastic.
Mamaji had to wait until I came into the picture to find a willing disciple. The day I came of swimming age, which, to Mother’s distress, Mamaji claimed was seven, he brought me down to the beach, spread his arms seaward and said, This is my gift to you.
And then he nearly drowned you,
claimed Mother.
I remained faithful to my aquatic guru. Under his watchful eye I lay on the beach and fluttered my legs and scratched away at the sand with my hands, turning my head at every stroke to breathe. I must have looked like a child throwing a peculiar, slow-motion tantrum. In the water, as he held me at the surface, I tried my best to swim. It was much more difficult than on land. But Mamaji was patient and encouraging.
When he felt that I had progressed sufficiently, we turned our backs on the laughing and the shouting, the running and the splashing, the blue-green waves and the bubbly surf, and headed for the proper rectangularity and the formal flatness (and the paying admission) of the ashram swimming pool.
I went there with him three times a week throughout my childhood, a Monday, Wednesday, Friday early morning ritual with the clockwork regularity of a good front-crawl stroke. I have vivid memories of this dignified old man stripping down to nakedness next to me, his body slowly emerging as he neatly disposed of each item of clothing, decency being salvaged at the very end by a slight turning away and a magnificent pair of imported athletic bathing trunks. He stood straight and he was ready. It had an epic simplicity. Swimming instruction, which in time became swimming practice, was gruelling, but there was the deep pleasure of doing a stroke with increasing ease and speed, over and over, till hypnosis practically, the water turning from molten lead to liquid light.
It was on my own, a guilty pleasure, that I returned to the sea, beckoned by the mighty waves that crashed down and reached for me in humble tidal ripples, gentle lassos that caught their willing Indian boy.
My gift to Mamaji one birthday, I must have been thirteen or so, was two full lengths of credible butterfly. I finished so spent I could hardly wave to him.
Beyond the activity of swimming, there was the talk of it. It was the talk that Father loved. The more vigorously he resisted actually swimming, the more he fancied it. Swim lore was his vacation talk from the workaday talk of running a zoo. Water without a hippopotamus was so much more manageable than water with one.
Mamaji studied in Paris for two years, thanks to the colonial administration. He had the time of his life. This was in the early 1930s, when the French were still trying to make Pondicherry as Gallic as the British were trying to make the rest of India Britannic. I don’t recall exactly what Mamaji studied. Something commercial, I suppose. He was a great storyteller, but forget about his studies or the Eiffel Tower or the Louvre or the cafés of the Champs-Elysées. All his stories had to do with swimming pools and swimming competitions. For example, there was the Piscine Deligny, the city’s oldest pool, dating back to 1796, an open-air barge moored to the Quai d’Orsay and the venue for the swimming events of the 1900 Olympics. But none of the times were recognized by the International Swimming Federation because the pool was six metres too long. The water in the pool came straight from the Seine, unfiltered and unheated. It was cold and dirty,
said Mamaji. The water, having crossed all of Paris, came in foul enough. Then people at the pool made it utterly disgusting.
In conspiratorial whispers, with shocking details to back up his claim, he assured us that the French had very low standards of personal hygiene. Deligny was bad enough. Bain Royal, another latrine on the Seine, was worse. At least at Deligny they scooped out the dead fish.
Nevertheless, an Olympic pool is an Olympic pool, touched by immortal glory. Though it was a cesspool, Mamaji spoke of Deligny with a fond smile.
One was better off at the Piscines Château-Landon, Rouvet or du boulevard de la Gare. They were indoor pools with roofs, on land and open year-round. Their water was supplied by the condensation from steam engines from nearby factories and so was cleaner and warmer. But these pools were still a bit dingy and tended to be crowded. There was so much gob and spit floating in the water, I thought I was swimming through jellyfish,
chuckled Mamaji.
The Piscines Hébert, Ledru-Rollin and Butte-aux-Cailles were bright, modern, spacious pools fed by artesian wells. They set the standard for excellence in municipal swimming pools. There was the Piscine des Tourelles, of course, the city’s other great Olympic pool, inaugurated during the second Paris games, of 1924. And there were still others, many of them.
But no swimming pool in Mamaji’s eyes matched the glory of the Piscine Molitor. It was the crowning aquatic glory of Paris, indeed, of the entire civilized world.
It was a pool the gods would have delighted to swim in. Molitor had the best competitive swimming club in Paris. There were two pools, an indoor and an outdoor. Both were as big as small oceans. The indoor pool always had two lanes reserved for swimmers who wanted to do lengths. The water was so clean and clear you could have used it to make your morning coffee. Wooden changing cabins, blue and white, surrounded the pool on two floors. You could look down and see everyone and everything. The porters who marked your cabin door with chalk to show that it was occupied were limping old men, friendly in an ill-tempered way. No amount of shouting and tomfoolery ever ruffled them. The showers gushed hot, soothing water. There was a steam room and an exercise room. The outside pool became a skating rink in winter. There was a bar, a cafeteria, a large sunning deck, even two small beaches with real sand. Every bit of tile, brass and wood gleamed. It was—it was . . .
It was the only pool that made Mamaji fall silent, his memory making too many lengths to mention.
Mamaji remembered, Father dreamed.
That is how I got my name when I entered this world, a last, welcome addition to my family, three years after Ravi: Piscine Molitor Patel.
CHAPTER
4
Our good old nation was just seven years old as a republic when it became bigger by a small territory. Pondicherry entered the Union of India on November 1, 1954. One civic achievement called for another. A portion of the grounds of the Pondicherry Botanical Garden was made available rent-free for an exciting business opportunity and—lo and behold—India had a brand new zoo, designed and run according to the most modern, biologically sound principles.
It was a huge zoo, spread over numberless acres, big enough to require a train to explore it, though it seemed to get smaller as I grew older, train included. Now it’s so small it fits in my head. You must imagine a hot and humid place, bathed in sunshine and bright colours. The riot of flowers is incessant. There are trees, shrubs and climbing plants in profusion—peepuls, gulmohurs, flames of the forest, red silk cottons, jacarandas, mangoes, jackfruits and many others that would remain unknown to you if they didn’t have neat labels at their feet. There are benches. On these benches you see men sleeping, stretched out, or couples sitting, young couples, who steal glances at each other shyly and whose hands flutter in the air, happening to touch. Suddenly, amidst the tall and slim trees up ahead, you notice two giraffes quietly observing you. The sight is not the last of your surprises. The next moment you are startled by a furious outburst coming from a great troupe of monkeys, only outdone in volume by the shrill cries of strange birds. You come to a turnstile. You distractedly pay a small sum of money. You move on. You see a low wall. What can you expect beyond a low wall? Certainly not a shallow pit with two mighty Indian rhinoceros. But that is what you find. And when you turn your head you see the elephant that was there all along, so big you didn’t notice it. And in the pond you realize those are hippopotamuses floating in the water. The more you look, the more you see. You are in Zootown!
Before moving to Pondicherry, Father ran a large hotel in Madras. An abiding interest in animals led him to the zoo business. A natural transition, you might think, from hotelkeeping to zookeeping. Not so. In many ways, running a zoo is a hotelkeeper’s worst nightmare. Consider: the guests never leave their rooms; they expect not only lodging but full board; they receive a constant flow of visitors, some of whom are noisy and unruly. One has to wait until they saunter to their balconies, so to speak, before one can clean their rooms, and then one has to wait until they tire of the view and return to their rooms before one can clean their balconies; and there is much cleaning to do, for the guests are as unhygienic as alcoholics. Each guest is very particular about his or her diet, constantly complains about the slowness of the service, and never, ever tips. To speak frankly, many are sexual deviants, either terribly repressed and subject to explosions of frenzied lasciviousness or openly depraved, in either case regularly affronting management with gross outrages of free sex and incest. Are these the sorts of guests you would want to welcome to your inn? The Pondicherry Zoo was the source of some pleasure and many headaches for Mr. Santosh Patel, founder, owner, director, head of a staff of fifty-three, and my father.
To me, it was paradise on earth. I have nothing but the fondest memories of growing up in a zoo. I lived the life of a prince. What maharaja’s son had such vast, luxuriant grounds to play about? What palace had such a menagerie? My alarm clock during my childhood was a pride of lions. They were no Swiss clocks, but the lions could be counted upon to roar their heads off between five-thirty and six every morning. Breakfast was punctuated by the shrieks and cries of howler monkeys, hill mynahs and Moluccan cockatoos. I left for school under the benevolent gaze not only of Mother but also of bright-eyed otters and burly American bison and stretching and yawning orang-utans. I looked up as I ran under some trees, otherwise peafowl might excrete on me. Better to go by the trees that sheltered the large colonies of fruit bats; the only assault there at that early hour was the bats’ discordant concerts of squeaking and chattering. On my way out I might stop by the terraria to look at some shiny frogs glazed bright, bright green, or yellow and deep blue, or brown and pale green. Or it might be birds that caught my attention: pink flamingoes or black swans or one-wattled cassowaries, or something smaller, silver diamond doves, Cape glossy starlings, peach-faced lovebirds, Nanday conures, orange-fronted parakeets. Not likely that the elephants, the seals, the big cats or the bears would be up and doing, but the baboons, the macaques, the mangabeys, the gibbons, the deer, the tapirs, the llamas, the giraffes, the mongooses were early risers. Every morning before I was out the main gate I had one last impression that was both ordinary and unforgettable: a pyramid of turtles; the iridescent snout of a mandrill; the stately silence of a giraffe; the obese, yellow open mouth of a hippo; the beak-and-claw climbing of a macaw parrot up a wire fence; the greeting claps of a shoebill’s bill; the senile, lecherous expression of a camel. And all these riches were had quickly, as I hurried to school. It was after school that I discovered in a leisurely way what it’s like to have an elephant search your clothes in the friendly hope of finding a hidden nut, or an orang-utan pick through your hair for tick snacks, its wheeze of disappointment at what an empty pantry your head is. I wish I could convey the perfection of a seal slipping into water or a spider monkey swinging from point to point or a lion merely turning its head. But language founders in such seas. Better to picture it in your head if you want to feel it.
In zoos, as in nature, the best times to visit are sunrise and sunset. That is when most animals come to life. They stir and leave their shelter and tiptoe to the water’s edge. They show their raiments. They sing their songs. They turn to each other and perform their rites. The reward for the watching eye and the listening ear is great. I spent more hours than I can count a quiet witness to the highly mannered, manifold expressions of life that grace our planet. It is something so bright, loud, weird and delicate as to stupefy the senses.
I have heard nearly as much nonsense about zoos as I have about God and religion. Well-meaning but misinformed people think animals in the wild are happy
because they are free
. These people usually have a large, handsome predator in mind, a lion or a cheetah (the life of a gnu or of an aardvark is rarely exalted). They imagine this wild animal roaming about the savannah on digestive walks after eating a prey that accepted its lot piously, or going for callisthenic runs to stay slim after overindulging. They imagine this animal overseeing its offspring proudly and tenderly, the whole family watching the setting of the sun from the limbs of trees with sighs of pleasure. The life of the wild animal is simple, noble and meaningful, they imagine. Then it is captured by wicked men and thrown into tiny jails. Its happiness
is dashed. It yearns mightily for freedom
and does all it can to escape. Being denied its freedom
for too long, the animal becomes a shadow of itself, its spirit broken. So some people imagine.
This is not the way it is.
Animals in the wild lead lives of compulsion and necessity within an unforgiving social hierarchy in an environment where the supply of fear is high and the supply of food low and where territory must constantly be defended and parasites forever endured. What is the meaning of freedom in such a context? Animals in the wild are, in practice, free neither in space nor in time, nor in their personal relations. In theory—that is, as a simple physical possibility—an animal could pick up and go, flaunting all the social conventions and boundaries proper to its species. But such an event is less likely to happen than for a member of our own species, say a shopkeeper with all the usual ties—to family, to friends, to society—to drop everything and walk away from his life with only the spare change in his pockets and the clothes on his frame. If a man, boldest and most intelligent of creatures, won’t wander from place to place, a stranger to all, beholden to none, why would an animal, which is by temperament far more conservative? For that is what animals are, conservative, one might even say reactionary. The smallest changes can upset them. They want things to be just so, day after day, month after month. Surprises are highly disagreeable to them. You see this in their spatial relations. An animal inhabits its space, whether in a zoo or in the wild, in the same way chess pieces move about a chessboard—significantly. There is no more happenstance, no more freedom
, involved in the whereabouts of a lizard or a bear or a deer than in the location of a knight on a chessboard. Both speak of pattern and purpose. In the wild, animals stick to the same paths for the same pressing reasons, season after season. In a zoo, if an animal is not in its normal place in its regular posture at the usual hour, it means something. It may be the reflection of nothing more than a minor change in the environment. A coiled hose left out by a keeper has made a menacing impression. A puddle has formed that bothers the animal. A ladder is making a shadow. But it could mean something more. At its worst, it could be that most dreaded thing to a zoo director: a symptom, a herald of trouble to come, a reason to inspect the dung, to cross-examine the keeper, to summon the vet. All this because a stork is not standing where it usually stands!
But let me pursue for a moment only one aspect of the question.
If you went to a home, kicked down the front door, chased the people who lived there out into the street and said, Go! You are free! Free as a bird! Go! Go!
—do you think they would shout and dance for joy? They wouldn’t. Birds are not free. The people you’ve just evicted would sputter, With what right do you throw us out? This is our home. We own it. We have lived here for years. We’re calling the police, you scoundrel.
Don’t we say, There’s no place like home
? That’s certainly what animals feel. Animals are territorial. That is the key to their minds. Only a familiar territory will allow them to fulfill the two relentless imperatives of the wild: the avoidance of enemies and the getting of food and water. A biologically sound zoo enclosure—whether cage, pit, moated island, corral, terrarium, aviary or aquarium—is just another territory, peculiar only in its size and in its proximity to human territory. That it is so much smaller than what it would be in nature stands to reason. Territories in the wild are large not as a matter of taste but of necessity. In a zoo, we do for animals what we have done for ourselves with houses: we bring together in a small space what in the wild is spread out. Whereas before for us the cave was here, the river over there, the hunting grounds a mile that way, the lookout next to it, the berries somewhere else—all of them infested with lions, snakes, ants, leeches and poison ivy—now the river flows through taps at hand’s reach and we can wash next to where we sleep, we can eat where we have cooked, and we can surround the whole with a protective wall and keep it clean and warm. A house is a compressed territory where our basic needs can be fulfilled close by and safely. A sound zoo enclosure is the equivalent for an animal (with the noteworthy absence of a fireplace or the like, present in every human habitation). Finding within it all the places it needs—a lookout, a place for resting, for eating and drinking, for bathing, for grooming, etc.—and finding that there is no need to go hunting, food appearing six days a week, an animal will take possession of its zoo space in the same way it would lay claim to a new space in the wild,