Prompt #1

Prompt:

2008, Form B. In some works of literature, childhood and adolescence are portrayed as times graced by innocence and a sense of wonder; in other works, they are depicted as times of tribulation and terror. Focusing on a single novel or play, explain how its representation of childhood or adolescence shapes the meaning of the work as a whole.

Response:

In Yann Martel’s The Life of Pi, the protagonist, Piscine “Pi” Molitor Patel, is an adolescent Indian boy who grows up in Pondicherry, at the intersection of several religions and cultures.  Martel portrays his childhood as a state of innocence in which Pi is willing to believe several contradictory and fantastic things. However, during the main plot of the story, Pi is adrift on the Pacific in a small lifeboat containing some basic supplies but also several zoo animals, most notably a fearsome Bengal tiger, Richard Parker. Martel effectively depicts Pi’s adolescence as not only a terrifying experience, but also a trial that tests the beliefs Pi has as a child. In both cases, Martel contrasts the outlook of a child with the outlook of adults, demonstrating the importance of Pi’s youth.

                Pi was born a Hindu, like many others in India, but also encountered Christianity and Islam, two other important religions there, while growing up. At the age of 14, just at the start of his adolescence, Pi adopts all three religions, finding important aspects in each. For many, faith in a single religion demonstrates that one is willing to give up some amount of reason for one’s beliefs; in Pi’s case, it highlights his innocence and willingness to believe in any number of illogical things to provide himself with spiritual comfort. On the other hand, it shows that while Pi has little worldly experience, he is able to look past the differences between the religions to see something good in each of them, something that the adults in his life – his parents, teachers, and spiritual leaders – are not able to do. This demonstrates the significance in Pi’s youth. Were Pi an adult, his mind would likely have been closed to the revelations he has as a child.

                When Pi’s family moves to Canada, their boat capsizes and Pi is stranded on a lifeboat with several animals, including Richard Parker, the Bengal tiger. It is then that Pi’s childhood beliefs are tested. While adrift, Pi continues to pray to and trust in God to escape the terror of sharing a small boat with a carnivorous beast. Although he occasionally wonders why it doesn’t seem to be working, as he is still stuck on the Pacific, he does continue to find supplies he needs and manages to keep Richard Parker at bay, thus affirming his faith that God will see him through. For over 200 days, Pi’s faith is questioned, but his sense of wonder continues to stay strong. Pi is no longer quite in a state of innocence – he has suffered more than any other character – but now maintains his religious beliefs out of experience. Earlier, Pi shows a sense of experience by moving past the bigotry of the adults in his life; now, he truly has a trial that tests his faith, and it stays strong.

                Martel concludes the book in the third part by again demonstrating the difference between Pi’s youth and the “grownup” outlook of the adults in Pi’s life. As the Japanese officials attempt to figure out why the boat sank, they question the truth of Pi’s story – it is unlikely that there were actual animals involved. Pi provides a different story – the orangutan, zebra, hyena, and tiger actually represent Pi’s mother, a sailor, a cook, and Pi himself. He asks if the officials find this more acceptable (they do), but then asks which story they prefer. After all, neither provides any evidence suggesting why the ship sank and neither can be disproved. When the officials choose the story with the animals, Pi remarks that the same is true with religion, something reminiscent of his upbringing in India. Like the adults in Pondicherry, the officials initially insist on choosing a single believable story. Just as Pi follows three conflicting religions, something unheard of and unacceptable, Pi’s original story is a little fantastic, a little bizarre. Martel uses the youthful innocence and sense of wonder that allows Pi to believe in all of his religions and all of his animals as a lens through which he points out that it is not what is logical or acceptable that matters; faith in something strange provides satisfaction. It suddenly seems that this outlook is much deeper than the innocence Pi is originally thought to have.

                In one sense, Martel is making a religious statement – one must look beyond science and logic to believe in God, or, in Pi’s case, in Gods. However, there are also secular aspects to his theme. The reader must choose to believe one of the two stories Pi gives. Maybe there really were animals on the ship – Pi’s family does own a zoo, after all. Either way, Pi would likely encourage the reader to also choose the one with the animals, not because it makes a statement about faith and religion, but because it is simply more entertaining. Whatever the reader’s interpretation is, Pi’s youth is key to the meaning of the work. Pi’s innocence allows him to adopt three religions, despite what the adults around him say. Pi’s sense of wonder allows him to see animals on the ship instead of people. Were Pi an adult, he might never have had the same outlook on life. It is possible that he would have been one of the adults telling a child that it is impossible to believe in three religions at once or one of the officials claiming that the story with the animals is too bizarre to be acceptable. Instead, Martel’s emphasis on Pi’s youth and the innocence and sense of wonder that go with it allows him to effectively convey his message and gives The Life of Pi greater meaning.