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Yann MartelA modern alternative to SparkNotes and CliffsNotes, SuperSummary offers high-quality Study Guides with detailed chapter summaries and analysis of major themes, characters, and more. For select classroom titles, we also provide Teaching Guides with discussion and quiz questions to prompt student engagement.
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Pi gets his name, Piscine, from an old Olympic swimming pool in Paris dating back to 1776. The Piscine Deligny was the last floating pool in Paris when it mysteriously sank to the bottom of the Seine in 1993 for unexplained reasons. The concept of a floating pool, especially one in which sits atop a river before sinking below it, adds an aura of mystique to the enigma that is Pi and mirrors the multilayered nature of his story.
The second meaning of Pi is in its mathematical application. Pi is an irrational number meaning that it is non-repeating and non-terminating. Pi acknowledges this as much when he describes his experiences at Petit Seminaire school, where his nickname developed. Writing his name, “Pi,” on the board with the addendum “3.14,” Pi recalls, “In that elusive, irrational number with which scientists try to understand the universe, I found refuge” (24). Pi refers to this moment as “a new beginning” and his “Medina” moment (22). Medina refers to the city where the Prophet Muhammad and the early Muslims migrated to escape persecution. Pi’s belief in the harmony and order provided by religion contrasts with the mathematical constant pi. However, the idea that irrationality, as represented by pi, should be a tool to explain the universe is consistent with his view on the limits of reason and rationality.
The motif of territory appears throughout Life of Pi as both a psychological construct and literal boundary-marking. The blurring of boundaries between animals and humans permeates the text, but it is given the highest salience in Pi’s second rendition of his story. In this version, Pi cannibalizes the cook, effectively replacing Richard Parker as a murderous beast. Therefore, we might interpret Pi’s original account as an effort to create psychological distance between himself and the animalistic aspects of his nature. The original version likewise includes an observation from Pi that he became aware of his increasingly animalistic eating habits that mirrored Richard Parker. Pi’s obfuscations possibly stem from self-denial over the psychological and moral boundaries he has crossed. Moreover, Pi’s grasp of animal territory, evidenced by his repeated musings on animal social behavior, allows him to create literal boundaries between himself and Richard Parker. Pi asserts his alpha status by demarcating territory with his urine.
Life of Pi also explores the idea of territory through religion. Pi’s pantheistic and perennialist beliefs inherently reject distinctions between religions. In the comical encounter between Pi and the priest, imam, and pandit, the three religious leaders bicker over the merits of their respective faiths. The pandit refers to Islam and Christianity as “foreign religions” (68), while the imam rebukes Hindus and Christians are “idolaters” with many gods (67). The priest, meanwhile, chides Hindus as “calf lovers” (68) and considers Islam worthless in the absence of resurrection-style miracles. Pi describes small-minded, dogmatic, and boundary-obsessed notions of religion as depraved. Later, he observes that animal social hierarchies, despite being built into their nature, are actually more fluid and pragmatic than religious ones.
Ritual is a predominant symbol of Life of Pi which manifests in multiple ways. From a religious point of view, ritual is an act of devotion with clear benefits, particularly mystical rituals such as fana’ and dhikr. These rituals seemingly allow Pi to attain gnosis, or knowledge of esoteric truths. But Pi also experiences the “presence of God” (62) in mundane activities, such as swimming or bike-riding. This is an acknowledgement of God’s omnipresence, but it also illustrates the profound effect repetitious acts have on Pi. Pi’s daily regiment on his lifeboat alters little, but its ritualistic aspects allow him to forget, and thus survive. Pi’s “forgetting” is not just tied to his survival, as he professes, but it can also be viewed as annihilation of self or ego. Despite a clear proclivity for harmony engendered by ritual, Pi is also cognizant of how rituals are weaponized to delineate boundaries between religious communities. He says of this narrow-mindedness, “religion is more than rite and ritual” (48). Pi’s universalism is undercut by public religious distinction, literalism, and ritual practice.
The Tsimtsum is the name of Pi’s ship which sinks and drowns his family. But tzimtzum also refers to the first part of Isaac Luria’s threefold cosmogonical theory. The first act of creation, tzimtzum, involves a contraction or withdrawal of God’s infinite light. The imagery of metaphysical contraction of divine light fits symbolically with the sinking of the Tsimtsum. Crucially, in Lurian cosmogony, the primordial man plays a critical role in restoring harmony and reunification in the cosmos through prayer and mystical acts, including reciting esoteric combinations of words and letters. Pi’s proclivity for harmony is most evident in his observations of the natural world when he speaks of being “trapped by geometry” and in the “centre of a solar storm” (216). This is not a singular circle, though, but one of many in a circle of unity or quantic “wheel of time” found in non-Abrahamic traditions. Pi speaks often of circles within circles, which parallels Life of Pi’s narrative within a narrative framework. He says of the “intense bliss” he feels while riding a bike, “Every element lived in harmonious relation with its neighbor, and all was kith and kin. I knelt a mortal; I rose an immortal. I felt like the centre of a small circle coinciding with the centre of a much larger one. Atman met Allah” (62). Pi’s commitments to prayer and mystical tendencies might be viewed as acts of the primordial man in restoring harmony, the third phase of Lurianic cosmogony that begins with tzimtzum, or God’s withdrawal, which creates a paradox of divine absence and presence in “empty space.”
By Yann Martel