This book, while entertaining, suffers from a not uncommon phenomenon. It’s been out for 13 years, just had a major movie release, and is part of our societal consciousness. As a result, I knew it was about boy in a boat with a tiger. So when the novel itself spends the first hundred pages in southern India, detailing Pi Patel’s life and entering into both a theological treatise on the multivalence of religion as well as a stalwart defense of zoo ethics, and it’s even further, a full 150 pages (about halfway) before the premise — boy + boat + tiger — is realized, I could not help but be figuratively tapping my foot in impatience.
The religion bits made me want to debate the authorial voice purporting them. Conflating atheism with faith drives me up a wall and the novel paints atheists and theists as similar belief-based stances. It also has a hilarious and unnecessarily antagonistic take on agnosticism, condemning doubt as wishy-washy and cowardly; this, instead of the essential element of theology and science alike that doubt actually is. The zoo defense squad sections follow along similar lines. Martel omits crucial elements of anti-zoo activist’s arguments. His exhortation that the difference between wild habitat and zoo enclosure is arbitrary, and that the animals appreciate the safety and reliability of food does not reconcile with my own childhood memories of Major the polar bear ceaselessly pacing back and forth in his room temperature pen in the Stone Zoo.
I was also under the impression that this was going to be a fantastical story. Maybe it was the tiger. In actually, the tale is played almost* entirely straight. While a Bengal tiger on a lifeboat is extraordinary, the story is otherwise how a person stuck on a boat in the middle of the ocean might try and survive. There’s interminable descriptions of knot tying, the structure of the boat, the current status of the tiger, the position of the tarpaulin, the direction of the winds, the ferocity or calmness of the waves. All the sort of repetitive practical details that make castaway stories a bit of a bore and all of which make me suspect this story may work better in a visual medium (I have yet to see the movie).
The book improves for the final fourth. The end of the journey is the best and the last bit where Pi makes landfall is somewhat clever. There’s meta discussion on what fiction actually means — if a ship sinks and everyone dies and there is only a sole survivor, does it honestly matter what happened to him afterward? It’s total philosophy 101: What is truth? Is it relative? It’s not especially profound but it’s contextually sound and makes an otherwise dull book shine. Briefly.
*The scene that makes me say almost instead of entirely — a mysterious living island — is my favorite in the novel. Back