...think the better story is the first story for lots of reasons. A couple being; it was more in depth, he had evidence that proved it could have happened, it kept me hooked, and was very exciting. The first reason why I like the first story is because it was more in depth. Pi included lots of little details and it was easy to picture the story in your mind. He included lots of details that weren’t needed but it was cool to be able to picture it. The second story that Pi told the Japanese Investigators was only about a page or two long and was short and to the point. Pi left out details about the magic island and meeting up with another man in a lifeboat while on the Pacific. While this might have never happened we do not know for sure. Mr. Okamoto said, “ Mr. Patel, we don’t believe your story” (Martel 292). This was right after Pi told the investigators the story with the animals, they quickly laughed and asked for what really happened. They didn’t believe Pi whatsoever....
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...Discovery is the key to human progress but it always comes at a cost. In Ang Lee’s film, Life of Pi, the protagonist embarks on a journey of self discovery that results in great personal growth. Tim Winton’s short story Big World is also a story of a boy’s rite of passage. Both texts explore the personal cost of their protagonists’ discoveries as they must endure great suffering, isolation and the loss of innocence in order to discover themselves and their place in the big picture of life. Lee’s film is structured to portray an ordeal that fluctuates between great suffering and great joy. Pi cannot be free to discover himself while he exists within the comfort zone of his family. The sinking of the Tsimtsum casts him into the ‘ocean of life’ where he must fend for himself. The aerial shot of his head, dwarfed by the vast, dark ocean emphasises his vulnerability as he is cast adrift. His intense suffering is revealed most powerfully in the storm scene where wide shots again portray his vulnerability in the wild sea and Christ-like imagery shows him screaming at his ‘God’, arms spread in supplication: “Why are you scaring him? I’ve lost my family. I’ve lost everything. I surrender. What more do you want?” Pi’s life raft is swept away, symbolising the loss of his haven and material possessions and a high angle shot of Richard Parker shows that even the tiger – a symbol of Pi’s braver and more primitive self – is afraid. A sustained scene that cuts between shots...
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...Passage 2 “We left Madras on June 21st, 1977, on the Panamanian-registered Japanese cargo ship Tsimtsum. Her officers were Japanese, her crew was Taiwanese, and she was large and impressive. On our last day in Pondicherry I said goodbye to Mamaji, to Mr. and Mr. Kumar, to all my friends and even to many strangers. Mother was apparelled in her finest sari. Her long tress, artfully folded back and attached to the back of her head, was adorned with a garland of fresh jasmine flowers. She looked beautiful. And sad. For she was leaving India, India of the heat and monsoons, of rice fields and the Cauvery River, of coastlines and stone temples, of bullock carts and colourful trucks, of friends and known shopkeepers, of Nehru Street and Goubert Salai, of this and that, India so familiar to her and loved by her. While her men-I fancied myself one already, though I was only sixteen-were in a hurry to get going, were Winnipeggers at heart already, she lingered. The day before our departure she pointed at a cigarette wallah and earnestly asked, "Should we get a pack or two?" Father replied, "They have tobacco in Canada. And why do...
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...excellent swimmer which made Pi one too. First, there is the necessity of physical survival: he must keep his body alive. This requires food and water, both in short supply, as well as protection from the elements. Pi knows he must defend himself from the immediate threat, Richard Parker, but he is also aware that there is a whole host of dangers waiting to do him in. Ocean storms, huge waves, sharks, sunstroke, dehydration, drowning—any and all of these things pose a risk to his life. Pi’s inventiveness and resourcefulness (he covers himself with wet clothes to protect his skin from the sun and builds a raft from oars and lifejackets to keep him at a safe distance from both the tiger and sharks) enable him to remain physically safe. As Martel makes clear in his novel, living creatures will often do extraordinary, unexpected, and sometimes heroic things to survive. However, they will also do shameful and barbaric things if pressed. "I will confess that I caught one of his arms with the gaff and used his flesh as bait. I will further confess that driven by the extremity of my need and the madness to which it pushed me, I ate some of his flesh."(pg. 284) This shows that Pi has eaten some of the flesh belonging to the hyena that was killed by Richard Parker. “without Richard Parker, I wouldn’t be alive today to tell you my story.” (pg 182) By this point, we know that Richard Parker is a Royal Bengal tiger, an adult male, who weighs 450 pounds and takes up about one-third of...
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...finely twisted length of yarn— yarn implying a far-fetched story you can't quite swallow whole, but can't dismiss outright. Life of Pi is in this tradition—a story of uncertain veracity, made credible by the art of the yarn-spinner. Like its noteworthy ancestors, among which I take to be Robinson Crusoe, Gulliver's Travels, the Ancient Mariner, Moby Dick and Pincher Martin, it's a tale of disaster at sea coupled with miraculous survival—a boys' adventure for grownups." —Margaret Atwood, The Sunday Times (London) "A fabulous romp through an imagination by turns ecstatic, cunning, despairing and resilient, this novel is an impressive achievement. . . . Martel displays the clever voice and tremendous storytelling skills of an emerging master." —Publisher's Weekly (starred review) "[Life of Pi] has a buoyant, exotic, insistence reminiscent of Edgar Allen Poe's most Gothic fiction. . . . Oddities abound and the storytelling is first-rate. Yann Martel has written a novel full of grisly reality, outlandish plot, inventive setting and thought-provoking questions about the value and purpose of fiction." —The Edmonton journal "Martel's ceaselessly clever writing . . . [and] artful, occasionally hilarious, internal dialogue . . . make a fine argument for the divinity of good art." —The Gazette "Astounding and beautiful. . . . The book is a pleasure not only for the subtleties of its philosophy but also for its ingenious and surprising story. Martel is a confident, heartfelt artist, and his imagination...
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...Yann Martel: Life of Pi life of pi A NOVEL author's note This book was born as I was hungry. Let me explain. In the spring of 1996, my second book, a novel, came out in Canada. It didn't fare well. Reviewers were puzzled, or damned it with faint praise. Then readers ignored it. Despite my best efforts at playing the clown or the trapeze artist, the media circus made no difference. The book did not move. Books lined the shelves of bookstores like kids standing in a row to play baseball or soccer, and mine was the gangly, unathletic kid that no one wanted on their team. It vanished quickly and quietly. The fiasco did not affect me too much. I had already moved on to another story, a novel set in Portugal in 1939. Only I was feeling restless. And I had a little money. So I flew to Bombay. This is not so illogical if you realize three things: that a stint in India will beat the restlessness out of any living creature; that a little money can go a long way there; and that a novel set in Portugal in 1939 may have very little to do with Portugal in 1939. I had been to India before, in the north, for five months. On that first trip I had come to the subcontinent completely unprepared. Actually, I had a preparation of one word. When I told a friend who knew the country well of my travel plans, he said casually, "They speak a funny English in India. They like words like bamboozle." I remembered his words as my plane started its descent towards Delhi, so the word bamboozle ...
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...Education of Artists: Art and Story CONTENTS SECTION ONE: Marcel’s Studio Visit with Elstir……………………………………………………….. David Carrier SECTION TWO: Film and Video Narrative Brief Narrative on Film-The Case of John Updike……………………………………. Thomas P. Adler With a Pen of Light …………………………………………………………………… Michael Fink Media and the Message: Does Media Shape or Serve the Story: Visual Storytelling and New Media ……………………………………………………. June Bisantz Evans Visual Literacy: The Language of Cultural Signifiers…………………………………. Tammy Knipp SECTION THREE: Narrative and Fine Art Beyond Illustration: Visual Narrative Strategies in Picasso’s Celestina Prints………… Susan J. Baker and William Novak Narrative, Allegory, and Commentary in Emil Nolde’s Legend: St. Mary of Egypt…… William B. Sieger A Narrative of Belonging: The Art of Beauford Delaney and Glenn Ligon…………… Catherine St. John Art and Narrative Under the Third Reich ……………………………………………… Ashley Labrie 28 15 1 22 25 27 36 43 51 Hopper Stories in an Imaginary Museum……………………………………………. Joseph Stanton SECTION FOUR: Photography and Narrative Black & White: Two Worlds/Two Distinct Stories……………………………………….. Elaine A. King Relinquishing His Own Story: Abandonment and Appropriation in the Edward Weston Narrative………………………………………………………………………….. David Peeler Narrative Stretegies in the Worlds of Jean Le Gac and Sophe Calle…………………….. Stefanie Rentsch SECTION FIVE: Memory Does The History of Western Art Tell a Grand Story?…………………………………… Eugene E. Selk...
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