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INTERVIEW with Yann Martel

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I would guess that most books come from the same mix of three elements: influence, inspiration and hard work. Let me detail how each one came into play in the writing of .
Influence
Ten or so years ago, I read a review by John Updike in the New York Times Review of Books. It was of a novel by a Brazilian writer, Moacyr Scliar. I forget the title [editor's note: it's Max and the Cats], and John Updike did worse: he clearly thought the book as a whole was forgettable. His review - one of those that makes you suspicious by being mostly descriptive, without critical teeth, as if the reviewer were holding back - oozed indifference. But one thing about it struck me: the premise. The novel, as far as I can remember, was about a zoo in Berlin run by a Jewish family. The year is 1933 and, not surprisingly, business is bad. The family decides to emigrate to Brazil. Alas, the ship sinks and one lone Jew ends up in a lifeboat with a black panther. What displeased Updike about the story? I don't remember him being clear about it. Was it that the allegory marched with too heavy a tread, the parallel between the black panther and the Nazis too obvious? Did the premise wear its welcome out? Was it the tone? The style? The translation? Whatever it was, the book fatigued Updike but it had the effect on my imagination of electric caffeine. I marvelled. What perfect unity of time, action and place. What stark, rich simplicity. Oh, the wondrous things I could do with this premise. I felt that same mix of envy and frustration I had felt with Mishima's The Sailor Who Fell From Grace With the Sea, that if only I had thought of it I could have done something great with it. But - damn! - the idea had been faxed to the wrong muse. I looked for the book, but booksellers consulted their computers and shook their heads. And then I forgot about it. I wanted to forget about it. I didn't really want to read the book. Why put up with the gall? Why put up with a brilliant premise ruined by a lesser writer. Worse, what if Updike had been wrong? What if not only the premise but also its rendition were perfect? Best to move on. I wrote my first novel. I travelled. Romances started and ended. I travelled some more. Four or five years went by.
Inspiration
I was in India. It was my second time. Another stint to shake me and dazzle me. The start of the trip had been rough. I had arrived in Bombay, which is indeed a crowd, but one that was bypassing me. I felt terribly lonely. One night I sat on my bed and wept, muffling the sounds so that my neighbours would not hear me through the thin walls. Where was my life going? Nothing about it seemed to have started or added up to much. I had written two paltry books that had sold about a thousand copies each. I had neither family nor career to show for my 33 years on Earth. I felt dry and indifferent. Emotions were a bother. My mind was turning into a wall. And if that weren't enough, the novel I had planned to write while in India had died. Every writer knows the feeling. A story is born in your mind and it thrills you. You nurture it like you would a fire. You hope to see it grow and eventually be born on paper. But at one point, you look at it and you feel nothing. You feel no pulse. The characters don't speak naturally, the plot does not move, the descriptions don't come to you ? everything about your story is thankless work. It has died.

I was in need of a story. More than that, I was in need of a Story.

I got to Matheran, the hill station closest to Bombay. It's a small place high up, with beautiful views over the surrounding plains, and it has the peculiarity of not being able to accommodate cars, autorickshaws or motorcycles. You get there by toy train or by taxi, and then you must walk or ride a horse. The closest you get to the noises of a motor on Matheran's streets of fine, reddish earth are the rumbling, horking sounds of Indians spewing out betel juice. The peace of the place is blessed and utterly un-Indian. It was there, on top of a big boulder to be precise, that I remembered Scliar's premise.

Suddenly, my mind was exploding with ideas. I could hardly keep up with them. In jubilant minutes whole portions of the novel emerged fully formed: the lifeboat, the animals, the intermingling of the religious and the zoological, the parallel stories.

Where did that moment of inspiration come from? Why did I think that religion and zoology would make a good mix? How did I think up the theme that reality is a story and we can choose our story and so why not pick "the better story" (the novel's key words)?

I could give approximate answers. That India, where there are so many animals and religions, lent itself to such a story. That tensions simmering just below my level of consciousness were probably feverishly pushing me to come up with a story. But in truth I don't know. It just happened. Some synapses in my brain started firing off and I came up with ideas that were not there a moment before.

I now had a reason to be in India.
Hard Work
I visited all the zoos I could find in the south of India. I interviewed the director of the Trivandrum Zoo. I spent time in temples, churches and mosques. I explored the urban settings for my novel and took in the nature around them. I tried to immerse myself as much as possible in the Indianness of my main character. After six months I had enough local colour and detail.

I returned to Canada and spent a year and a half doing research. I read the foundational texts of Christianity, Islam and Hinduism. I read books on zoo biology and animal psychology. I read castaway and other disaster stories.

All the while, in India and in Canada, I took notes. On the page, in a smashed-up, kaleidoscopic way, Life of Pi began to take shape. I took a while to decide what animal would be my main animal protagonist. At first I had an elephant in mind. The Indian elephant is smaller than the African, and I thought an adolescent male would fit nicely in the lifeboat. But the image of an elephant in a lifeboat struck me as more comical than I wanted. I changed to a rhinoceros. But rhinos are herbivores and I could not see how I could keep a herbivore alive in the high seas. And a constant diet of algae struck me as monotonous for both reader and writer, if not for the rhino. I finally settled upon the choice that in retrospect seems the obvious one: a tiger. The other animals in the lifeboat ? the zebra, the hyena and the orang-utan ? arose naturally, each one a function of a human trait I wanted to embody, the hyena cowardliness, the orang-utan maternal instincts and the zebra exoticism.

I chose meerkats because I wanted a small ferret-like creature without the connotations that ferrets have. I wanted a neutral animal upon which I could paint a personality of my choice. Also, meerkats rhymed somewhat with mirage and meekness.

The blind, cannibal Frenchman in the other boat came to me in those first moments of inspiration in Matheran; in other words, I don't know where he came from. In my first draft, the scene with the Frenchman was much longer, close to 45 pages. It was one of my favourite sections. It was Beckett in the Pacific, I thought. Which was precisely the problem, my editor told me. It was funny and absurd, she told me, but in the wrong place, like a good joke told at a funeral. The tone was wrong; it broke with what came before and after. So I had to cut it down substantially.

The algae island floated into my imagination from the same dark luminous place from whence came the meerkats, the Frenchman and, indeed, the novel as a whole.

The rest was hard, fun work, a daily getting it down on the page that came not without hurdles, not without moments of doubt, not without mistakes and rewrites, but always, always with deep, gratifying pleasure, with a knowledge that no matter how the novel would fare, I would be happy with it, that it helped me understand my world a bit better.

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How I Wrote Life of Pi - Powell's Books - Medium

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I would guess that most books come from the same mix of three elements: influence, inspiration and hard work. Let me detail how each one came into play in the writing of . Influence Ten or so years ago, I read a review by John Updike in the New York Times Review of Books.

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continuation on inspiration: https://study.com/academy/lesson/why-did-yann-martel-write-life-of-pi.html

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Life of Pi: Brazilian story that inspired Martel

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Was Life of Pi inspired by Brazilian author Moacyr Scliar's story of boy adrift at sea with a jaguar on a boat?

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Yann Martel on the origins of Life of Pi

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Yann Martel on the origins of his novel - Life of Pi

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Even Edgar Allan Poe, master of eerie twists and turns, would have been mystified by this mind-boggling coincidence created in part by one of his stories. But let's start from the beginning.

In 1838, Poe's only novel was published - The Narrative of Arthur Gordon Pym of Nantucket. Partway through the book, the crew of a ship called Grampus finds themselves with a busted boat and no food or water. They manage to catch a tortoise and strip off its shell, but eventually, in order to survive, the crew draws straws to figure out which of them will be sacrificed to provide meat for everyone else. The death straw goes to a former mutineer named Richard Parker, who is promptly stabbed to death; his head, hands and feet thrown overboard (you can read the whole grisly thing here). This keeps the floating Donner Party alive a little bit longer, but the two remaining crew members are still on the brink of death when they're finally rescued.

A creative story - Poe actually called it "very silly" - but here comes the real twist. In 1884, a yacht named the Mignonette left England, headed toward Sydney, Australia.

The yacht wasn't really made for trips around the world, so it shouldn't have been a surprise to anyone when it sank in a storm. The four-man crew barely escaped in a lifeboat, but they definitely didn't have enough provisions for survival. They did catch a turtle and eat it, but just like their counterparts in the 45-year-old Poe tale, they needed more if they were going to be found alive when a rescue boat found them.

One man - a 17-year-old named Richard Parker - fell overboard and then made the mistake of drinking seawater to attempt to quench his thirst. Parker started going downhill fast, and that's when his fellow survivors decided they would kill him to ensure their own survival. The men had considered drawing straws, but they figured Parker was so far gone they might as well kill him and drink his blood while it was fresh (instead of risking the contaminated blood that might occur if they just waited for him to die due to illness). After stabbing Parker in the throat with a penknife, the three men devoured him. They were rescued a few days later.

The Mignonette case became quite famous in England. The men went to trial for their crime; two of them were originally sentenced to death. This was later amended to six months in prison. This Monty Python sketch was inspired by the ill-fated yacht and its tragic crew:

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Edgar Allan Poe's Eerie Richard Parker Coincidence

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Even Edgar Allan Poe, master of eerie twists and turns, would have been mystified by this mind-boggling coincidence created in part by one of his stories. But let's start from the beginning. In 1838, Poe's only novel was published - The Narrative of Arthur Gordon Pym of Nantucket.

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Life of Pi Allusions and Cultural References

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Life of Pi history, religion, mythology, literature, cultural references and allusions

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The Narrative of Arther Gordon Pym of Nantucket

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The Narrative of Arther Gordon Pym of Nantucket

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The similarities and connections between these two novels is almost unbelievable

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Richard Parker: A sailor hanged for a 1797 mutiny

Richard Parker: A seaman who was eaten by fellow survivors in an 1846 shipwreck

Richard Parker: A cabin boy eaten by fellow survivors in an 1884 shipwreck

Richard Parker: character in Edgar Allen Poe's novel "The Narrative of Arthur Gordon Pym of Nantucket", is eaten by crew mates after shipwreck

Richard Parker: Bengal tiger in "the Life of Pi" supposedly  gets shipwrecked on a small boat with boy

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Anthropomorphism and Incredulity in "Life of Pi"

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Anthropomorphism and Incredulity in "Life of Pi"

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Believing in Tigers: Anthropomorphism and Incredulity in Yann Martel's Life of Pi | Cole | Studies in Canadian Literature / Études en littérature canadienne

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Believing in Tigers: Anthropomorphism and Incredulity in Yann Martel's Life of Pi

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Does the current condition of the pool Pi is named after compared to its former glory reflect the physical and mental damages of Pi from his time on the raft?

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"Hollow at the core": Deconstructing Yann Martel's Life of Pi | Stratton | Studies in Canadian Literature / Études en littérature canadienne

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"Hollow at the core": Deconstructing Yann Martel's Life of Pi