Life of Pi

By Yann Martel

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Unit Plan by:

Megan Ellis (mee143 at hotmail dot com)

Tanya Ferreira (tanyacf at gmail dot com)

Shannon Gray (skhgray at shaw dot ca)

November 2006

ABSTRACT

The thematic focus of this unit on Life of Pi is the relationship between narrator and audience. Through a series of lessons, students will consider this relationship in the context of a fantastical story in Life of Pi that could, arguably, be factual. Students will be asked to rely on their own interpretations in order to address the bias of the storyteller and to judge the verisimilitude∞ of Pi's story. Students will also learn and discuss other major themes in the novel, such as survival, zoology, and religion, and they will critically analyze one major theme for the final assignment.

BACKGROUND RATIONALE

Can "truth" exist in fiction? Significantly, a work of fiction can offer just as much (often more) "truth" than a work of non-fiction, and any "truth" to be found is dependent upon the reader's interpretation of a text. In turn, interpretation of a text is largely dependent upon the relationship between narrator and audience. Thus, if students are to find any "truth" in the fiction they encounter, it will require them to think critically about the relationship between themselves, as readers, and the narrator (as distinguished from the author) of that fiction. Thus, the following PLO is central to the background rationale of this unit: to "demonstrate a willingness to take a tentative stance, tolerate ambiguity, explore multiple perspectives, and consider more than one interpretation"

PRESCRIBED LEARNING OUTCOMES

English 11 Comprehension
It is expected that students will:

demonstrate an understanding of the main ideas, events, or themes of a variety of increasingly complex novels
organize details and information that they have read, heard, or viewed using a variety of written or graphic forms
interpret details and subtleties to clarify gaps or ambiguities in written, oral, or visual works
interpret details in and draw conclusions from the information presented in a variety of graphic formats, including illustrations, maps, charts, and graphs

English 11 Engagement and Personal Response
It is expected that students will:

make connections between the ideas and information presented in literary and mass media works and their own experiences
demonstrate a willingness to take a tentative stance, tolerate ambiguity, explore multiple perspectives, and consider more than one interpretation
support their opinions or respond to questions and tasks about the works they have read or viewed
make connections among the themes and ideas expressed in various materials

English 11 Critical Analysis
It is expected that students will:

analyse the relationship between the medium and the message
demonstrate an appreciation of how their experiences and their membership in communities influence their interpretations of what they read, view, and hear

UNIT LESSONS

.:LESSON ONE - Introduction to Life of Pi:.

UNIT HOOK: As their first entry in an ongoing journal throughout the unit, students will write a true account of an unbelievable or unlikely experience they have had. Students will be encouraged to draw on their own experiences; however, if they cannot think of such an experience, then they can create one. Students will return to this assignment in Lesson Eight.

Next, students will be introduced to Life of Pi. Information about Yann Martel and the success of the book will be discussed. Additional background information could include sources for the book, such as Moacyr Scliar's Max and the Cats∞.

.:LESSON TWO - Pi as Narrator:.

The lesson will begin with a set of Review Questions∞ to ensure everyone is up to date with their reading and to check for understanding.

Students will be introduced to Pi as narrator and consider the importance of knowing a narrator's background. In Part I of the novel, Pi establishes himself as a narrator and provides a context of religious beliefs, experiences, and points of view in which to interpret the events of Parts II and III.

Students will be asked to consider Pi as an adult reflecting on his experience as a boy, and they will complete a comparison worksheet of older Pi vs. younger Pi on an ongoing basis throughout the reading of the novel. Students will start the worksheet Comparison Chart∞ in this lesson.

Journal Topic: Does knowing Pi's background bring us closer to his story or drive us further away from it?

.:LESSON THREE - Animal Symbolism:.

This lesson will take place in the computer lab.

Students will participate in a jigsaw to research the symbolism of each of the animals remaining on the life boat with Pi (hyena, orangutan, zebra, tiger): each student will be assigned a number from 1 to 4 in a group, individually research on the computer the animals associated with the numbers they have been assigned, and then form groups according to their numbers to share the research they found (e.g. if the tiger is assigned to number 1, then all number 1's would group to share their findings about tiger symbolism).

Next, students will reconvene in their original groups of 1-4 in order to, first, share their research findings with each other and, second, relate what they found in their research to the sequence of events concerning the animals on the boat (i.e. the hyena kills the zebra, then the orangutan, then is killed by the tiger).

Animal Symbolism Source∞
Buddhist Jakata Tales∞
Tiger in Hinduism∞
Hyenas in Popular Culture∞
Tigers in Popular Culture and Literature∞

For example:
http://ww2.netnitco.net/users/legend01/tiger_c.gif∞
Tiger: "In China the tiger is the king of the beasts. He takes on much the same symbolism as the lion in western cultures. He represents royalty, power, courage, ferocity, strength, wrath, cruelty, treachery, and authority."

Journal Topic: First, students will read this note about the symbolism of tigers: "Besides being a mankiller, the tiger is also noted for being a shapeshifter. Some primitive people believe that tigers are actually humans who change themselves into tigers for the hunt." Next, students will be asked to consider whether they think Pi imagined the tiger or if it is really Pi's animal side.

.:LESSON FOUR - Pi as Survivor:.

HOOK: Students will watch a clip ∞ from Survivor to introduce this lesson's focus on the theme of Pi's survival at sea.

Students will be introduced to autobiographical writing in both fiction and non-fiction, and they will be asked to consider how truth is conveyed. Is a supposedly non-fictional autobiography absolutely more true than a fictional one? Is it even possible to write a purely non-fictional autobiography, given that we all continually interpret and re-interpret our present and past experiences through lenses that constantly change? Is it possible for fiction to speak to a greater truth than non-fiction?

In class activity: In groups of 4-5, students will draw Pi and Richard in the middle of the ocean on poster board. They must base their drawings on the text, for example, the size and shape of the lifeboat are clearly outlined. They must include the key essentials Pi uses to survive, such as the water stills, the emergency kit, and the knife. Students must also include the animals in the boat, since their presence directly relates to Pi's survival.

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Students will read excerpts from Steve Callaham's Adrift: 76 Days Lost at Sea which is a true account about a boat racer whose sailboat sinks near the Canary Islands. He survives for 76 days on a life raft with a few key essentials: a knife, sleeping bag and emergency kit. His experiences are similar to Pi's: for example, he is harassed by sharks and dorados, fights thirst and hunger and survives a storm.

Journal Topic(s): 1) Students compare the realism of Callaham's account to Pi's. For instance, Callaham was an adult professional sailboat racer who barely survived for 2 and a half months, whereas Pi, at 16 years of age, survives for 7 months with a Bengal tiger; OR 2) Students compare the realism of a 'reality' television show such as Survivor to Pi's survival story and consider which holds more truth.

.:LESSON FIVE - Improv:.

HOOK: Students will watch a clip of Bradford theatres∞ performance of Life of Pi.

PART I:
In groups of 3, students will pick a scenario out of a hat. Each scenario is a short sequence of events which happen while Pi is stranded, for example: "Act out the storm scene. Lightning strikes. The whole world seems white. Pi is in awe, Richard cowers in terror." Each scenario is numbered to keep the events in sequential order. A 'stage' will be set up similar to the Bradford theatres beforehand by students (i.e. a boat and water).

In a modified think/pair/share, students will take two minutes to think about the scenario individually, then they will 'pair' with their group for five minutes, and, finally, they will share with the class when they do their improv.

http://www.bradford-theatres.co.uk/Graphics/Static_photos/life_of_pie_leaflet.jpg∞ http://www.bradford-theatres.co.uk/Graphics/Static_photos/life_of_pi_turtle.jpg∞

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PART II:
As a variation on creating book covers for novels, students will work individually to create playbills for their improv skits. Students will examine different book covers of Life of Pi (below), as well as the Bradford Theatres playbill (above), in order to generate ideas for tag lines, illustrations, etc.

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.:LESSON SIX - Two Versions of Pi's Story Debate:.

Students will have finished the novel, so they will have read about the Japanese Ministry representatives disbelief of Pi's account of what happened at sea. They will have read Pi's alternate, violent, yet more realistic account, which he thinks they want to hear.

In preparation for an in-class debate, students will be asked to recall the discussion in Lesson Five about truth in fictional and non-fictional autobiography, and the teacher will do a short review of this topic.

In-class Debate: For the debate, students will be sorted into two opposing groups: one for Pi's original tale, and one for the alternate version. Students will have time to brainstorm ideas to support their positions. The debate will begin with the teacher as the judge. Rules of conduct will be set (i.e., no name calling, etc.), and the debate will ensue.

.:LESSON SEVEN - A Freudian Analysis: Do We All Have a Richard Parker?:.

HOOK: The teacher will read a selection of Aesop's Fables∞ to the class and ask students to identify how the morals of the fables use truths about animals to reveal truths about humans.

Students will be introduced to the idea of split personality and the 'other self' in relation to Pi, and they will consider whether or not Richard Parker is really just a manifestation of Pi's 'other self,' i.e. his animal nature. A brief introduction to Freud's conceptualization of the unconscious being divided into the Id, Ego and Superego∞ will be given to facilitate the students' consideration and discussion of Pi's 'other self.'

In-class assignment: Students will refer back to the Animal Symbolism resource in Lesson Three, as well as to Aesop's Fables and to Animal Farm (which they would have hopefully done in an earlier grade) and may be provided with information on Anthropomorphism∞ in order to decide which animal they would attribute to their 'other self'. Students would draw the animal and also write a character sketch of their 'other self'.

Journal Topic: Do you think that we all have a 'Richard Parker'? Explain why or why not.

.:LESSON EIGHT - Writing for a Disbelieving Audience:.

Students will be taught about how narration and description work together to create a realistic account of an unrealistic or fictional event. Plot will also be considered.

In-class assignment: 1) In a paragraph, students will outline 3 ways in which Pi alters his story to be more 'believable' for the Japanese Ministry representatives. 2) Students will outline AT LEAST 3 ways in which they can alter their first journal entries of the unit to be more 'believable.'

Journal Topic: Students will re-write their first journal entries for a disbelieving audience.

.:LESSON NINE - Final Assignment:.

Students will use class-time to work on their final assignment that will be due next class.

Final assignment∞: Students will choose a scene they found most powerful, thought-provoking, or relevant to a theme they liked. They will represent the scene in an image and a poem. The image will go in the middle of a tri-fold poster board; the poem will go on one side, and an explanation of why they believe their scene is important will go on the other side.

.:LESSON TEN - Gallery Walk:.

Students will go public with their final assignment by participating in a gallery walk. Also on display: their group artwork of the ship, the character sketches and play bills.

.:ONGOING READING CHECKS:.

Survivor Review Game
(borrowed from Jas Deo's Lord of the Flies∞ lesson plan - thanks Jas!)

Reading checks will be done frequently at the beginning of class using the Survivor Review Game.

On the first day of the unit, students will be put into groups and each given a number within their groups. At the beginning of each class, one member from each group (for example, all number 1's) will be randomly asked by the teacher to answer questions that correspond to the assigned readings. First, students will write down the answer, and then they will read it out loud. If students answer the questions correctly, then they will receive a point for their team. If they don't know and need help from their group members, then they will only receive half of the points for correct answers. The scores will be updated on a large piece of paper on the bulletin board. At the end of each review session, the team that receives the most points will be allowed to "vote off" one of the other groups. The group that is voted off will have an "X" put beside the group's name. At the end of the unit, the team with the fewest number of "X's" will receive a prize.

ASSESSMENT

Comparison Worksheet: 10%
Improv and Playbill: 10%
Character Sketch: 10%
Participation (particularly in think/pair/share, jigsaw, and debate activities), attendance, and homework: 10%
Final Assignment: 30% Peer Assessment and Teacher Assessment forms∞
Journal: 30% (first entry=10%; ongoing entries=10%; final entry=10%)

RESOURCES

In addition to the resources referenced throughout the unit, Timothy Findley's novel, Not Wanted On the Voyage, is a wonderful alternate or additional text. Parallels could be drawn between this text and Life of Pi, particularly in relation to exploration of a Noah's Ark theme.

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Teaching English Language Arts : LifeofPi