Argument: This article simply gives background to Martel's influences and mindset behind the writing of the novel. Written by Martel himself, he describes the mix of three elements in which books come from: influence, inspiration, and hard work. Claims: Martel writes that most books come from the same mix of three elements:influence, inspiration, and hard work. His influence for this novel was an interest in a novel after reading a somewhat skeptical review over it. Seemingly, Martel became enveloped in the critic's reasonings for such a harsh review. He was disappointed that such "a brilliant premise [was] ruined by a lesser writer", therefore suggesting he could have done better. While in India, the remembrance of this review he read came to him, and while observing Indian ways, all aspects of the story flowed to him. In a place with many animals and various religions, Martel created Life of Pi. All aspects didn't come easily though; he found himself spending over a year doing extensive research and observations in order to create the memorable novel Life of Pi became today. Evidence: "most books come from the same mix of three elements: influence, inspiration, and hard work" "brilliant premise ruined by a lesser writer" "the novel emerged fully formed: the lifeboat, the animals, the intermingling of the religious and the zoological, the parallel stories" "theme that reality is a story and we can choose our story and so why not pick 'the better story'?"

Argument: This article discusses Yann Martel's narrative. Stephens' analyzes its effectiveness and religious appeal. He also juxtaposes the usage of science and religion through their "counteractive" purposes. Stephens' entire article discusses Pi's conclusion of a "better story". Claim: Stephens labels Life of Pi as an allegorical castaway story. He stated the idea of the novel being able to "make you believe in God" was untrue. Instead of making one believe in God, it instead gave them the choice to believe. Religion provides one half of the frame of the novel, the second half is science. Stephens suggests the incompatibility of the two. He claims Martel uses the novel to connect the relationships between human and animals through the main character's religious faith and choices. The nonreligious gain a desire to believe. Evidence: "Martel gives the reader the democratic choice: the desire to believe rather than the belief itself" (Stephens). "The theme of this novel can be summarized in three lines. Life is a story. You can choose your story. And a story with an imaginative overlay is the better story" (Martel qtd. in Stephens). "In what ways would this be seen by the nonreligious as a religious book...what ways might this text actually give secular readers a desire to believe...what ways might this text lead religious readers who already believe in God to re-envision that deity, or to worship him, her, or it in a new way?" (Stephens).

Argument: This article's main purpose is to deconstruct Yann Martel's Life of Pi. The author, Florence Stratton argues various points, depicting the novel by reasoning Martel's choices. Stratton also discusses the strengths and weaknesses of the novel's claims. Claim: Stratton proposes Martel's treatment of religion in the novel reigns unpersuasive in the essence that the story would not make others believe in God, but justify the belief in Him. He also argues Life of Pi structures around various philosophical debates such as favoring reason over imagination, science over religion, materialism over idealism and fact over fiction or story; these debates are symbolized through the various characters of the novel. Stratton discusses Martel's elaborative plot and characters, discussing their symbolism. Evidence: "This wonderful book did not make me believe in God but it did reinforce my faith in the considerable redemptive powers of fiction" (Whittaker). "Mr. Chiba, on the other hand, represents the viewpoint of Romanticism, and, in particular, its emphasis on spontaneity, subjectivity, imaginative creativity, and emotion" (Stratton). "The dazzling display of colours and patters suggests that Richard Parker's primary signification is the incantatory or transcendent power of art: the imaginative truths or realities that great art encompasses" (Stratton). "..the heroic struggle of a religiously devout man to overcome the impediments of material reality" (Stratton).