Acclaim for Yann Martel's Life of Pi(48)

The hyena fell silent. My heart stopped and then beat triple speed. I turned.

"Jesus, Mary, Muhammad and Vishnu!"

I saw a sight that will stay with me for the rest of my days. Richard Parker had risen and emerged. He was not fifteen feet from me. Oh, the size of him! The hyena's end had come, and mine. I stood rooted to the spot, paralyzed, in thrall to the action before my eyes. My brief experience with the relations of unconfined wild animals in lifeboats had made me expect great noise and protest when the time came for bloodshed. But it happened practically in silence. The hyena died neither whining nor whimpering, and Richard Parker killed without a sound. The flame-coloured carnivore emerged from beneath the tarpaulin and made for the hyena. The hyena was leaning against the stern bench, behind the zebra's carcass, transfixed. It did not put up a fight. Instead it shrank to the floor, lifting a forepaw in a futile gesture of defence. The look on its face was of terror. A massive paw landed on its shoulders. Richard Parker's jaws closed on the side of the hyena's neck. Its glazed eyes widened. There was a noise of organic crunching as windpipe and spinal cord were crushed. The hyena shook. Its eyes went dull. It was over.

Richard Parker let go and growled. But a quiet growl, private and half-hearted, it seemed.

He was panting, his tongue hanging from his mouth. He licked his chops. He shook his head. He sniffed the dead hyena. He raised his head high and smelled the air. He placed his forepaws on the stern bench and lifted himself. His feet were wide apart. The rolling of the boat, though gentle, was visibly not to his liking. He looked beyond the gunnel at the open seas. He put out a low, mean snarl. He smelled the air again. He slowly turned his head. It turned—turned—turned full round—till he was looking straight at me.

I wish I could describe what happened next, not as I saw it, which I might manage, but as I felt it. I beheld Richard Parker from the angle that showed him off to greatest effect: from the back, half-raised, with his head turned. The stance had something of a pose to it, as if it were an intentional, even affected, display of mighty art. And what art, what might.

His presence was overwhelming, yet equally evident was the lithesome grace of it. He was incredibly muscular, yet his haunches were thin and his glossy coat hung loosely on his frame. His body, bright brownish orange streaked with black vertical stripes, was incomparably beautiful, matched with a tailor's eye for harmony by his pure white chest and underside and the black rings of his long tail. His head was large and round, displaying formidable sideburns, a stylish goatee and some of the finest whiskers of the cat world, thick, long and white. Atop the head were small, expressive ears shaped like perfect arches. His carrot orange face had a broad bridge and a pink nose, and it was

made up with brazen flair. Wavy dabs of black circled the face in a pattern that was striking yet subtle, for it brought less attention to itself than it did to the one part of the face left untouched by it, the bridge, whose rufous lustre shone nearly with a radiance.

The patches of white above the eyes, on the cheeks and around the mouth came off as finishing touches worthy of a Kathakali dancer. The result was a face that looked like the wings of a butterfly and bore an expression vaguely old and Chinese. But when Richard Parker's amber eyes met mine, the stare was intense, cold and unflinching, not flighty or friendly, and spoke of self-possession on the point of exploding with rage. His ears twitched and then swivelled right around. One of his lips began to rise and fall. The yellow canine thus coyly revealed was as long as my longest finger.

Every hair on me was standing up, shrieking with fear.

That's when the rat appeared. Out of nowhere, a scrawny brown rat materialized on the side bench, nervous and breathless. Richard Parker looked as astonished as I was. The rat leapt onto the tarpaulin and raced my way. At the sight, in shock and surprise, my legs gave way beneath me and I practically fell into the locker. Before my incredulous eyes the rodent hopped over the various parts of the raft, jumped onto me and climbed to the top of my head, where I felt its little claws clamping down on my scalp, holding on for dear life.

Richard Parker's eyes had followed the rat. They were now fixed on my head.

He completed the turn of his head with a slow turn of his body, moving his forepaws sideways along the side bench. He dropped to the floor of the boat with ponderous ease. I could see the top of his head, his back and his long, curled tail. His ears lay flat against his skull. In three paces he was at the middle of the boat. Without effort the front half of his body rose in the air and his forepaws came to rest on the rolled-up edge of the tarpaulin.

He was less than ten feet away. His head, his chest, his paws—so big! so big! His teeth—

an entire army battalion in a mouth. He was making to jump onto the tarpaulin. I was about to die.

But the tarpaulin's strange softness bothered him. He pressed at it tentatively. He looked up anxiously—the exposure to so much light and open space did not please him either.

And the rolling motion of the boat continued to unsettle him. For a brief moment, Richard Parker was hesitating.

I grabbed the rat and threw it his way. I can still see it in my mind as it sailed through the air—its outstretched claws and erect tail, its tiny elongated scrotum and pinpoint anus.

Richard Parker opened his maw and the squealing rat disappeared into it like a baseball into a catcher's mitt. Its hairless tail vanished like a spaghetti noodle sucked into a mouth.

He seemed satisfied with the offering. He backed down and returned beneath the tarpaulin. My legs instantly became functional again. I leapt up and raised the locker lid again to block the open space between bow bench and tarpaulin.