On page 70 Pi wrote that “There are always those who take it upon themselves to defend God, as if Ultimate Reality, as if the sustaining frame of existence, were something weak and helpless. These people walk by a widow deformed by leprosy begging for a few paise, walk by children dressed in rags living in the street, and they think, “Business as usual.” But if they perceive a slight against God, it is a different story. Their faces go red, their chests heave mightily, they sputter angry words. The degree of their indignation is astonishing. Their resolve is frightening.”

Pi is most certainly right and he also states at the start that this read about his life will make one believe in a god. Me? I don’t believe in superstars organic food and foreign cars I don't believe the price of gold the certainty of growing old that right is right and left is wrong that north and south can't get along that east is east and west is west and being first is always best but then I don’t believe I will be reincarnated as Don Williams either.

I may not be as keen on this fantasy as most. For what was an attempt at a philosophical discussion on belief, it seemed that the writing plodded along far too much at times and got bogged down in its own attempt to be profound. I did however enjoy the Japanese investigators.

I read this book two years ago, but when we discussed it this month for book club, I remembered how much I liked it. A good discussion always ups my appreciation of a novel as does an ending that makes me requestion my givens in the story. I find myself reading contradictory interpretations and agreeing with both sides. That's the beauty of symbolism: as long as you back up your cause, it's plausible.

Initially it took me several weeks to get into the book. The beginning reads more like a textbook with inserted clips of the main character's future self. While the knowledge I gained about zoology and theology was interesting, it wasn't intriguing enough to keep me awake for more than a few pages at a time and often I found the tidbits a confusing distraction. But with distance I enjoyed the backdrop information it offered. If you're struggling through the initial background, jump ahead to the second section. Yeah it's important, but it's not vital. And maybe once you've read the story you'll want to come back and appreciate his analysis.

I highly enjoyed this strange journey at sea and found it almost believable--until the castaways encounter the island at which point I wondered how much of his sanity wavered. Being shipwreck is one of a plethora of phobias I have. Throw on top my even stronger fear of tigers and this was a story straight out of a nightmare, one that kept me intrigued for a resolution. How could a boy keep the upper hand shipwrecked with a tiger? I had a picture in my head of Pi clinging to the side of the boat to avoid both the salty water infested with sharks and a foodless boat housing a hungry carnivore.

I found myself stuck in the unusual place where as a reader I find a story plausible with full knowledge that had this story been presented in real life I would have doubted its authenticity. I wanted to believe the story and all its fantasy. The end initially annoyed me, but if you look at the rich metaphors in the story, it becomes delectable for a story analyst like me. There is nothing I enjoy more than tearing apart a story and pulling out the intentions and symbols buried inside. Instead of just a fantastical story, you find a fable with a moral.

Spoilers here.
I want to reread the story now and analyze Richard Parker as Pi's alter ego, seeing that alpha and omega struggle as an internal one. Even the name Richard Parker is a hint at cannibalistic roots since it is the true account of a sailor who died at the hands of his cannibalistic crew members. I keep going back to that moment when Pi calls for Richard Parker to join him on the ship and then is appalled at what he has done. Once Richard Parker has joined his voyage, there is no banishing him. If they are one and the same, they beautifully represent that internal battle between the civilized vegetarian and the animalistic instinct to survive, showing the compartmentalization he needed to prevent madness.

You would not expect the small boy to conquer the beast (whether animal or himself), and yet he keeps the upper hand for an unimaginable 227 days. Had the cannibal overrun his pysche, he would have lost his battle and landed a madman. When the duo landed on the beaches of Mexico, Richard Parker took off, never to be noted by civilians again, but alive and surviving. Thus the horror of the incident will always live in Pi's memory but he chooses to repress it as it has no part in civilization.

I enjoyed the portrayal of the characters on the boat as animals. I could envision the quiet maternal sadness the orangutan gave his mother. Since the crew would be blamed for the demise of the ship, the wounded sailor as the zebra lying as prey to a demented and angry foreign chef who is just as crazy as we view the viscous hyena. The symbols were perfect and I think a second read would bring out their traits even stronger.

Some of the richest symbolism comes from the cannibal island and sailor. I think Pi's childlike mind could not deal with the cannibalism of a loved one and lets this theme leak into other story elements. The blind sailor is a second portrayal of the French chef, a character too big and conflicting to fit into one projection. At first he is the mean animal thinking only of his own survival, but as the journey progresses, Pi is conflicted with his friendship for the man. A bond is bound to happen between the only two survivors in limited space and Pi could not come to terms with his human feelings for the barbaric man. So he invents a second character, one whom he can make human, worthy of connection, but in the end is still untrustworthy and Pi must kill or be killed.

So what of the strange island? In his hallucinating state, it serves as a mirage where life is not as sweet as he suspected. The island parallels his own problems at sea with rich religious symbolism of the Garden of Eden. No matter what one's ethical code, the will to survive trumps one's moral haven. These vegetarians (person and island) don't want to harm, but are killing to survive. Something happened out at sea that his waning mind (and blindness both real and spiritual) could not substantiate and like all else he twisted it to a socially accepted tale. Since the island is discovered just after the sailor dies, maybe finding one of the chef's tooth on board turned him. Or maybe Pi happened upon a pile of garbage infested with rats and this boy, starving and demented enough to have tried his own waste, sees it as a heaven. His civilized nature knew he should scorn the filth but his barbaric needs were grateful for the nasty feast. The bones in the boat, proof that his experience was real, could have been rat bones.

Whatever the cause of his epiphany, he had to enter the depths of his own personal hell to realize this was not a heaven, or Garden of Eden, and a return to civilized behavior was vital for his own survival. Richard Parker was winning as he felt completely detached from civilization. He almost wished to stay and die at sea, to live at a level of base survival, instead of have to emotionally deal with his ordeal to progress. But his innate need to survive wins out as he realizes that as the lone castaway if he does not fight his mind's descent into madness, the sea will eat him mentally and literally.

One of my favorite interpretations of the island is a religious fork in the road. Whatever truly happened, the island cements your belief in the first or second account. Either you see the meerkat remains as proof that the beauty of the first story is true or the island is the point at which you start questioning the credence of his tale and believe he threw in this unbelievable turn of events to ready you to accept his alternate ending. As readers we are given the choice between two stories. We can pick the miraculous version of the first story, an icon of those who believe in God, or we can pick the grim atheist view of the pessimistic--although reasonable--second story, as do those who believe science disproofs God. In section one, Pi references religion to not only show where his beliefs give him strength but to give backbone to the religious allegory. He shows disdain for the indecisive agnostic (see quotes below) and bids you chose your path. The island serves to question your own religious devotion, but you have to pick what you think it represents, which story you care to believe.

Pi states this is a story that makes you believe in God. As a believer in God and the second story, I don't think there is merely an atheist interpretation to the second. Either you accept God with a leap of faith despite dissenting controversy or you take the bleak realism and see God saved him from death at sea and even more protected him from mental anguish by healing his soul from the horrors he experienced. Both stories can justify the belief in God or justify your belief in nothing. Just as I don't believe people who buy the second story are atheists, I do not believe people who chose the first story follow blindly or idiotically. It's a matter of interpretation. The story isn't going to make you believe or disbelieve God anymore than you now do.

At first I was annoyed he recanted his story because I wanted to believe his original story. It is imaginative and well written and I didn't like being called out for believing fantasy from the fantasy itself. But how could I not love an allegorical explanation to a literal story? So now I love that he presents both stories: the imaginative far-fetched one and the plausible horrific one and leaves you the reader to decide which one you want to buy into and let you ponder what it says about you. That is the point of the story.

Some of my favorite quotes from the book:
"Life is so beautiful that death has fallen in love with it, a jealous, possessive love that grabs at what it can."
"It was my luck to have a few good teachers in my youth, men and women who came into my dark head and lit a match."
"Doubt is useful for a while...But we must move on. To choose doubt as a philosophy of life is akin to choosing immobility as a means of transportation."
"All living things contain a measure of madness that moves them in strange, sometimes inexplicable ways."
"Memory is an ocean and he bobs on the surface."
"First wonder goes deepest; wonder after that fits in the impression made by the first."
"The main battlefield for good is not the open ground of the public arena but the small clearing of each heart."

I was extremely surprised by this book. Let me tell you why (it's a funny story):

On the Danish cover it says "Pi's Liv" (Pi's Life), but I hadn't noticed the apostrophe, so I thought it said "Pis Liv" (Piss Life) and I thought that was an interesting title at least, so perhaps I should give it a go. So I did. And... what I read was not at all what I had expected (I thought it was a book about a boy growing up amidst poverty and homelessness). It wasn't until I looked up the book in English I realized the title wasn't "Piss Life". I was deceived for longer than I like to admit and, well, not only about this.

When I first read it I also thought it was based on a true story. I'm not sure why I thought this, I must have misread something (I vaguely recall thinking the prologue was instead an introduction). It was a sad (and ehm, slightly humiliating) day when I discovered the truth lay elsewhere. I guess your romantic beliefs must die someday, and that was the day for me.

See, it's easier to believe in the world and be optimistic about it, when you also believe that world capable of containing a boy and a tiger co-existing on a lifeboat for 7 months and surviving.

The truth is this book probably changed my life, not in any grand, extraordinary way. But with the small things, the small observations. Like how Pi was afraid to run out of paper, to document his days in the lifeboat, and instead he ran out of ink. Like how he chose to embrace three religions, not just one.

This book, and Pi especially, represent and embody a way of life that I admire. It's not about believing in God, but about what it takes to believe in something, anything really. Yourself, the world, goodness, life, God.

If it seemed real enough for me to believe it had happened, perhaps the real world is indeed a place where it could happen. And that's what I want to believe, even if real life might tell me otherwise.

One of those books I persisted to the end with, even though I was not enjoying it. In the end I wondered why I had bothered. A waste of time for mine.

Niesamowicie zafascynowała mnie ta książka. Przepełniona wątkami religijnymi oraz zoologicznymi(?), no po prostu było dużo o zwierzętach.

Była ona pełna opisów, czasami bardzo szczegółowych co jak najbardziej mi odpowiadało.

Mam jakąś wewnętrzną słabość do książek, których miejscem akcji jest morze, ocean, woda.

Zakończenie… Ummm zniszczyło mnie, muszę się pozbierać po nim i zastanowić co i jak.

REREAD 2024
Genialna? Genialna. Wrażenie jakie wywarło na mnie zakończenie jest niestety, naturalnie słabsze. Dobrze wiedziałem co się wydarzy. Zastanawiałem się czy po drugim przeczytaniu bardziej uda mi się zrozumieć tę historię. Odpowiedź brzmi: nie XD. Nadal nie wiem w co wierzyć i to chyba piękne.

Wydaję mi się, że będę jeszcze do niej wracał nie raz.

Natura, izolacja, chaos, samodzielność, wiedza...

Ocena: 5,0.

I don't think Life of Pi deserves the low 2 star rating I gave it. But how could I help myself, after Martel got my hopes so high in the beginning, only to dash them against metaphorical rocks in a metaphorical sea? I don't think Pi went through such pain as I did when I realized to my dismay that the middle and the end of the book didn't come close to the engaging, complex beginning. I loved the incorporation of the religious theme into Pi's life at the beginning. The time in the zoo set the stage for what would follow. But once out to sea, the spiritual connections disappeared and instead I felt like I was reading a raw, literal account of a survivor's journey. Like Hemingway might have written, but not as well done. There were rare moments of connection and deeper understanding, but not enough to keep me afloat to the end. By the end of Pi's journey, I felt as devastated as he must have -I guess the author succeeded in making me feel empathetic? But I still felt hope that the end would pull through and make my suffering well worth it. Instead, I felt like the end was almost as bad as the middle. It brought back the metaphorical and spiritual feel to a certain degree, but not enough to redeem the book for me, and not in the direction I had hoped. If my expectations weren't so high, this book probably would have gotten a three, or if I could, a three and a half rating. But such is life, right Pi?

Before I get started, I would like to mention some triggering sections of this god's forsaken book.
Trigger Warnings
There is a section at the end that is very...uncomfy. Gory. Violent. Page 337 to 345 to be exact.
So if you can't deal with that stuff, skip it. Or don't read the book.
*whispering* I would recommend not reading the book because it wasn't that good.

Did I expect to enjoy this? No.
Did I enjoy it? Also no.
Am I surprised? No.
Disappointed? Sort of.

Surprisingly, this is one of the better books that I've been forced to read for school.
Maybe that's because I did a lot of skimming. A LOT of skimming.
Or maybe it's because I read the majority of this book between 11pm and 1am.
That must have something to do with it.

But it was not as bad as I expected it to be.

“You must take life the way it comes at you and make the best of it.”

That's it. That quote is basically the theme of the entire book.
End of review, no need to read the book because I just summarized the entire thing.

In all seriousness, there were sections that held my attention, or triggered some nice existential crisis. Those were interesting, which is why I'm not rating this 1 star.
Kids. Here's a life lesson. That quote. Follow it. Even if you hate the rest of the book *cough* like me *cough*

The plot was extremely slow. This man is just stuck out in the middle of the ocean for most of the book and, unsurprisingly, that's not very interesting.
He has an existential crisis, some mental breakdowns, he finds God...again.
Yeah yeah yeah.

He did all the things that one would expect you'd have to do if you were stranded on a lifeboat in the middle of the ocean.
And being stranded on a lifeboat in the middle of the ocean would be very boring.
Just like this book.

I didn't feel any connection to the characters because I just didn't care. Maybe it's my bad attitude going in, but I couldn't get invested in any of it.
I don't even really have anything to say about the characters. That's how little I cared.

The entire beginning was a slog through overexplained animal habits and religion.
Really overexplained.
The entire first chapter gave a nice detailed description of the behaviours and habits of the three toed sloth.
Not the two toed sloth.
The three toed sloth.
That's very important, and apparently could not be stressed enough.

Religion is a major theme in this book. It comes up constantly. And there's a massive chunk at the beginning explaining Pi's journey in finding religion...I mean religions.
Look. I believe in God. I have no problem with religion. But it was explained in so much detail and so extensively that I was entirely done with everything by the time I got past it.

Mind you, I skimmed most of it.

The actual sinking of the ship took hardly any time at all. Which was disappointing, considering that I am weirdly fascinated by sinking ships.

So the boring parts are super lengthy.
And just when you think some interesting shit is gonna go down, the chapter ends and everything went by too fast and you wish some of those dragged out religion monologues could have been removed so you could have more detail in places such as the sinking of the ship.

So overall, I felt there were lots of parts that were dragged out too much, and some parts that could have been described more.
The themes of the story of important.
And the message is ~thought provoking~
But I read books for entertainment, not for existential crises.

2/5 cannibalism is not okay, kids.

No need to reinvent the wheel. Here's my Amazon.com review:

It doesn't matter whether what you tell people is truth or fiction, because there's no such thing as truth, no real difference between fantasy and reality, so you might as well go with the more interesting story. That's "Life of Pi" in a nutshell. Sorry to spoil it for anyone who hasn't read it yet.

Remember that season of the TV series "Dallas" that turned out to be just a dream? That's kind of how you feel after you've invested hours of your time reading page after page of a quite engrossing survival narrative, only to find out that it was all something the survivor made up.

Or was it? Ah, there's the twist that we're supposed to find so clever. But the officials from the ship company who tell Pi they don't believe his story are such hopelessly weak strawmen that the author pretty much forces you to accept the "better story." Pi, and, by extension, Martel, have no patience for the "dry, yeastless factuality" that the ship officials want, you see. Never mind whether it's closer to the truth -- it's just too boring, and we need colorful stories to make our lives richer. Besides, Pi and Martel say, as soon as something leaves your mouth, it's no longer reality -- it's only your interpretation of reality. So why bother grasping for the truth? You prefer the Creation story to the Big Bang? Then go with the Creation story, even if it defies logic and scientific discovery.

That's all well and good. Everyone likes a good story. But there's a time and a place for them, and the ship officials didn't need a story -- they needed to know what happened to their ship. To that end, Pi's entire tale is irrelevant anyway. And that, in turn, makes you wonder what the whole point of the book was. Other than, maybe, to laud the power of storytelling in a really hamfisted manner. Or to advocate for taking refuge in fantastical fiction when reality is too harsh. Or to champion shallow religious beliefs ("Why, Islam is nothing but an easy sort of exercise, I thought. Hot-weather yoga for the Bedouins. Asanas without sweat, heaven without strain."). Or to bash agnostics. Or something.

Be advised that this is not a book for children or the squeamish. Pi's transformation from vegetarian to unflinching killer, and Richard Parker's dietary habits, are rife with gratuituously gory details about the manner in which animals suffer and are killed and eaten.

The story promises to make you believe in God. Yet with Martel's insistence that a well-crafted story is just as good as or even preferable to reality, he leaves us not believing in a god of any kind, but rather suggesting that we embrace the stories that religions have made up about their gods, regardless of those stories' relation to scientific knowledge, since the stories are so darn nice, comfy, warm, and fuzzy in comparison with real life. Whether the God in the stories actually exists, meanwhile, becomes totally irrelevant. So ultimately, Martel makes a case for why he thinks people SHOULD believe in God -- it's a respite from harsh reality, we're told, a way to hide from life rather than meet it head-on with all of its pains and struggles -- and that's quite different from what he ostensibly set out to do. He trivializes God into a "nice story," a trite characterization sure to offend many readers.

Pi sums up this postmodern worldview by telling the ship investigators, "The world isn't just the way it is. It is how we understand it, no?" Well, no, the world IS just the way it is, in all of its highs and lows, triumphs and tragedies, happiness and sadness. But Pi and Martel's solution is to avoid the whole messy thing altogether, pretend that the way things are don't really exist, and pull a security blanket of fiction over your head. Create your own reality as you see fit. That's called escapism. It's fine when you want to curl up with a good book on a rainy day and get lost in the story for a few hours, but it's a lousy way to try to deal with real life.

Pi would tell me that I lack imagination, just as he told the investigators they lacked imagination when Pi claimed he couldn't "imagine" a bonsai tree since he's never seen one, as a way of mocking the investigators' reluctance to believe in Pi's carnivorous island. (Nice cultural stereotyping with the bonsai, by the way -- the investigators are Japanese.) But you see the problem, right? It's not a matter of lacking imagination. It's a matter of conflating things that are obviously imaginary with things that are obviously real. They're not one and the same. It's ludicrous to suggest otherwise. You might as well say that the story of Frodo and the Ring is every bit as real as the American Revolution.

Pi also tells us, quite pointedly, that choosing agnosticism is immobilizing, while atheists and religious folks make a courageous leap of faith. Yet immobility is precisely where Pi places us, so that by the time the book ends, you're stuck not knowing what to think about what you've just read. Do you accept the original shipwreck story just because it's more engrossing, even if it's less believable? Or do you accept the plausible but boring story Pi gives to the officials after he's rescued? Fanciful religious allegories or cold, scientific recitation of facts that might come from the mouth of an atheist -- we're expected to pick one or the other.

But it's a false dichotomy. We needn't make a choice between embracing religious tales merely because they're more interesting or settling for the sobering realities of science and reason. We can go as far as our reason will take us and then leave ourselves open to further possibilities -- just as Pi himself suggests. That's not immobility. That's intellectual honesty -- an admission that I don't know all the answers but am willing to keep an open mind about whatever else is presented to me.

Seems better than saying you might as well just accept the better story since it really makes no difference. That's laziness. And it doesn't make for a very good story.

On the surface Life of Pi is a funny little book, heart-warming and audacious, but dig a little deeper and you’ll see how complex the story actually is.

The magically real elements make the story doubt itself; they call into question the probability of these events actually happening because they are so ridiculously unrealistic. As Pi says to those that disbelieve him:

n  "I know what you want. You want a story that won't surprise you. That will confirm what you already know. That won't make you see higher or further or differently. You want a flat story. An immobile story. You want dry, yeastless factuality.”n



Such an assertion questions the truth of fiction. The details aren’t important. Change but a few of them and the journey Pi goes on remains the same. It does not matter if he was trapped on the boat with a bunch of zoo animals or people that reflected the animals in his life, the story remains the same: the truth is not changed. Belief is stretched to absolute breaking point and sometimes it needs to be with a story like this.

And such a thing harkens to the religious ideas Pi holds. He practices several religions believing they all serve the same purpose. This never wavers despite the violent and desperate times he eventually faces. And I really did appreciate this idea; it demonstrates unity in a world divided over matters of faith when it should not be. Again, are the details really that important? To a religious zealot such a thing boarders on blasphemy, though the harmony of such an idea speaks for itself in this book.

“If you stumble about believability, what are you living for? Love is hard to believe, ask any lover. Life is hard to believe, ask any scientist. God is hard to believe, ask any believer. What is your problem with hard to believe?”



Although I disagree with many of the sentiments in this book, sentiments that may belong to Pi as our narrator and perhaps even to the author himself, I appreciated the degree of time taken to clarify them. The stance on religion was an interesting one with disbelief being compared to a lack of movement in one’s life (not something that I see as truth.)

Zoos are also described as places of wonderment for animals rich in safety and easy living, which can be true in some cases, though the horrors of bad commercial zoos and the cruelty and exploitation that go with them are completely ignored. For me, this is not a point that can be overlooked in such fiction or in life. To do so is somewhat naïve no matter the good intentions of Pi.

I did not love Life of Pi, I never could, though it is a book that made me think about the purposes of fiction and the power of stories, true or untrue.

I like tigers.

Having finished this, I am finding myself feeling thoroughly ambivalent about it. I can't think of anything overwhelmingly positive or overhwelmingly negative to say in this review. It was just alright. I've read lots of books that could be described in the same way, but I expected more from this, particularly since it won the Booker prize.

The beginning - describing narrator Pi Patel's childhood in India, growing up surrounded by exotic, dangerous animals as the son of a zookeeper - is promising. Some of the prose is rather beautiful, and at their best the descriptions evoke the sights and sounds of Pi's environment vividly. However, following this pleasant introduction, the bulk of the book is taken up by a lengthy account of the protagonist's attempts to survive on board a lifeboat after the ship carrying his family to Canada sinks, leaving Pi and a Bengal tiger named Richard Parker the only survivors. The excitement of the situation soon abates; once the tiger has dispatched a few other surviving animals and Pi has managed to train him, all that's left is a repetitive series of chapters about how Pi stays alive. I couldn't stomach much of the stuff about Pi killing and eating whatever forms of life he comes across (there are more mentions of drinking turtles' blood than any story could ever need) and skipped the majority of these chapters (there's LOTS of them). The book becomes very monotonous, and while this may indeed represent what struggling to stay alive on a boat in the middle of a vast ocean would be like, it's not an attractive attribute in a work of fiction.

Right at the end, there's suddenly a really good bit which makes you yearn for how good the book could have been. First there's a sequence - possibly a fantasy/dream/allegory - in which Pi disovers a seemingly idyllic island with a sinister secret. Then there's the last few chapters, in which he recounts his tale, alongside an alternative version, to a pair of investigators. This part of the story is intriguing, funny and contains a fascinating twist; I really enjoyed it. It's just a shame I couldn't feel the same way about most of what came before these concluding pages.

Edited 29/12/12 to add... The film is better than the book. I've seen it in the cinema twice now, and it turns out this story is much more enjoyable to watch than it is to read. It's rare for me to prefer the movie version to the original, but this is an exception, it's wonderful!

I have no doubt in saying that Life of Pi is the novel that until now has moved my soul more deeply. So deep that it was one of the reasons why I decided to start writing my first novel, Luces en el mar. Life of Pi is one of my favorite books, not only by the fresh, warm and almost innocent way Yann Martel tells the fantastic journey of Pi but above all by the poetry that resonates in each of its words and pages. Life of Pi is a poem, a painting with vivid colors, a symphony able to ruffle the hair of the forearm, a photograph that captures a deep emotion, it's a masterpiece. It's a novel with a humble narrative, but that contains reflections so large and deep as the sea that the character is forced to cross aboard a boat with the dangerous company of a tiger. I recommend everyone to read this wonderful story, with a so overwhelming and surprising ending that will leave you quite sure a trace in your heart for the rest of your life.

Spanish version:
No tengo ninguna duda en decir que "La vida de Pi" es la novela que hasta ahora más me ha removido el interior, tanto que es uno de los motivos por el que yo mismo me pusiera a escribir mi primera novela, Luces en el mar. La Vida de Pi uno de mis libros favoritos, no solo por la manera fresca, casi inocente en que Yann Martel nos cuenta el fantástico viaje de Pi, sino sobre todo, por la poética que resuena en cada una de sus páginas. "La vida de Pi" es un poema, una cuadro con vívidos colores, una sinfonía que te eriza el vello, una fotografía que captura las emociones, es una obra de arte en mayúsculas. Esta es una novela de apariencia poco presuntuosa, de narrativa sencilla pero con un contenido y unas reflexiones tan grandes y profundas como el mar que el personaje se verá obligado a cruzar a bordo de una barca y junto a la peligrosa compañía de un tigre. Recomiendo a todo el mundo que lea esta maravillosa historia, de final tan sobrecogedor y sorprendente que de bien seguro te dejará huella de por vida en tu corazón.