Beatrice and Virgil (Signed First Edition)

Yann Martel

ISBN 10: 1847677657 / ISBN 13: 9781847677655

Published by Cannongate, London., 2010

About this Item

LONDON: Cannongate, 2010. First edition. First printing. Hardbound. SIGNED BY AUTHOR on title page and dated by him in June 2010, the month of publication. New/New. A pristine unread copy. Comes with mylar dust jacket cover. Shipped in well padded box. Smoke-free, defect-free. This book was opened only for author to sign (name only, no personal inscriptions). Purchased new, author-signed, shelved and untouched since then. With silk page marker. LIFE OF PI sticker on front dust jacket cover, as issued. UK-LD.

Seller Inventory # 11-2012-32

Bibliographic Details

• Title: Beatrice and Virgil (Signed First Edition)
• Publisher: Cannongate, London.
• Publication Date: 2010
• Language: English
• ISBN 10: 1847677657
• ISBN 13: 9781847677655
• Binding: Hardcover
• Edition: 1st Edition
• Condition: New
• Dust Jacket Condition: New
• Signed: Signed by Author(s)

About this title

Synopsis

Novel by author of Life of Pi

Review

Yann Martel on Animals and the Holocaust in Beatrice and Virgil

I often get asked the question why I use animals in my stories. Life of Pi was set in a zoo and featured a number of animals, and animals once again play a prominent role in my new novel, Beatrice and Virgil. Am I a great animal lover? Well, I suppose I am; nature is indeed beautiful. But the actual reason I like to use animals is because they help me tell my tale. People are cynical about people, but less so about wild animals. A rhinoceros dentist elicits less skepticism, in some ways, than a German dentist. I also use animals in my fiction because people rarely see animals as they truly are, biologically. Rather, they tend to project human traits onto them, seeing nobility in one species, cowardice in another, and so on. This is biological nonsense, of course; every species is and behaves as it needs to in order to survive. But this animal-as-canvas quality is useful for a storyteller. It means that an animal that people feel kindly towards becomes a character that readers feel kindly towards.

Why did I choose to write a novel about the Holocaust? There’s nothing personal to this interest; I’m neither Jewish, nor of German or eastern European extraction. I’m a complete outsider who’s been staring at this monstrous massacre of innocents since I first learned about it as a child living in France. It’s as an artist that I’ve kept coming back to the subject. What can I do as an artist about the Holocaust? I believe that if history does not express itself as art, it will not survive in common human memory. And so I took what I knew of the Holocaust, the cumulative knowledge of my reading and viewing and visiting (both to camps in Poland and Germany and to Yad Vashem in Israel and to various museums), and I set it next to that part of me that wants to understand through the imagination. Then I sat down and wrote Beatrice and Virgil.