Do you think the person with PI will see this?

Analysis
This section begins with two of the most important phrases in the entire text: “dry, yeastless factuality” and “the better story.” Both come to the author directly from Pi, and their significance is underscored by the fact that they are repeated within two pages. The two phrases are opposite poles on the spectrum of storytelling. At one end is boring reality, which is as flat as unrisen bread. At the other end is a version of reality that has been enlivened by imagination, improving the story—it becomes a full, hearty, risen loaf of bread, so to speak. When the options are presented in these terms, it is easy to see which is the more tempting. The risen bread is far more appetizing, while the flattened, yeastless option looks about as appealing to eat as cardboard.The compulsion to invent a better story, to improve one’s reality and make it more livable, is such a deep-seated and natural instinct, Pi says, that even animals do it, whether unconsciously or not. For example, a lion doesn’t think a human is really a lion. But given the right conditions and the appropriate circumstance, a lion may become willing to accept the human as one of its own. Faced either with life as an orphan or life with a foster mother, what lion cub wouldn’t accept a dog as a maternal figure? The fiction improves his life immeasurably.Pi strongly recognizes the saving grace of a myth or story to enrich “yeastless” factuality, and he knows that believing in a story requires a leap of faith. This is precisely why he is so perturbed by the idea of agnosticism, which in this section comes up for the second time in the novel. Agnostics, as Pi explains it, are rational to a fault. They do not trust anything that they cannot see, taste, or experience. They are wedded to factuality—indeed, they prefer it—and that is the main reason why Pi feels such a strong distaste for them. They are completely unwilling to take an imaginative leap, in either direction.
Pi’s inclination toward spicy, robust cooking is a strong metaphor for his storytelling abilities. The dichotomy between yeastless, dry bread and fluffy, enriched bread is amplified by the fact that, as the author tells us, Pi is a good cook, one who uses abundant spices—so much so that the author sweats and even has digestive trouble when he eats Pi’s food. Pi also seems to take great pleasure in adding condiments (relishes, chutneys, and so on) to the table. Pi’s story, which we are about to get to in Part Two, is one in which he has added yeast, spices, herbs, and anything else he can to make it palatable; apparently the facts alone would be hard to swallow.
That additive quality—of heaping layers on layers, spices on spices—also helps explain why Pi practices multiple religions simultaneously. As we see during the confrontation with the priest, pandit, and imam, normal born-and-raised Hindus do not adopt two additional faiths. However, something in Pi drives him to need more stories, more versions of reality, more options. Each faith brings with it its own unique myths and fables, its own assortment of rituals and customs, and its own take on God. Pi explains that the essence of every religion is love, and by practicing multiple religions at once he is able to surround himself in layers of affection, acceptance, understanding, and affirmation.The similarities between Pi and Robinson Crusoe, which the Pi’s mother gives him in this section, are also striking. Like Pi, Crusoe is shipwrecked. Both characters keep journals of their daily activities, develop survival skills, and train animals. As time goes on, both fall ill and hallucinate and encounter cannibals on an island. However, though the activities of both men are quite similar, the differences in their characters are great. Whereas Crusoe seems incapable of deep feelings, Pi embraces them, ricocheting from the deepest levels of sorrow at the loss of his family and his difficult situation to great heights of joy at the thoughts of rescue, food, and God. Though Pi tries to train his classmates to pronounce his name correctly, his dominance extends primarily over Richard Parker. Crusoe takes this mastery one step further and enters into a master-slave relationship with Friday, a victim of the cannibals whom he rescues. Pi is ultimately the more appealing protagonist, a product of modern times, connected to and caring about the world and others in a way that Crusoe never does.