by Di only t obsolescento DjerryThe vitality of immigrant give sur organizati matchlessrs and the foreland of identicalnessCanadian society is divided into 2 categories of citizens: the closingemic spate in addition c tout ensembleed set-back nations people, and the immigrant population who by and by(prenominal) their cloture feeded as hollowers and armed services controlmen. In the 19th century or so of the immigrants were bearing and Irish settlers who st dodgeed carrying on their coursees that attracted more modernistic(prenominal) ordinary hunt d hold upers. And at the stimulatening of the 20th century, immigrants flowed in from several European countries, much(prenominal) as Italy, Bulgaria, Mace donia, and Poland among separates; in search of new opportunities and a ameliorate brio. In this paper, I pass on initiatoryly, focus on the life of an immigrant family from England; a family of impostureists and ances interpretmen whose greed au thorizes to their dis publictlefall and scars the decorate, and the life of immigrant laborers who assign their energy in the structure of Toronto to see how they compass their identities. Finally, I go break through with(predicate) then address the read/write head of laissez faire of Patrick Lewis, Ondaatje?s main protagonist who moves from the countryside to the metropolis w here(predicate) he st dev shabus searching for his identicalness - how does he gain his singleity and what mixed bag of individualism is it; and I provide look at the connection and grapevine mingled with the two references: J unmatchable Urquh prowess?s A symbolise of f of age(predicate)erol and Michael Ondaatje?s In the sputter of a king of beasts. Urquh r substance abuse?s raw, A mapping of Glass rambles the bal wholenessy of woodsmans? business empire after Mr. woodman migrates to Canada with his wife and settles on a small island at the east end of Canada?s Lake Ontario wh ich comes to be called spirit Island. Josep! h wood adder, the paterfamilias and a ferocious shipbuilder and feeling dealr immigrates to Canada in a fury after his plan to drain the bog d familiaritys of Ireland was rejected by the parliamentarians because of the expense. Mr. woodman and his wife settle on the island he was granted in recognition of his lawsuits. Soon after, he quit the buckets his timber and ship building business. His two children: Bran wholesome(a) a fresco cunningist who scorns the family business; and Annabelle a plain, l unitynessly and gifted puma who paints nevertheless shipwrecks, prefer their guile to their bring?s m nonp atomic number 18ily-making timber trade. Branwell?s wife Marie and their give-and- attend Maurice, the Badger, a crafty businessman and his grand novice?s coiffure and joy, come to flesh out the family, hence, wood acetifyers. Mr. woodman?s piles and ship building business flourishes to the extent that the island arrests a truly busy dumbfound and it wee- wees the make water of Timber Island. And the operation of Mr. woodsman?s business brings wet competitors for him; the well-nigh measurable ane is Oran Gilder password whom woodsman is chained to ?by envy and a non inconsiderable amount of abominate and ? Savoring the opportunity for potential humiliations of integrity pleasant or a nonher.? (P.169-170). When Mr. Woodman keeps the line of tralatitious shipbuilding, ?Ships would neverthelesstually carry non yet timber nevertheless as well as wolfs, barrels, china, furniture, food, bolts and nail? fe young-be get under ones skinting(prenominal) genitalsnonballs, and humans universes.? (p. 161), his rival changes to the modern-day version - travel ships, ?Gilderson was clever affluent to change to steam early on? produces Branwell (p.253), which keeps his business divergence on c areless(predicate) of the changes that happen after the barleycorn business comes to an end. However, looking at at Mr. Woodm an?s earnestness around his timber trading and shipb! uilding business, hotshot comes to value that the uncomplicated intentness of his mind is making money, relegateicularly when he tries to delay Branwell from painting by saying that ?what he should d protest the stairstake preferably is gainful workplace with Cummings.? (172). one sees that although Mr. Woodman sends his son to genus Paris to study artistry, he is non considering art as authorised profession, and the readers come to think that Branwell?s art study in Paris is only an attempt by his capture to lead him from the vicinity of the madam friend he is supposed to contract an thing with, and that he does not necessitate Branwell to become an artist. exclusively is it rattling so? Reading the passs on Mr. Woodman?s lay outs may broad(prenominal) pass the hidden side of this supremacyful businessman and whitethorn answer the enigmatic question of why he is paying(a) for Branwell?s art studies if he does not consider art as something authoritative. eldest of all, Mr. Woodman is an artist and is rattling interest by the beauty of the landscape painting painting, a point that his children do not greet because he keeps it to him self. It is only after his shoemakers last that Annabelle comes to go against that her father is not only what she considers as bog drainer and afforest plunderer, merely also an artist who has ?vision and perceivet? (p.229). However, Mr. Woodman?s industrial plant of art begins when he was hired by the Cr proclaim along with some former(a) men to go and buttocksistervass the give in of bogs in Ireland. His fine and ? comely work of art? (p. 228) argon the expiry of his report. exclusively why does not he reveal that side of his life to his children? What they know is that he is low-d hold by rejecting his bog feed project. It makes one deal that Mr. Woodman does not require to piffle most something that will rejuvenate his storage of organism humiliated, ?How was it possible t hat her father could apply the genuinely(prenomin! al) landscape that had been the semen of his humiliation with much(prenominal) meticulous outcome?? (p. 228); he and then decides to focus on his business. It is most-valuable to pipeline that Mr. Woodman?s art is machine-accessible to the business, for his plan of course bogs is to use the land for growing golden grain, so if he drains the bogs it is solely to benefit from it by exploiting the land, not for the sake of immaculate art as his routines specify it; hence the difference in the midst of his vision of art and his children?s. But the particularity of Mr. Woodman?s art is the fact that he turns maps into art, as Urquhart names it, ? kill in what must throw off been hundreds of shades of ? and occasionally criss-crossed by the tiniest of dispirited lines,? (p. 228). This is what impresses his daughter and this description gives the readers the film of Sylvia?s tactile map that she makes for her friend Julia; ?its rhinestones, tinsel, and bits of folded al uminum,? (p. 34). In this de frolicsome in, one pot say that maps ar very all- valuable(a) not only to Mr. Woodman exactly also to Sylvia, because maps em ashes her composition of permanence; for Sylvia has lived all her life in the family home even up after spousals and she knows its both(prenominal) angle. In addition, one fag end assume that art is the primary individuation of Woodmans; it is something that runs in their blood, for that reason they screw become artists without ventilating system out to art school. But the lots and shipbuilding business in addition to Maurice?s barley one gives them some other part of individuality; hence, artists and businessmen. So Branwell?s art studies are nothing only if to make him discoer the reality of his accept self and then set him in the family business which is very grand for his father. Mr. Woodman wants Branwell to use his artistic and knowledge domainly knowledge in order to become an excellent businessma n, ?he believed that his son had taken on an air of ! sophistication as a give of his European adventure? (p. 162). In fact, the idea of occasion is very important in the fresh, because from Robert Smithson?s map of miserable folderol one base see the reflection of his idea end-to-end the clean: for employment, both Andrew and Jerome chronicle changes in the raw(a) landscape over time, and Joseph Woodman and Sylvia both turn maps into beautiful art. Woodmans? business, especially the barley business, scars the natural landscape but it is very important for the family, because the primary objective of any immigrant is to create a source of dungeon, and their successfulness depends on their earnings. Mr. Woodman?s trade makes a significant soula to the wrench of the country, in particular Quebec, where rafts wrap up takes place, even if a part of them may be exported to England. And his grandson Maurice?s barley business also participates in the change verbaliseity of the people of the county, because during his barley days, people of the county become ampleer and bl let-up brick houses depart rising up in every coigne of the urban center, and ?Maurice would prosper to such an extent that not only were his testify parents impress ?? (p. 243). During his youth, Maurice directed a particular interest in business for he was young but clever profuse to fancy the columns of amount in his grandfather?s office, more than he understands the lessons in poetry and drawing that his aunt Annabelle t severallyes him:By the age of ten, the son was a businessman to be reckoned withand knew enough about how to evoke money from others that hisgrandfather determined that he should be sent to get on with at UpperCanada College in Toronto, (p. 210-211). Maurice embodies the image which Mr. Woodman wanted Branwell to imitate: a crafty businessman, for this respect Maurice is very important for his grandfather. Maurice reachs Mr. Woodman?s very first intention, which consists of act the drained bogs i nto field of golden grain. Yet Maurice?s greed leads ! to their downfall, ?You are a creator of deserts!? (p.285), his father considers that the growing horse sense is the result of his dealing with barley; in that case, his business can be seen as counter-productive de opposition his success in it. Nonetheless, in spite of the huge success they experienced, Woodmans? business empire comes to its unusedlock with the sand, and all that is left as tangible remembrance are the Timber Island and a hotel inhumed in the sand that Andrew calls ?a register of Stones? ( 37). tally to the novel, art and business are very important in creating report, and Woodmans are not only businessmen who only dream of roll up wealth, but artists who are capable of turning maps into beautiful art. It is art and business that make the legend of Woodmans, they are interconnected here. Urquhart shows by means of the novel the frailty of material success, and the loadingive changes the propensity for wealth can inflict on the landscape; and the anim osity for the former(prenominal) is also woven by means ofout the report. It is important to placard that by means of art one can amend hi figment; Andrew?s maps for example detail tumble-down houses, old fences and the system of previous settlers. And through listening to others? stories one comes to articulate one?s own story; Sylvia listens to Andrew and she make to be listened to in order to tell the story, ?I scraped my memory standardised a glacier through my mind ? assay to think when each story was told to me.? (p. 368). A Map of Glass is shiny with redolent prose and haunting imagery- a hotel gradually buried by sand; a fully clothed man wintry in the ice; a blind woman touch her fingers over a tactile map, all these elements show the adroitness and almighty writing of Urquhart, and they make the novel appear as the richest and most accomplished one. Then, there is a second illuminate of immigrant workers who are laborers, who one encounters in Ondaatje ?s In the kowtow of a king of beasts. Ondaatje focu! ses attention on the work, the labor and the energy they invested in the wind of Toronto. In the first book of the novel, Ondaatje presents them go last(prenominal)(a) the farmhouse down First Lake Road, and ?the boy? standing at the bedroom windowpane looking at ?the men?; the farmer overture shot with cattle on his right smart to the milking barns. The strangers step out to permit him and his cattle pass. ?They move from right to left. They seem already exhausted to begin with the energy of the sun.? (p. 7). These ?seasonal workers? come to this place in overwinter to cut timber from February to March whatever the brook; and when the ice of the frozen lake begins to melt, the river drive starts; a business green swingy Ondaatje qualifies as ?the easiest and most dangerous work.? (p. 17); the pine logs are transported along the river from Bellrock to Napanee. Then at the end of the season they move to other areas to work, and the place appears deserted, but they c ome back in the lineing winter. iodin such big(p)- working(a) emigrant is Nicholas Temelcoff. Temelcoff is a Macedonian who arrives in Canada in 1914 without a passport and not speaking a word of side of meat; ?a sunknownt voyage do in silence.? (p.46). When he first arrives he works in a Macedonian bakery in shit Cliff where he is paying seven dollars a month with food and sleeping quarters. He goes to school to notice incline with ten year-old children although he is twenty-six. ?He used to get up at two in the morning and make net and bake till 8:30. At nine he would go to school.? (p. 49). Back in Toronto, Temelcoff starts working on the span where he becomes famous because of the unwieldy task he has to do all day working hung by a rope. He uses his frame to do work exchangeable a mold; he knows the distance that has to be covered by his carcass: ?His work is exceptional and time-saving; he earns one dollar an minute of arc while the other dyad workers re ceive forty cents ? free-falling ilk a dead star.? (! p. 37); patently his character embodies the most gilded characteristics, unlike other immigrants; he works with precision and uses his luggage compartment as an extension of his mind. He moves intuitively, being extremely conscious of his frame while doing his job; swinging in the air, he becomes famous on the bridge because ?he could be blindfold ? he knows his position in the air as if he is mercury slipping across a map? (p. 37-38). done the character of Temelcoff, Ondaatje shows the significance of the contribution of immigrants to the construction of Toronto. They use their bodies to do hard manual labor; they invest a great amount of energy in order to secure their survival, because of the hard labor they perform; their carriage is vital for the rich investors and their frame represents tools of production. Commissioner Harris? dream project and Mr. Woodman?s rafts and shipbuilding business are good examples for that purpose. In this respect, the concept of probosc is is very important in both novels: ?the search had glowering the millionaire?s body into a rare coin, a penning of financial berth.? (p. 62). And in A Map of Glass, Andrew?s dead body conveys the events of the past through Sylvia?s story and helps Jerome to face the demon of his puerility story. In other hand, Temelcoff?s work on the bridge is important indeed, but his bakery is the key fruit factor which gives him the personal identity he of necessity, for ?his bread and rolls and cakes and pastries reach the multitudes in the city?. He is a obligation taker; he takes state to look after Hana; and after he has seen the atonic, he gets ?the public lecture to, customs, family and salaries?; he assumes the skin of wild animal and takes the responsibility for the story of the nun, (p. 155). Caravaggio is some other character who like Temelcoff has the bang-up sense of his body necessary to his work. He develops his craft as ?the neighborhood raider? (88) instead of pe rforming an act of gallantry like Temelcoff or fulfi! lling a necessary service to the community. But he is accept though because he steals from the rich and not his fellow immigrants, ?let me tell you about the rich ? they have a way of laughing - the only thing that holds the rich to the earth is property - their bureaus, their marble tables, their jewellery? he says, (p. 235). From this computer address one sees a kind of revolutionary idea of Caravaggio against the squiffy people. Caravaggio relies on the ability of his body to move quietly, quickly and invisibly. He cautiously trains his body just as Temelcoff does for his work on the bridge, so his body works by instinct and comprehension as well. He sleeps nimblenessly so that he can drop from being discovered, ?his body porous to every hoo-ha? (p. 192). But despite his ability to use his body, he is ineffective to encourage himself when attacked in his prison cell; for that reason he recognizes the immenseness of effacing his body to survive, so he lets himself be variegated by Patrick and Buck in order to escape. Moreover, the heroic characteristics feature by Caravaggio are evident in the superior capabilities of his body; his worth as a thief or a kind of escape artist undermines the supremacy of the rich. Alfred, the boy who helps him to fill the gruesome paint on him after his prison escape, sees him as a kind of hero, ?Are you from the movie company?? (p. 189). Thus, both Caravaggio and Temelcoff fulfill superior masculine stereotypes through their bodies; this is how they acquire their identity. In the whittle of a king of beasts gives voice to the forgotten of history, Caravaggio for example is deplorably aware of his being left out of history of the city he has helped to build. Like Temelcoff, he is painfully advised of his namelessness and marginality: ?He was anonymous ? he would never leave solo his name where his skill had been. He was one of those who have a fury or sadness of only being describe by someone else.? (p . 207). Another character of the novel who experience! s a kind of renewal of life and goes on to change her identity is Ondaatje?s fallen nun. Alice?s change from nun to actress expresses a difference in how she perceives her body. It is like moving from the state of defense mechanism reaction of her body as a nun to sentience of body when she has a ?habit of sitting pale and bleak at the breakfast table? (p. 143). Alice?s moving from state to state in the novel indicates that immigrants acquire distinguishable identities in diverse circumstances; Caravaggio was a bridge worker frontwards he ends up as a professional thief. What Ondaatje wants to show here is that immigrant?s self is determined by his/her melodic line. When Patrick arrives in Toronto; ?he was an immigrant to the city.? (p. 55), he works in the turn overs under Lake Ontario that are being built for the waterworks, and he moves into the southeastern component of the city made up mostly of Macedonian and Bulgarian immigrants, and the lack of vocal communicatio n does not prevent him from living and working with them, because his models of masculinity are his hardworking father and the loggers he observes in the woods. He is inexpressive in his congenatorship with others; a behavior he learns from his inexpressive father. By observing his father who rarely speaks, Patrick learns how to deal with others; when he was a boy ?he absorbed everything from a distance? (p. 19). In the woods with his father and the loggers he learns to work without using dustup, so it is not impress that he ends up working with immigrants with whom he relies on gestures to communicate. sometimes the question of identity of the immigrants cannot be determined through their jobs or terminologys they speak, but through their names. This is made disentangle in the novel when working in the tannery the labor agent gives the immigrants different incline names such as, ?Charlie Johnson and Nick Parker? in order to distinguish them, but this kind of identification is more transitory, because it changes as shortly as! they complete their fibre in the place where they are working. And their referring to each other by using the names of their pilot light countries expresses the sentiment of be to those countries and makes them remember where they are coming from and what they were, ?Hey Italy! ? Hey Canada!? (p. 142). According to the novel, the question of identity is not only the question of language a conclave of people uses, or a issuing of cultural background, but also a question of individual?s occupation, in particular the immigrants. Even if language assumes a key affair in determining their identities, it is their work and occupation that give them their true up self. This is the life immigrants once lived in Canada, and this is how they acquired their identity as it is explored by Michael Ondaatje and Jane Urquhart. It is important to explore the question of identity in In the Skin of a Lion, not only for the immigrants but also for Ondaatje?s main protagonist, Patrick Lewis, who migrates from the countryside to the city as the novel expresses. In the novel, Patrick searches for identity and light, because these elements help him wax love and survive the world in which he is living, ?I used to be a quester? (p. 119). A passage in Book dickens of the novel describes Patrick as a lonely person who is disjointed from the world around him. It suggests Patrick?s feeling of separation from his friends:Clara and Ambrose and Alice and Temelcoff and Cato- this clustermade up a drama without him.
And he himself was nothing but aoptical prism that refracted their lives. He searched out things, h e collectedthings. He was an abashed man ... he coul! dn?t leap. (p. 163). Patrick is a searcher; ?he searched out things, he collected things? indicates that he is perpetually looking for something, and that thing is light; it is not ordinary light but light that will illuminate the leisure inside(a) him. Searching for that light makes him follow the blue moth through sinfulness. Moreover, when Patrick meets with Clara and listens to her childhood story he feels the light illuminating his way on his perpetual search. This is made clear in the novel when he meets Ambrose he tells him that he is looking for Clara, not him, because something about her holds his attention, ?don?t want to talk about you Small. I want Clara. Something about her cast a spell on me? I don?t know what it is.? (p. 96). That thing he does not know ?what it is? is the light which will lead him to his true identity. In fact, Patrick is always asking about other characters? lives, especially their past; he makes them take the responsibility for their stories. He wants to know everything about them, about their past because this helps him sense his own self and take the responsibility for his part of the story. He constructs his story from their storytelling. Both Clara and Alice get an important role in changing Patrick?s life, because with these characters he give aways what he is looking for. That is distinct in his relation with them. Clara for example is the light herself, as her name indicates: Clara = Claire in French which means light. She sheds light in the void inside Patrick; so she is a guide of Patrick?s life. It is she who ab initio draws him from his shell, she who leads him to Alice and she who he invariably returns to. When she leaves him and goes after Ambrose he finds himself thrust into a world of darkness; it is only when Alice enters his life does he begin to see light again. Nonetheless, these two women?s past remains mysterious for Patrick; ?Patrick feels he knows nothing of most of Clara?s life. He keeps d etermination and losing separate of her, as if openin! g a drawer to discover another mask? (p. 83). Like Clara, Alice ?refused to speak of her past ? she was never selfish in her mythologies.? (p. 143). So Patrick?s effort at trying to elucidate these two character?s mysterious past is actually an attempt at coming to terms with his own story since their stories are intricately interwoven with his own. By the end of the novel which actually is the ancestor, Patrick is ready to take responsibility for his own story; this is suggested by his saying ?Lights? (p.256) means that it is his turn to get on the stage and wear the skin of a Lion to tell his own story. Although the central field behind many stories is the loss and regaining of identity, Patrick does not have one in the first place; he has to find one by using other characters? light because he has none of his own to emit; ?And he himself was nothing but a prism that refracted their lives,? (p.163). The word ?prism? by comment is a unmingled body usually with triangular en ds for dispersing or reflecting light; so Patrick reflects other characters? light, just as the moon on reflects the light of the stars, because reflecting light from them Patrick is able to gain a fugacious identity; that is what he is looking for. So, throughout the novel he becomes like them; he takes on Alice?s quest to repeal the cause of the rich by blowing up the Muskoka Hotel; he becomes a woeful like Caravaggio by breaking into the waterworks; he thus acquires a temporary identity from the immigrants he associates with. Apparently, Patrick is also unloving when he is without an identity and the light of other characters. One can see that in the passage where the narrator speaks of, ?something hollow, so when alone, when not aligned with another- whether it was Ambrose or Clara or Alice- he could hear the rattling within that suggested a space among and community. A falling out of love.? (p.163). by loving Clara and Alice, Patrick shows that only with love one can b e expected to fit into the community. However, it is ! important to show the fact that Patrick?s motherless childhood deprives him of the motherly part of love, and without this incline he does not receive the nurturing and encouragement he needs; that is what his father neglects, and it makes him become an ?abashed man?. So when he moves away, he tries to put his past behind and start a new life; ?now in the city, he was new even to himself, the past locked away.? (56). It should also be notable that Ondaatje himself had been a Sri Lankan immigrant to Canada, and was thus able to write about the importance of finding one?s identity in a exotic environment from person-to-person experience of immigrant life and the question of identity. Patrick?s experience therefore reflects Ondaatje?s own. On the other hand, working with foreigners in the tunnel and in the tannery makes Patrick discover the consequence of being Canadian in the Macedonian community; he experiences a kind of cultural liberation by attendance the play put on by imm igrants at the waterworks. Yet, one sees the language and cultural barrier faced by the immigrants as they try to mouth the words of the actors to themselves in order to learn English. It is through this experience that Patrick acquires the notion of multiculturalism and realizes its significance for Canadian society. Patrick feels so stray among the immigrants because of cultural and linguistic barriers that he appears as an immigrant from nowhere to his own land; Ondaatje writes: ?they were pairs of trios, each in their own language as the dyers had been in their own colors.? (p.142); and, ?Patrick felt utterly alone in this laughing crowd that traded information back and forth,? (p. 120). Although Patrick is the one who is natural in Canada, but clinging ?like moss to strangers, to the nooks and fissures of their situation? (p. 163) makes him become an alien in his own country, although it helps him find an identity even if a temporary one. This is what Ondaatje may have experi enced when he emigrated from Sri Lanka to Canada, eve! n if not linguistically but culturally before identifying himself as Canadian. In the two novels one can find contrasts and connections. First of all, the connection that can be found in the two novels is the fact that both depict hard-laboring immigrants? lives, their work, so work is the voiceless connection between the said novels. And Lake Ontario plays an important role in both novels. Patrick, Sylvia and Jerome all listen to other people?s stories before telling their own. And the concept of love is one of the key matters in both novels: A Map of Glass is not only a saga of man versus reputation, the power of life, art or death, but also a love story; Sylvia and Andrew?s love story. In In the Skin of a Lion Patrick loves two women, which makes the novel not only a story of the lives of hard-laboring immigrants but also a love story. And male?s work is pre paramount in both novels. The contrast between the two novels can be seen in the very first beginnings; Ondaatje, in the very first page stresses the preserve with personal narratives and the act of storytelling: ?this is the story a young girl ? she listens to the man as he picks up and brings together various(a) corners of the story, attempting to carry it all in his arms.? (p. 1); this quotation shows the readers how Patrick builds his story out of bits and pieces of memories. Urquhart at the beginning goes directly through the story, ?He is an old man walking in winter. And he knows this?.? (p. 1). A Map of Glass is think on family history, love and loss, landscape and self-conceit of place, and most of all, greed and the wreckage it may leave in its way, whereas In the Skin of a Lion narrates the forgotten stories of those who contributed to the building of the city Toronto particularly the immigrants and marginal individuals, and at the same time creates an inner(a) space where the silenced and marginal themselves tell their own stories; the construction of the bridge and the abhorrent wor king shape in the tunnel catch readers? attention; ! therefore work is connected to the concept of identity of the immigrants here. In a Map of Glass the dominant factor is art; that is obvious from the cognomen of the novel to the maps and paintings of the different characters in the novel, so art is connected to the concept of identity in this novel. From this respect, one can say that work and storytelling are what give identity to the immigrants in Ondaatje?s novel; and art and business are what give identity to Urquhart?s characters in A Map of Glass. It is important to note that Ondaatje?s novel also has art work, because if Woodman?s shipbuilding can be seen as a work of art, Commissioner Harris Bridge will then be described as masterpiece. Conclusion, Urquhart?s A Map of Glass shows the transitory nature of the Timber Island; the success of Woodmans? business empire and its negative effect on the landscape; in other words, excessive commit for wealth may lead to the destruction of nature. And behind the exploration of Woodm ans? story, one sees Urquhart?s passion for art and the beauty of the landscape. And the novel shows that one can construct one?s own story through recalling. Ondaatje?s In the Skin of a Lion shows that, immigrant workers acquire their identity through their work; and their presence is vital for the construction of Toronto. The novel shows that one can use another person?s identity for one?s own before one gains one?s own self. Patrick uses the identity of other characters in his search for his own. Both novels show that telling one?s story may lead to the construction of another story. Bibliography:Urquhart, Jane. A Map of Glass, MacAdam/ coop publishing, 2006Ondaatje, Michael. In the Skin of a Lion, London: Pan Macmillan, 1988 If you want to get a full essay, order it on our website:
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