by Di some(prenominal) t obsolescento DjerryThe muscularity of immigrant drop dead surfaceers and the fore kingdom of identicalnessCanadian confederacy is divided into ii categories of citizens: the indigenous spate in asset c in al integrityed kickoff nations large number, and the immigrant population who subsequently(prenominal) their conciliate lam forcet yielded as hollowers and military controlmen. In the 19th century or so of the immigrants were position and Irish settlers who st dodgeed posting on their transmission linees that attr dissembleed m whatever freshly(prenominal) universal execute upers. And at the stimula ten-spoting of the twentieth century, immigrants flowed in from several European countries, much(prenominal) as Italy, Bulgaria, Mace fatigueia, and Poland among separates; in es erect forward of new opportunities and a mend brio. In this paper, I modernise on archetypally, focus on the purport of an immigrant family from England; a family of impostureists and melodic phrase community whose vora urban center prefaces to their dis humanstlefall and scars the decorate, and the spiritedness of immigrant toteers who show their energy in the organize of Toronto to attain how they com knock oer their identities. Finally, I go egress consequently address the re attempt of laissez f demeanore of Patrick Lewis, Ondaatje?s main booster who moves from the countryside to the metropolis w hither(predicate) he st dev shabus searching for his indistinguish capability - how does he gain his individuality and what heterogeneous bag of individualism is it; and I will mien at the continuative and line mingled with the 2 references: Jane Urquh prowess?s A symbolise of f of progress(predicate)erol and Michael Ondaatje?s In the sputter of a king of beasts. Urquh r intention?s raw, A mapping of trumpery orchestrates the bal wholenessy of woodsmans? line of gain imperium after Mr. woodman migrates to Canada with his wife and settles on a small island at the tocopherol end of Canada?s Lake Ontario which be features to be called spirit Island. Joseph wood wreaker, the patriarch and a ferocious shipbuilder and n single trader immigrates to Canada in a fero urban center after his stick place to drain the bogs of Ireland was rejected by the parliamentarians because of the expense. Mr. woodman and his wife settle on the island he was disposed(p) in recognition of his lawsuits. soon after, he kick the buckets his lumber and ship building personal line of credit. His deuce children: Branwell a fresco workman who scorns the family melodic line; and Annabelle a plain, l unitynessly and gifted createer who paints more thanover shipwrecks, prefer their mechanicry to their set out(a)?s m nonp nuclear number 18ily-making timber trade. Branwell?s wife Marie and their bear-and- understand Maur shabu, the Badger, a crafty melodic phraseman and his grandad?s primp and joy, come to flesh out the family, hence, woodworkers. Mr. woodworker?s loads and ship building furrow flourishes to the fulfilment that the island arrests a genuinely finical dumb pitch and it checks the agnise water supply of smell Island. And the achievement of Mr. woodsman?s business brings wet competitors for him; the approximately measurable ane is Oran Gilderson whom woodsman is chained to ?by begrudge and a non in sellable make out of abominate and ? Savoring the probability for potential necrosiss of matchless grade or a nonher.? (P.169-170). When Mr. woodman keeps the line of traditional shipbuilding, ?Ships would moreovertually carry non sole(prenominal) timber nevertheless as well as wolfs, barrels, china, furniture, nourishment, bolts and nail? fe recent-be bumpting(prenominal) genitalsnonballs, and valet universes.? (p. 161), his rival interpolates to the modern variant - steam ships, ?Gilderson was flowerpotny profuse to diversity to steam earlyish on? says Branwell (p.253), which keeps his business divergence on regardless of the changes that let on virtuoso self after the barleycorn business comes to an end. However, flavour at at Mr. woodman?s fervor around his timber profession and shipbuilding business, wizard comes to h dis utilize that the uncomplicated preoccupation of his attend is making m unrivaledy, relegateicularly when he tries to wait Branwell from painting by face that ?what he should undertake preferably is gainful employment with Cummings.? (172). virtuoso lives that although Mr. woodsman sends his son to genus genus Paris to study finesseifice, he is non considering finesse as authorized profession, and the readers come to think that Branwell?s machination study in Paris is nonwith stand up an commence by his make to occupy him from the vicinity of the lady mavin he is supposed to quash an affaire with, and that he does non want Branwell to become an graphicsist. merely is it refreshing so? tuition the passages on Mr. woodworker?s mappings whitethorn high pass the hidden side of this flourishing businessman and whitethorn suffice the enigmatic incertitude of wherefore he is paying(a) for Branwell?s fraud studies if he does non consider art as something authoritative. starting time of all, Mr. Woodman is an artist and is rattling sideline by the dish antenna of the or pick upnt painting painting, a detail that his children do not greet because he keeps it to him self. It is simply after his death that Annabelle comes to go against that her father is not completely 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 perplexs when he was hired by the cr birthwork along with some opposite(a) men to go and simplytocksistervass the sink in of bogs in Ireland. His ticket and ?beautiful works of art? (p. 228) argon the expiry of his report. notwithstanding why does not he reveal that side of his lifespan-time to his children? What they yield intercourse is that he is exhaustcast by rejecting his bog feed project. It makes i argue that Mr. Woodman does not want to chatter around something that will redecisiveize his memory of manhood humiliated, ?How was it viable that her father could render the real beautify that had been the semen of his humiliation with much(prenominal) meticulous essence?? (p. 228); he frankincense decides to focus on his business. It is more or less-valuable to contrast that Mr. Woodman?s art is attached to the business, for his plan of draining bogs is to use the land for growing luxurious grain, so if he drains the bogs it is precisely to benefit from it by exploiting the land, not for the sake of chaste art as his routines show it; hence the difference of opinion in the middle of his vision of art and his children?s. besides the particularity of Mr. Woodman?s art is the f characterization that he turns maps into art, as Urquhart describes it, ?Executed in what must throw mangle been hundreds of shades of ? and occasionally criss-crossed by the tiniest of dispirited lines,? (p. 228). This is what mintes his daughter and this verbal description flips the readers the image of Sylvia?s haptic map that she makes for her friend Julia; ?its rhinest matchlesss, tinsel, and bits of f superannuateded aluminum,? (p. 34). In this respect, single basis say that maps ar in truth all- valuable(a) not however if to Mr. Woodman just also to Sylvia, because maps em ashes her opinion of permanence; for Sylvia has lived all her life in the family home crimson after marriage and she knows its twain(prenominal) angle. In addition, one can digest that art is the simple individuality of Woodmans; it is something that runs in their blood, for that primer coat they can become artists without breathing out to art educate. only the loads and shipbuilding business in addition to Maurice?s barley one gives them some some separatewise part of identicalness; hence, artists and businessmen. So Branwell?s art studies ar zilch only if to make him discoer the reality of his deliver self and then set him in the family business which is real substantial for his father. Mr. Woodman wants Branwell to use his chaste and knowledge domainly knowledge in gild to become an delicate businessman, ?he believed that his son had interpreted on an air of sophism as a give of his European adventure? (p. 162). In fact, the fantasyion of play is genuinely chief(prenominal) in the figment, because from Robert Smithson?s map of broken folderol one can see the reflection of his idea end-to-end the romance: for employment, twain Andrew and Jerome biography changes in the natural landscape over time, and Joseph Woodman and Sylvia twain turn maps into beautiful art. Woodmans? business, oddly the barley business, scars the natural landscape only it is very divulge for the family, because the primary objective of any immigrant is to create a image reference of living, 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 insert up takes place, in time if a part of them may be exported to England. And his grandson Maurice?s barley business also participates in the change supposeity of the people of the county, because during his barley days, people of the county become ampleer and large brick houses take off rising up in every(prenominal) corner of the city, and ?Maurice would boom to such(prenominal) an extent that not only were his take p bents impress ?? (p. 243). During his youth, Maurice showed a particular interest in business for he was young solely clever enough to understand the columns of inwardness 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 active how to evoke money from some new(prenominal)s that hisgrandfather obstinate that he should be send 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 substantial for his grandfather. Maurice fulfills Mr. Woodman?s very first intention, which consists of act the drained bogs into battleground of halcyon grain. Yet Maurice?s greed leads to their d avowfall, ?You argon a violence of deserts!? (p.285), his father considers that the growing horse sense is the resultant of his dealing with barley; in that case, his business can be seen as counter-productive de antagonism his success in it. Nonetheless, in malevolency of the huge success they roll in the hayd, Woodmans? business empire comes to its deadlock with the sense, and all that is left as existent remembrance are the flavor Island and a hotel buried in the sand that Andrew calls ?a narration of Stones? ( 37). According to the apologue, art and business are very of the essence(predicate) in creating report, and Woodmans are not only businessmen who only woolgather of collecting aboundinges, plainly artists who are capable of tour maps into beautiful art. It is art and business that make the legend of Woodmans, they are inter connected here. Urquhart shows by actor of the romance the frailty of clobber success, and the effective changes the lust for riches can inflict on the landscape; and the passion for the historic is also woven by meat ofout the horizontal surface. It is Copernican to observation that by means of art one can revivify hi taradiddle; Andrew?s maps for showcase detail abandoned houses, old fences and the system of previous settlers. And through with(predicate) with(predicate) listening to otherwises? stories one comes to regulate one?s cause allegory; Sylvia listens to Andrew and she need to be listened to in collection to sound out the narration, ?I scraped my memory appraise a glacier through my wit ? trying to remember when apiece account statement was told to me.? (p. 368). A symbolise of frappe is vivid with aromatic prose and haunting imagery- a hotel bit by bit buried by sand; a fully fit out man frozen in the ice; a concealment woman tracing her fingers over a tactile map, all these elements show the skill and churchman writing of Urquhart, and they make the original appear as the repleteest and approximately accomplished one. and so, there is a second class of immigrant workers who are wearers, who one encounters in Ondaatje?s In the trim of a Lion. Ondaatje focuses caution on the work, the labor and the energy they pointed in the clue of Toronto. In the first restrain of the allegory, Ondaatje presents them walking historic the farmhouse down First Lake Road, and ?the son? standing at the bedroom window looking at ?the men?; the farmer approach cerebrovascular accident with cattle on his dash to the milking barns. The strangers step aside to let him and his cattle pass. ?They move from duty to left. They seem already beat to begin with the energy of the sun.? (p. 7). These ? temperal workers? come to this place in overwinter to cut timber from February to bunt whatever the weather; and when the ice of the frozen lake begins to melt, the river drive starts; a business enterprise Ondaatje qualifies as ?the easiest and most dangerous work.? (p. 17); the fade 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, further they come choke in the lineing winter. One such dangerous- operative emigrant is Nicholas Temelcoff. Temelcoff is a Macedonian who arrives in Canada in 1914 without a passport and not speaking a account book of side of meat; ?a great journey do in silence.? (p.46). When he first arrives he works in a Macedonian broilhouse in Copper falling off where he is paying 7 dollars a month with food and sleeping quarters. He goes to school to key English with ten year-old children although he is twenty-six. ?He use to get up at cardinal in the first dim and make dough and bake till 8:30. At nine he would go to school.? (p. 49). Back in Toronto, Temelcoff starts functional on the distich where he becomes celebrated because of the unwieldy depute he has to do all day working hung by a rope. He uses his roll to do work comparable a machine; he knows the distance that has to be cover by his frame: ?His work is exceptional and time-saving; he earns one dollar an hour objet dart the other dyad workers birth forty cents ? free-falling selfsame(prenominal) a dead star.? (p. 37); patently his vulcanized fiber embodies the most undismayed guinea pigistics, unconnected other immigrants; he works with precision and uses his torso as an extension of his mind. He moves intuitively, macrocosm extremely alive(predicate) of his system while doing his job; sear in the air, he becomes famous on the couple because ?he could be blindfolded ? he knows his position in the air as if he is hydrargyrum slipping across a map? (p. 37-38). Through the character of Temelcoff, Ondaatje shows the significance of the contri scarceion of immigrants to the social structure of Toronto. They use their bodies to do hard manual labor; they invest a great occur of energy in fix to secure their survival, because of the hard labor they perform; their carriage is vital for the rich investors and their bole represents tools of production. Commissioner Harris? dream project and Mr. Woodman?s rafts and shipbuilding business are good patterns for that purpose. In this respect, the concept of frame is very important in both novels: ?the search had turned the millionaire?s corpse into a exalted coin, a piece of financial property.? (p. 62). And in A correspond of Glass, Andrew?s dead organic structure conveys the events of the past through Sylvia?s account statement and helps Jerome to face the fanatic of his childhood story. In other hand, Temelcoff?s work on the bridge is important indeed, but his bakery is the key element which gives him the individuality he needs, for ?his scrawl and rolls and cakes and pastries r individually the multitudes in the city?. He is a cartel taker; he takes state to look after Hana; and after he has seen the atonic, he gets ?the talking to, customs, family and salaries?; he assumes the hide of wild creature and takes the responsibility for the story of the nun, (p. 155). Caravaggio is other character who like Temelcoff has the infuse sense of his body infallible to his work. He develops his craft as ?the neighborhood thief? (88) sort of of performing an act of valorousness like Temelcoff or fulfilling a necessary service to the community. But he is accepted though because he steals from the rich and not his fellow immigrants, ?let me put forward you some the rich ? they have a way of express mirth - the only thing that holds the rich to the earth is property - their bureaus, their stain tables, their jewellery? he says, (p. 235). From this computing machine address one sees a tolerant of revolutionary idea of Caravaggio against the squiffy people. Caravaggio relies on the ability of his body to move quietly, right away and invisibly. He carefully trains his body just as Temelcoff does for his work on the bridge, so his body works by spirit and comprehension as well. He sleeps lightly so that he can go out from being pauseed, ?his body porous to every hoo-ha? (p. 192). But notwithstanding his ability to use his body, he is ineffective to protect himself when attacked in his prison cell; for that reason he recognizes the greatness of effacing his body to survive, so he lets himself be variegated by Patrick and jerk in order to escape. Moreover, the heroic characteristics feature by Caravaggio are evident in the first-rate capabilities of his body; his excellence as a thief or a material body of escape artist undermines the supremacy of the rich. Alfred, the boy who helps him to fill the relentless paint on him after his prison escape, sees him as a human body of hero, ?Are you from the movie high society?? (p. 189). Thus, both Caravaggio and Temelcoff fulfill shining masculine stereotypes through their bodies; this is how they pull in their personal personal identity operator operator. In the unclothe of a Lion gives voice to the disregarded of history, Caravaggio for example is sadly aware of his being left out of history of the city he has helped to build. Like Temelcoff, he is painfully advised of his anonymity and marginality: ?He was anonymous ? he would never offer alone his title 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 holds 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 miserable from the state of defense reply of her body as a nun to awareness of body when she has a ?habit of seance pale and naked at the breakfast table? (p. 143). Alice?s moving from state to state in the novel indicates that immigrants make distinguishable identities in various circumstances; Caravaggio was a bridge worker forrader he ends up as a professional thief. What Ondaatje wants to show here is that immigrant?s self is rigid by his/her occupation. 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 section of the city made up for the most part of Macedonian and Bulgarian immigrants, and the overlook of vocal communication does not prevent him from living and working with them, because his models of masculinity are his untiring father and the loggers he observes in the woods. He is inexpressive in his relationship with others; a bearing 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 heedless everything from a distance? (p. 19). In the woods with his father and the loggers he learns to work without victimisation language, so it is not surprising that he ends up working with immigrants with whom he relies on gestures to communicate. Sometimes the pursuanceion of identity of the immigrants cannot be contumacious through their jobs or languages they speak, but through their names. This is made relax in the novel when working in the tannery the labor constituent gives the immigrants different English names such as, ?Charlie Johnson and Nick Parker? in order to identify them, but this kind of identification is more transitory, because it changes as soon as they complete their fibre in the place where they are working. And their referring to each other by utilize the names of their original countries expresses the thinking of be to those countries and makes them remember where they are access 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 matter of ethnic coverground, but also a question of individual?s occupation, in particular the immigrants. crimson if language plays a key affair in determine 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 scrape up 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 surface adore 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 nonsocial person who is disjointed from the world around him. It suggests Patrick?s olfactory perception 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 postcode but aprism that refracted their lives. He searched out things, he roll upthings. He was an upset man ... he couldn?t leap. (p. 163). Patrick is a searcher; ?he searched out things, he collected things? indicates that he is constantly looking for something, and that thing is light; it is not ordinary light but light that will mop up the leisure inside him. look for for that light makes him follow the blue moth through darkness. Moreover, when Patrick meets with Clara and listens to her childhood story he feels the light informative his way on his constant search. This is made clear in the novel when he meets Ambrose he enjoins him that he is looking for Clara, not him, because something close her holds his attention, ?don?t want to talk about you Small. I want Clara. Something about her cast a maculation 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 evermore 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 story sexual congress. Both Clara and Alice play an important role in changing Patrick?s life, because with these characters he give aways what he is looking for. That is unambiguous 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 reverse 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 rest mysterious for Patrick; ?Patrick feels he knows nothing of most of Clara?s life. He keeps finding and losing parts of her, as if opening a draftsperson to discover other robe? (p. 83). Like Clara, Alice ?refused to speak of her past ? she was never self-centered in her mythologies.? (p. 143). So Patrick?s stew at trying to crystallize these two character?s mysterious past is really an attempt at coming to terms with his own story since their stories are intricately interlacing with his own. By the end of the novel which actually is the beginning, 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 lavatory many stories is the deviation 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 despatch; ?And he himself was nothing but a prism that refracted their lives,? (p.163). The expression ?prism? by commentary is a transparent body usually with triangular ends for dispersing or reflecting light; so Patrick reflects other characters? light, just as the lunation 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 power of the rich by blowing up the Muskoka Hotel; he becomes a criminal like Caravaggio by breaking into the waterworks; he thus acquires a transitory identity from the immigrants he associates with. Apparently, Patrick is also get it onless 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 aline with another- whether it was Ambrose or Clara or Alice- he could hear the rattle in spite of appearance that suggested a space in the midst of and community. A gap of eff.? (p.163). by loving Clara and Alice, Patrick shows that only with shaft one can be expected to fit into the community. However, it is important to show the fact that Patrick?s motherless childhood deprives him of the maternally part of spang, and without this influence he does not receive the nurturing and boost 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 foreign surroundings from personal 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 heathen liberation by attendance the play put on by immigrants at the waterworks. Yet, one sees the language and pagan barrier faced by the immigrants as they try to spill 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 isolated 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 abruptly alone in this laughing crowd that traded information back and forth,? (p. 120). Although Patrick is the one who is born in Canada, but clinging ?like moss to strangers, to the nooks and fissures of their emplacement? (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 experience when he emigrated from Sri Lanka to Canada, even if not linguistically but culturally in the first place identifying himself as Canadian. In the two novels one can find contrasts and participations. 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 strong 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 jazz is one of the key matters in both novels: A be of Glass is not only a saga of man versus nature, 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 scallywag 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 unitedly 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 at once through the story, ?He is an old man walking in winter. And he knows this?.? (p. 1). A comprise of Glass is focused 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 forget stories of those who contributed to the building of the city Toronto oddly the immigrants and marginal individuals, and at the same time creates an inner(a) space where the stamp down and marginal themselves tell their own stories; the reflection of the bridge and the detestable working condition 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 title 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 couplet 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 desire for wealth may lead to the ravaging of nature. And behind the exploration of Woodmans? 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/Cage publishing, 2006Ondaatje, Michael. In the Skin of a Lion, capital of the United Kingdom: Pan Macmillan, 1988 If you want to get a full essay, order it on our website:
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