The narrator visits Pi Patel’s home in Canada and observes that the space feels like a place of worship. In the entrance hall, a framed image of Ganesha hangs opposite a plain wooden Cross, immediately pairing Hindu and Christian symbols.

In the living room, Pi keeps devotional images side by side: the Virgin Mary of Guadalupe and a photograph of the Kaaba surrounded by pilgrims. A brass statue of Shiva as Nataraja sits on the television, emphasizing Hindu cosmology and time.

In the kitchen, Pi has built a dedicated shrine inside a cupboard altered with a fretwork arch and a light. Images of Ganesha and Krishna, marked with powders, sit above an altar holding murtis (Lakshmi, Shakti/Parvati, and baby Krishna) and a Shiva yoni linga, along with offerings and ritual items such as rice, incense, a lamp, powders, sugar, a conch, and a bell.

Religious presence continues through the house, including another Virgin Mary in the dining room. Upstairs, Pi’s office holds more objects of devotion: a brass Ganesha near the computer, a wooden Christ on the wall, a clear space for Islamic prayer with a rug, and a covered book bearing the Arabic word for God; a Bible rests on the bedside table.