In "The Facts in the Case of M. Valdemar", Edgar Allen Poe presents a narrator who attempts to challenge the very notion that death is an inevitability that we all must eventually come to accept. The narrator's exuberant descriptions in the short story help  develop and enforce a sense of realism to us as readers, which would have been even more effective to the readers of the mid to late 1800s. This realism  is complimented by the narrator's seemingly extensive medical knowledge, which helps to establish  credibility. Contrasting this careful and meticulous use of diction, Poe shocks the readers with an unexpected yet horrifying emotional ending, with Valdemar's death. By building up such strong credibility and realism, Poe did exactly what he set out to do: provide a scenario in which death, the unavoidable, can be avoided. Then, after spending the time to gaining our trust, he undercuts our expectations and uses it to his own advantage, actually surprising us when the originally expected, happens:  Valdemar dies.

The narrator, who is known only as P., begins by saying it is "necessary" that he "give the facts" of the events that unfolded to his colleague M. Valdemar. By taking the time to mention that these are "his" facts, Poe insinuates further upon his views made in the opening paragraph that others are making falsified representations of what truly occurred to Valdemar.  Even more so, Poe uses complex terms such as "articulo mortis" and "phthisis" to help develop his narrator's credibility, and establish his expertise. By presenting the narrator as working with and even being knowledgeable in the medical field, it also presents and promotes an edge of realism to us as readers. In this way, Poe is presenting and defining his knowledge as unquestionable, as definitive "fact", and infusing the story with a credibility and authenticity that helps draw us farther into the story. Thus laying the groundwork for forging an emotional connection to the reader which is played upon later in the story. 

Valdemar's condition at the time is considered terminal. By presenting the disease as incurable, Poe creates a humanistic connection via emotion that further builds upon the previously established credibility and realism. For instance, even though the disease is incurable, Valdemar still holds onto the slimmer of hope that the narrator provides and even goes as far as to show "vivid excitement" for the procedure. In a way, we as humans value life, and Poe uses this to his advantage to help readers feel a connection to Valdemar. No human wants to see another die, especially in a position where they have no "chance" at survival. By creating this connection and showing hope in both our eyes and Valdemar's, Poe sets the reader up for a surprise shock at the story's end.

Having hooked the reader emotionally while at the same time gaining credibility, the narrator commences his "mesmerism" of Valdemar. The process was long, complex and drawn out, having started "five minutes of eight" and continued trough until "it was fully midnight". This continues the trend of trying to persuade the reader of plausibility and adds to the element of realism. Likewise, it gives Poe another opportunity to show that the narrator knows what he is doing. Don't we all prefer someone who's an expert? Someone who knows what they're doing and exhibits confidence in their approach? 

Leading up to this point, Poe has used numerous methods to boost his credibility and create emotions that help draw us as readers further into his gothic world of life versus death. In a way, Valdemar's transformation from living to a semi-unconscious mesmerized state is a turning point. Throughout the short story, the narrator has continued to provide us with what he calls "facts" to further both the realism of the situation and his credibility. Now, these "facts" are being undermined in what many would consider an "unexplainable" circumstance. How would someone who has a terminal illness still be considered medically alive after being simply "mesmerized"? The narrator's knowledgeable, nonchalant answers have turned into indescribable silence. Valdemar's unconscious, mesmeric panic nearing the end clearly shows how confused and uncertain the narrator is as he "was thoroughly unnerved", and for once was "undecided on what to do". 

As these indescribable circumstances continue,  the readers continue to feel increasingly uneasy. Poe's true gothic form and nature start to shine when Valdemar's questioning commences. For example, when questioned if he is asleep, Valdemar responds "faintly and almost inaudibly, Yes; still asleep-dying", which makes one of the first connections between Valdemar's sleeping state and death. As Valdemar falls deeper and deeper into his death like trance, his responses become more erratic while at the same time tend to indicate a sense of suffering, which contrasts with the original purpose of mesmerizing Valdemar; to ease him of his pain and to save him from death itself. However, this is clearly not the case as Valdemar screams to be "put to sleep" and unnervingly says himself that "he is dead". 

At this point, Poe suddenly converts the unease of the reader into pure shock and awe as Valdemar is released from his "mesmeric" state. His body quickly turns to a "liquid mass of loathsome-of detestable putrescence." At this point, the narrator's seven month struggle to save Valdemar fails, and with it, we make a critical realization that leads to what may be considered the point Poe intended to convey from the beginning: death is inevitable. 

Poe's story has a clear design: it begins by establishing the narrator's credibility and the situations veracity which then invites readers to form an emotional connection with Valdemar. We, as readers start to actually "believe" that Valdemar can be saved, and this little spark of hope starts a fire. It gives Valdemar hope. It gives us hope. Then, by exploiting this emotional connection, Poe uses the sudden surprise of a grotesque and utterly disgusting death to drive home the fact that death is in actuality impossible to avoid. Anyone and everyone must die eventually no matter the medical or mesmeric form of treatment. As quoted from Poe himself, "The boundaries which divide Life from Death are at best shadowy and vague. Who shall say where the one ends, and where the other begins?" In short, Who are we to play God? To decide who lives and who dies? 


