In “The Facts in the Case of M. Valdemar,” Edgar Allen Poe presents a compelling tale that is anything but factual.  The narrative begins with P. and M. Valdemar; P., fascinated by the practice of mesmerization, has convinced M. Valdemar to take part in an experiment of this particular pseudoscience. As a man dying of tuberculosis, Valdemar considers himself to have nothing to lose and thus consents to being a test subject. Known as one of the most popular gothic authors in all of classic literature, Poe pens a story that lives up to his reputation. Upon close inspection of “The Facts in the Case of M. Valdemar,” one can see through Poe’s use of italicization, graphic diction, and gorey imagery how suspense created in the mind of the reader causes them to internalize the words and concepts on the page— leaving them pondering how death is inevitable. This is important because if one continually lives in fear of dying, they will never truly live. 

 The employment of italics adds an element of thrill in the mind of the reader which, in turn, intensifies Poe’s theme of the unavoidability of death in his story. Early on in the essay, P. states, “it is now rendered necessary that I give the facts— as far as I comprehend them myself.” (Poe 66). By referring to the various scenes in the spooky encounter as factual, Poe underscores the realization that these events did take place. Instead of calling the mesmerization process a nightmare— a complete work of fiction— Poe writes as if it actually occurred. Although P. is trying to postpone the effects of death, M. Valdemar has transformed into a monstrous being with one foot in Hades and one in the human realm. Later on in the narrative, P. writes, “Mr. L— —l was so kind as to accede to my desire that he would take notes of all that occurred; and it is from his memoranda that what I now have to relate is, for the most part, either condensed or copied verbatim.” (Poe 69). In this instance, Poe scribbles in italics to accentuate the apprehension in the narrative. Once again, Poe has highlighted the fact that these events and descriptions are factual for his incredulous audience. Poe plants seeds of anticipation in his readers through P. admitting that these events truly transpired which sends the readers into the fear of knowing that they could also be victims of death. 

Graphic diction evokes strong emotional responses within the reader which relays Poe’s message of the imminence of death within his narrative. Poe continually speaks about the evolution of M. Valdemar’s appearance—in the beginning, Valdemar is characterized by the “extreme spareness of his person” (Poe 67) whereas, soon after, Poe notes his appearance before undergoing mesmerization: “His face wore a leaden hue; the eyes were utterly lusterless; and the emaciation was so extreme, that the skin had been broken through by the cheek-bones.” (Poe 68). Death already ravaged against M. Valdemar, yet P. sought to postpone its dark figure.  By trying to avoid death, however, he created something much worse than the hand of fate could have dealt. He goes on to write of this definitive alteration in his visage after the mesmerization process had begun: “…there came a marked change over the countenance of the sleep-waker. The eyes rolled themselves slowly open, the pupils disappearing upwardly; the skin generally assumed a cadaverous hue, resembling not so much parchment as white paper.” (Poe 70, 71). This detailed imagery of Valdemar’s decaying body naturally creates a sense of fear within the reader. Even though P. has placed Valdemar in an in-between state, the effects of this rotting metamorphosis clearly indicate that, while he cannot be declared dead, he is most certainly not alive!  Instead of reading the story simply as a faithful narrative of a scientist and his experiments, the reader fears how the tale will progress. The tension build-up in the mind of the reader causes a shift in focus from the facts about a science project to the unmistakable hand of fate. 

 Gorey imagery plays a crucial role in Poe’s argument about the inescapable grip of death.  A continual illustration Poe paints throughout his story draws upon M. Valdemar’s tongue. In its first mentioning, he writes, “the upper lip, at the same time, writhed itself away from the teeth…the lower jaw fell with an audible jerk, leaving the mouth widely extended, and disclosing in full view the swollen and blackened tongue.” (Poe 71). Although Valdemar has been mesmerized, the imagery with which he is depicted describes how he still faces death—

only slower and more horrific than most generally perceive it to be.  Poe gives another example of this terrifying imagery when he states, “the tongue quivered, or rather rolled violently in the mouth (although the jaws and lips remained rigid as before;)” (Poe 73). Poe’s text shows a reality worse than death. In the end, M. Valdemar quickens, rather than postpones, his demise.  Poe impresses upon his readers that all will die, regardless of how hard it is avoided.   

The postponing of death is proven to be inevitable in Edgar Allan Poe’s story, “The Facts in the Case of M. Valdemar,” as shown by the internalized suspense felt in the reader through his use of italics, graphic diction, and gorey imagery. Not only is delaying death unavoidable, it is worse than if one had given into it in the first place. Despite Valdemar’s seventh month-long mesmerization spell, he faces no resurrection. Rather than the bittersweet process of being laid to rest, Valdemar rots within seconds of being relieved of his mesmerized state. Valdemar is noted for saying, “For God’s sake! —quick! —quick!— put me to sleep— or, quick!— waken me!—

quick!— I say to you that I am dead!” (Poe 73). M. yearns to be either alive or dead whilst playing limbo with death in the dreaded in-between. As the reader feels the tension and the suspense building throughout the tale, their fear peaks along with the climax. At the end of the narrative, Poe’s message becomes clear to his audience: do not exchange the quality of your life worrying over the quantity of your life for, no matter how hard you may try, you cannot change it. 
