He often mentions a room that he sees during his journey, although later he thinks the room is a symbol of death. Vallière often sees different parts of a room interfere his vision, “Now and then, on my left (always, for some reason, on my left). . .seemed a large armchair but was actually a strange, cumbersome gray amphibian” (296). The armchair is the one constant that does not change in Vallière’s visions; he always sees it in the same place, the same color, and the same form. Not only does the room appear in his hallucination with “a few pieces of realistic furniture and four walls,” but he also recalls strange things happening to Cook’s tattoo. If this was to called a reality there would not be a tattoo suspended in midair and floating. But, this could also be explained by Vallière’s sickness that he is facing. Some parts of Vallière’s story are fake, and some are real, but those parts cannot be distinguished because no one has the narrator’s same state of
He often mentions a room that he sees during his journey, although later he thinks the room is a symbol of death. Vallière often sees different parts of a room interfere his vision, “Now and then, on my left (always, for some reason, on my left). . .seemed a large armchair but was actually a strange, cumbersome gray amphibian” (296). The armchair is the one constant that does not change in Vallière’s visions; he always sees it in the same place, the same color, and the same form. Not only does the room appear in his hallucination with “a few pieces of realistic furniture and four walls,” but he also recalls strange things happening to Cook’s tattoo. If this was to called a reality there would not be a tattoo suspended in midair and floating. But, this could also be explained by Vallière’s sickness that he is facing. Some parts of Vallière’s story are fake, and some are real, but those parts cannot be distinguished because no one has the narrator’s same state of