Cause of Death — Text and Context
Edition facts
Before opening Cause of Death — Text and Context, the edition data offers a quick orientation: 5,434 words, 24 min estimated reading time, and 1 detected text section.
The text analysis averages about 17.5 words per sentence, while the detected sections provide another way to judge how the source is divided.
Project Gutenberg metadata also associates the work with “Science fiction,” connecting these edition facts with the source record’s subject description.
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- Description quality20 pts
- Title & short description10 pts
- Source metadata20 pts
- Text length15 pts
- Chapters / structure15 pts
- EPUB file integrity20 pts
Total of 100 points, scaled to a 2.5-5.0 range. Editions with an empty description or a missing EPUB file are not scored.
Read the Text
Everything was ready now. No, wait! Quickly I placed a tumbler and a decanter of brandy within easy reach and by them laid a pencil and a pad of paper. It was when I straightened up that I first felt the pounding in my body. My heart pulsed as if it were smashing waves of blood through my veins. In my throat, the large arteries swelled with pressure until I thought I would strangle.
I had to have some physical exertion to relieve the tension. I felt I might faint or have a stroke unless I moved about. My father had been stricken with an embolism at about my age, and I've read such weaknesses are inherited.
So I walked about the house rechecking the locks of windows and doors. Perhaps it was just to keep busy for a few more moments that I even rechecked the pads of cardboard with which I had muffled the bell-clappers on both telephone and door chime. I don't seem to have had many callers for several years now, but I had to avoid any chance of being disturbed.
Somewhat calmed by my exertion, I prepared to lie down, but a sentimental whim moved me like an automaton toward the window. It was the only really unreasoning thing I did.
Like a prisoner denied the light on penalty of torture, I knelt down and looked under the blind. Never was the Sun so dazzling. This slightest lifting of the shade poured onto me a warmth that I had never known before.
An old saying, invading my mind, destroyed the illusion, and laughing a bit nervously at "seeking his place in the Sun," I turned away and lay down.
The dials on my new calendar clock registered 3:15, July 12. Reaching for my pad and pencil, I recorded this and then, refolding my hands across my chest, I lay quite still.
The heat of the day had begun to saturate the closed room. Outside, all was quiet, as if the Sun had mesmerized the world. The insect hum of the electric clock was the only clue of life around me.
Looming large above me in the mirror, the magnified reflection of my face calmed my mind with its placidity. Great-lidded Buddha eyes gazed down, holding in their glow my first understanding of Nirvana.
I knew that it had come. I had reached the boundary where the fear of returnless going stopped the psyche just this side.
My only body consciousness was the heavy _thud_ ... _thud_ ... _thud_ of blood being driven through my veins. I toyed with stopping the thudding, feeling and savoring the pause between those sledge-hammer strokes on my brain--knowing that any one of those pauses lengthened to eternity was death.
Suddenly I shrieked and sat upright. For an instant, my body had completely stopped and I had known it. Only a nameless grasping fear had snatched me back.
My heart beat wildly as I gasped for air. With shaking hands, I poured a drink and gulped it down. It had been close.
Still trembling, I arose and slumped into a chair. I had to organize myself, to think my way along this thing.
What had happened to me?
This one thing I knew: I _could_ do it. I could stop my body at will and I had done it, if only for a second.
This thought reassured me or perhaps the brandy opened my reserve of courage, for I had been sitting in the chair some time.
With caution, I approached the pallet. I regarded it with suspicion, as though there were a deadly scorpion in its folds. Then, jeering at my hesitation, I lay down and composed myself as before. The clock said 5:05. I stirred again only to record this on the pad.
Despite my nervousness, things proceeded faster this time. A morbid excitement carried me along the path I now already knew. And at its end, I flirted with the _stopping_. Going over and stepping back, going over and stepping back.
It was a pleasure exquisite and unique. Once felt, it was unresistable.
I was no longer afraid. I did not have to be. I could stop my body and start it at will. So I let it slip away from me. The thuddings ceased and only the pauses remained--silent, shapeless things in endless procession. And then the great silence. It flowed over me and I was lost.
The silence was too heavy and my thoughts were not my own; they floated up away from me in the silence. I could feel them go, but there was nothing to bring them back. Each thought of protest winged its way into a void with all the rest.
The narrator opens with a defensive confession: he died once, for three days, and the proof is hidden under cloths in a darkened room. The voice is intimate, almost pleading—he anticipates laughter, just as he did when people mocked his claim to have learned swimming from a book. This opening establishes a pattern of assertion and doubt that runs through the entire story.
The structure is not linear but associative, circling back to the same anxieties: the fear of being disbelieved, the shame of the death-mark on his body, and the nagging memory of a fact about pigs that can simply choose to die. The excerpts suggest a narrative built on repetition and revision, as if the speaker is trying to convince himself as much as his audience.
The Voice of a Reluctant Witness
The narrator's voice is the story's engine. He speaks in short, breathless sentences, often breaking off with dashes or ellipses. He admits that his reading gets mixed up with his experiences, yet insists that things happened to someone. This self-awareness creates a tension between reliability and unreliability. He is not a detached observer but a man haunted by the memory of laughter—the laughter that followed his swimming feat and the silent laughter he fears now. The excerpts show him repeatedly imagining how others might react, which suggests a deep need for validation. The voice is not that of a scientist or adventurer but of an ordinary person who stumbled into an extraordinary event and cannot quite believe it himself.
Recurring Images: Cloths, Darkness, and the Mark of Death
Two images recur in the excerpts: the cloths that swathe the narrator and the darkened room that hides his eyes. These are not mere atmospheric details but physical evidence of his claim. He says the mark of death is too terrible to show, and that people would be even more afraid of dying if they saw it. The cloths become a barrier between him and the world, a visible sign of his isolation. The darkness of the room mirrors the three days of death he experienced. These images are not described in a single passage but are woven into the narrative, appearing whenever the narrator's confidence wavers. They serve as a constant reminder that his story is not just a tale but a bodily reality he must conceal.
The Pig Anecdote as Structural Anchor
The narrator returns several times to the idea that pigs can die if they want to. He first read it somewhere—a story, an agricultural bulletin, an encyclopedia—and it stuck in his mind. He told people about it during lulls in conversation, but they ignored him. This anecdote functions as a structural anchor: it is the seed from which his own experiment grew. The pig's ability to choose death becomes a model for his own action. Yet the narrator also acknowledges mistakes: he chose a warm season, worried about cold, and did not think enough about preservation. The pig anecdote thus serves both as inspiration and as a measure of his failure. It ties the story's beginning to its end, creating a circular structure that mirrors the narrator's obsessive return to the same points.
Movement Between Confession and Justification
The excerpts show a narrator who cannot settle into a single mode. He shifts from confession—'I died once'—to justification—'I have proof'—to self-doubt—'I almost feel myself that I am exaggerating.' This movement is not random but follows a pattern: each assertion of fact is immediately qualified by a fear of disbelief. The swimming story is told twice, once as a triumph and once as a source of shame. The narrator's reading habit is both the cause of his success and the reason he might be dismissed. This back-and-forth creates a rhythm that mimics the act of remembering: the mind circles around a central event, approaching it from different angles, never quite landing. The structure of the story, as far as the excerpts reveal, is built on this restless movement.
Readers should pay attention to the narrator's repeated references to reading and memory. He does not claim to have discovered a secret but to have stumbled upon it through a chain of texts and conversations. The story is as much about the act of telling as about the event itself. The cloths and the darkened room are not just props but symbols of a truth that cannot be fully revealed. The narrator's voice, with its hesitations and repetitions, invites the reader to weigh the evidence and decide what to believe.
That afternoon, rain blurred the window while I sat with Cause of Death, tracing how shame clings to even chosen endings. The pigs' strange, deliberate dying stayed with me—their quiet agency. Later, idly, I picked up Forsyte's Retreat — Story, Setting & Ideas, and felt the same hush there: retreat as another way of choosing the door.
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