Fictions, even the simplest, are engaging because they evoke, in some fashion, an image or simulation of the subjective state of their protagonists. This extends to the way in which we do not coincide with our own subjective states, the way that experience is always subject to a parallax with respect to the experiencing. The play on this, which opens further than one might have expected, is what makes for the more interesting kind of fiction. The fictional evocation of this parallax of consciousness is, however, entirely different from its reality in a subject appreciating the effects of such an evocation. In the one case it is representable, has a point of origin indirectly pointed towards in the other it does not and cannot because there is simply no such point - parallax without an eye.