The Man Without a Shadow (4 page)

For such is the euphemism in experimental science. The lab animals are not
killed,
certainly not
murdered:
they are
sacrificed.

Shortly, in E.H.'s presence, you come to see that the amnesiac's smiling is less childlike and eager than desperate, and piteous. His is the eagerness of a drowning person hoping to be rescued by someone, anyone, with no idea what rescue might be, or from what.

In me he sees—something. A hope of rescue.

In profound neural impairments there may yet be isolated islands of memory that emerge unpredictably; Margot wonders
if her face, her voice, her very scent might trigger dim memories in E.H.'s ruin of a brain, so that he feels an emotion for her that is as inexplicable to him as it might be to anyone else. Even as he tries to listen to Dr. Ferris's crisp speech he is looking longingly at Margot.

Margot has seen laboratory animals rendered helpless, though still living and sensate, after the surgical removal of parts of their brains. And she has read everything she could get her hands on, about amnesia in human beings. Still it is unnerving for her to witness such a condition firsthand, in a man who might pass, at a little distance, as normal-seeming—indeed,
charismatic.

“Very good, Eli! Would you like to sit down at this table?”

E.H. smiles wryly. Clearly, he doesn't want to
sit down;
he is most at ease on his feet, so that he can move freely about the room. Margot can imagine this able-bodied man on the tennis court, fluid in motion, not wanting to be fixed in place and so at a disadvantage.

“Here. At this table, please. Just take a seat . . .”

“‘Take a seat'—where take it?” E.H. smiles and winks. He makes a gesture as if about to lift a chair; his fingers flutter and flex. Ferris laughs extravagantly.

“I'd meant to suggest that you might
sit in a chair. This chair
.”

E.H. sighs. He has hoped to humor this stranger with the fiercely white short-trimmed beard and winking eyeglasses who speaks to him so familiarly.

“Heil yes—I mean, hell yes—Doctor!”

E.H.'s smile is so affable, he can't have meant any insult.

As they prepare to begin the morning's initial test E.H.'s attention is drawn away from Margot who plays no role at all except as observer. And Margot has eased into the periphery of the subject's vision where probably he can't see her except as a wraith. She
assumes that he has forgotten the names of others in the room to whom he'd been introduced—Kaplan, Meltzer, Rubin, Schultz. It is a relief to her not to be competing with Milton Ferris for the amnesiac's precarious attention.

After his illness E.H.'s performance on memory tests showed severe short-term loss. Asked by his testers to remember strings of digits, he wavered between five and seven. Now, months later, he can recall and recite nine numbers in succession, when required; sometimes, ten or eleven. Such a performance is within the normal range and one would think that E.H. is “normal”—his manner is calm, methodical, even rather robotic; then as complications are introduced, as lists become longer, and there are interruptions, E.H. becomes quickly confused.

The experiment becomes excruciating when lists of digits are interrupted by increasing intervals of silence, during which the subject is required to “remember”—not to allow the digits to slip out of consciousness. Margot imagines that she can feel the poor man straining not to lose hold—the effort of “rehearsing.” She would like to clasp his hand, to comfort and encourage him.
I will help you. You will improve. This will not be your entire life!

Impairment is the great leveler, Margot thinks. Eighteen months ago, before his illness, Elihu Hoopes would scarcely have glanced twice at Margot Sharpe. She is moved to feel protective toward him, even pitying, and she senses that he would be grateful for her touch.

Forty intense minutes, then a break of ten minutes before tests continue at an ever-increasing pace. E.H. is eager and hopeful and cooperative but as the tests become more complicated, and accelerated, E.H. is thrown into confusion ever more quickly (though he tries, with extraordinary valor, to maintain his affable “gentlemanly” manner). As intervals grow longer, he seems to be
flailing about like a drowning man. His short-term memory is terribly reduced—as short as forty seconds.

After two hours of tests Ferris declares a longer break. The examiners are as exhausted as the amnesiac subject.

E.H. is given a glass of orange juice, which is his favorite drink. He hasn't been aware until now that he's thirsty—he drinks the juice in several swallows.

It is Margot Sharpe who brings E.H. the orange juice. This female role of nurturer-server is deeply satisfying to her for E.H. smiles with particular warmth at her.

She feels a mild sensation of vertigo. Surely, the amnesiac subject is perceiving
her.

Restless, exhausted without knowing (recalling) why, E.H. stands at a window and stares outside. Is he trying to determine where he is? Is he trying to determine who these strangers are, “testing” him? He is a proud man, he will not ask questions.

Like an athlete too long restrained in a cramped space or like a rebellious teenager E.H. begins to circle the room. This behavior is just short of annoying—perhaps it is indeed annoying. E.H. ignores the strangers in the room. E.H. flexes his fingers, shakes his arms. He stretches the tendons in his calves. He reaches for the ceiling—stretching his vertebrae. He mutters to himself—(is he cursing?)—yet his expression remains affable.

“Mr. Hoopes? Would you like your sketchbook?”—one of the Institute staff asks, handing the book to him.

E.H. is pleased to see the sketchbook. E.H. is (perhaps) surprised to see the sketchbook. He pages through it frowning, holding the book in such a way to prevent anyone else seeing its contents.

Then, he discovers his little notebook in a shirt pocket. This he opens eagerly, and peruses. He records something in the notebook, and slips it back into his pocket. He looks into the sketchbook
again, discovers something he doesn't like and tears it out, and crumples it in his hand. Margot is fascinated by the amnesiac's behavior: Is it coherent, to him? Is there a purpose to it? She wonders if, before his illness, he'd kept a little notebook like this one, and carried an oversized sketchbook around with him; possibly he had. And so the effort of remembering these now is not unusual.

If he believes himself alone, with no one close to observe him, E.H. ceases smiling. He's frowning and somber like one engrossed in the heart-straining effort of
trying to figure things out.

Margot thinks how sad, how exhausting, the amnesiac can't remember that he has been involved in this effort for any sustained period of time. He might have been in this place for a few minutes, or a few hours. He seems to know that he doesn't live here, but he has no clear idea that he is living with a relative in Gladwyne and not by himself in Philadelphia as he'd been at the time of his illness.

No matter how many times a test involving rote memory is repeated, E.H. never improves. No matter how many times E.H. is given instructions, he has to be given the instructions yet another time.

The amnesiac's brain resembles a colander through which water sifts continually, and never accumulates; those years before his illness, which constitute most of the man's life of thirty-eight years, resemble a still, distant water glimpsed through dense foliage as in a hallucinatory landscape by Cézanne.

Margot wonders if there can be some residual, unfathomable memory in the part of E.H.'s brain that has been damaged? Whether, at the periphery of the damage, in adjoining tissue, some sort of neurogenesis, or brain repair, might take place? And could such neurogenesis be
stimulated
?

So relatively little is known of the human brain, after so many
millennia! The brain is the only organ whose functions must be theorized from observed behavior, and whose basic physiology is scarcely comprehended at the present time—that is, 1965. Only animal brains can be examined “live”—primarily monkey brains. Invasive exploration of the (living, normal) human brain is forbidden. Margot wonders: Are complex memories distributed throughout the cerebral cortex, or localized?—and if localized, how? From what is known of E.H.'s brain, the hippocampus and adjacent tissue had been devastated by the viral infection—but have other parts of the brain remained unimpaired? Unless E.H. undergoes brain surgery, Margot thinks, or sophisticated scanning machines are developed to “X-ray” the brain, it isn't likely that the precise anatomy of E.H.'s brain will be known until after his death when the brain can be autopsied.

In that instant Margot feels a glimmer of horror, and excitement. She sees E.H. on a marble slab in a morgue: a corpse, skull sawed open. The pathologist will remove the brain that will be fixed, sectioned, stained, examined and analyzed by the neuroscientist.

She
will be the neuroscientist.

E.H. glances worriedly at her as if he can read her thoughts. Margot feels her face burn like one who has dared to touch another intimately, and has been detected.

But I will be your friend, Mr. Hoopes!—Eli.

I will be the one you can trust.

“Unlocking the mystery of memory”—Margot Sharpe will be among the first.

With an uplifted forefinger, to retain Margot's attention, E.H. leafs through his little notebook in search of something significant. In his bright affable voice he reads:

“‘There is no journey, and there is no path. There is no wis
dom, there is emptiness. There is no emptiness.'” He pauses to add, “This is the wisdom of the Buddha. But there is no wisdom, and there is no Buddha.” He laughs, with inexplicable good humor.

His examiners stare at him, unable to join in.

TESTING RESUMES. E.H.
appears eager again, hopeful.

It is hard to comprehend: to the subject, the morning's adventure is only now beginning. He has forgotten that he is “tired.”

Like appetite, “tiredness” depends much upon memory. Margot would not have believed this could be so—it seems unnatural!

A scientist soon learns: much in Nature is “unnatural.”

At this midpoint Milton Ferris departs. He has an appointment—a luncheon perhaps. The principal investigator entrusts his assistants to run the tests he has designed without his supervision.

Margot follows instructions diligently: even when she knows what to do next she waits for Alvin Kaplan, Ferris's protégé, to instruct her. Testing E.H. is laborious, repetitive, yet fascinating—memory tests of various kinds, auditory and visual, of gradually increasing complexity.

One of the tests seems purposefully designed to frustrate and discourage the subject. E.H. is instructed by Kaplan to count “as high as you can without stopping.” E.H. begins counting and continues for an impressively long time, beyond seventy seconds; his counting is methodical, by rote. Then, at numeral eighty-nine, Kaplan interrupts, distracting E.H. by showing him a card with an elaborate geometrical design E.H. is asked to describe—“Looks like three pyramids upside down or maybe—pineapples?”

And now when Kaplan asks E.H. to continue with his counting, E.H. is utterly baffled. He has no idea how to proceed.

“‘Counting'—what? What was I ‘counting'?”

“You were counting numbers ‘as high as you can'—then you stopped to describe this card. But now, Eli, you can continue.”

“‘Continue'—what?”

“You don't remember the count?”

“‘Count'—? No. I don't remember.”

E.H. stares at the illustrated card that has distracted him, registering now that it is a trick.

“I played cards when I was a little boy. I played checkers and chess, too.” E.H. glances about as if looking for more cards, or game boards.

E.H.'s fingers twitch. His usually affable eyes glare with fury. How he would like to tear into bits the stupid card with a picture of pyramids, or pineapples!

Seeing the look in E.H.'s face Margot feels a twinge of guilt. She wonders if the test isn't cruel after all—mental cruelty. Though E.H. has clearly enjoyed being the epicenter of attention until now.

Margot thinks—
But he won't remember! He will forget
.

She thinks of those laboratory animals of decades past whose vocal cords were sometimes cut—monkeys, dogs, cats. So that their cries of pain and terror could not be expressed; their torturers were spared hearing, and did not need to register their suffering. Before a new and more humane era of animal experimentation but well within the memory of Milton Ferris, she is sure.

Ferris has often joked of the new “humane” era—its restrictions on animal research, the zealotry of “animal terrorists” protesting experiments of the kind he'd done himself not long ago with splendid results.

Margot does not like to speculate how she would have behaved in such laboratories, in the past. Would she have protested the suffering of animals? Or would she have silently, shamefully
concurred?—for to have objected would have been tantamount to being expelled from the great man's lab, and from a career in neuroscience itself.

Margot tells herself it is all science: a quest for the truth that is elusive, deep-lying.

For truth is not lying on the surface of the earth, scattered bits of fossil you might fit together like a jigsaw puzzle. Truth is buried, hidden, labyrinthine. What others see is likely to be surface—superficial. The scientist is one who
delves deeper
.

E.H. is looking blankly about the examining room, which has become an unknown place to him. It's as if a stage set has been dismantled and all that remains are barren walls. The bright eager smile has faded from his lips. Elihu Hoopes is a marooned man who has suffered a grievous loss; his manner exudes, not charisma, but desperation. “You were at eighty-nine, Mr. Hoopes,” Margot says gently, to comfort the forlorn man. “You were doing very well when you were interrupted.” She ignores the stares of Kaplan and the others which are an indication to her that she has misspoken.