The charcoal drawings depict a marshland beneath a low, ominous sky. There are misshapen trees, fallen limbs, tall grasses and a shallow stream with a rippling surface. In one of the drawings you can see what appears to be a figure in the stream—a pale, naked figure, a child perhaps, with long flowing hair and opened and sightless eyes. (Margot feels her mouth go dry, seeing this.) E.H. makes a sound of impatience or disdain—he fumbles to take hold of the drawing, and jerks it along, replacing it with another. Margot can see that the charcoal is smearing, E.H. hasn’t sprayed fixative on it. As if nothing is wrong Margot continues as she’d been doing, shifting the drawings along the table . . . (E.H. is breathing quickly and shallowly. Margot is not sure what she has seen. The figure on its back in the stream was very impressionistic.) The last drawings in the group resemble the first drawings almost identically—more marshland scenes, and the stream; insects on the water’s surface casting small soft shadows below. And finally there is a vast lake or inland sea ringed with pine trees. The sky here is massive, like a canyon. The water’s surface here is rippling, tremulous. There is an atmosphere of tranquility that, the more closely you look, becomes an atmosphere of dread.
“Eli? Is this Lake George?”
“Maybe.”
“Such a beautiful lake, I know! I’ve never seen it.”
Margot always speaks brightly to E.H. It is her professional manner, worn like a shield.
“I’ve only seen pictures of Lake George—photographs. Some of these, Eli, you’d taken yourself, years ago . . .” Margot speaks carefully, but Eli does not respond.
“Eli, what has happened here at the lake? Has something happened here?”
E.H. stoops over the drawings, to stare at them. As if trying to recall them. He seems to be feeling pain, behind his eyes. Impulsively he says, “It did not happen yet.”
“What ‘did not happen yet’?”
E.H. shakes his head. How can he know, he seems to be pleading, when it hasn’t happened yet?
Margot has come to the end of the drawings. She’d like very much to turn back, to examine the (pale, naked?) figure in the stream. She isn’t even sure that this is what she saw—she is feeling uneasy, for E.H. is standing very close to her, his breath on the side of her face.
Apart from his firm and caressing handshake each time they meet, E.H. has never touched Margot Sharpe. He does not—(she has noticed)—touch anyone except to shake hands, and he is sensitive to being touched by medical staff. Yet, Margot has imagined that E.H. would often like to touch her.
She seems to recall that he has. He has touched her.
In a dream, possibly. One of her many dreams of Darven Park, that grip her intensely by night but fade upon waking, like pale smoke streaming upward.
It is déjà vu she feels, at such times. The most mysterious of quasi-memories.
E.H. is saying, “It did not happen—yet. It is the ‘safe time’—before.”
“Before what, Eli?”
E.H.’s face is shutting up. Like a grating being pulled down over a store window. Rudely abrupt, and Margot Sharpe is being excluded.
“Eli? Before—what?”
E.H. snatches up the drawings and sketches—shuffles them crudely together—returns them to their folder. He is hurried, harried—doesn’t seem to care if some of the pages are torn. Margot cries, “Oh! Eli. Let me help . . .” She would like to take the folder from him, to reassemble his art more carefully. She will bring waxed paper to insert between the charcoal drawings. But E.H. is finished with his art for the day.
Crudely he laughs—“Poor bastard whoever did this, his future is all used up.”
Alone with E.H. in the testing-room. In the corridor outside there are voices, but the door is shut.
Margot thinks—He could hurt me. Swiftly, his hands. His hands are so strong.
Margot thinks—What a ridiculous thought! Eli Hoopes is my friend, he would never hurt me.
She is ashamed of herself, thinking such a thing. She is utterly baffled and dismayed at having thought it.
“THE ARTIST PRE- and Post-Amnesia: A Study of ‘E.H.’”
This is the title of a slide presentation—(subject to Milton Ferris’s approval)—Margot Sharpe hopes to give at an upcoming meeting of the American Psychological Association in San Francisco, December 1970. Milton Ferris has read an early draft of the paper and has been guardedly enthusiastic—his concern is that Margot Sharpe, his Ph.D. student, may be “getting ahead of herself.”
Margot wants to protest, this is ridiculous! She has heard the cautionary expression more than once, applied to other young scientists who assist Ferris—“Getting ahead of himself.”
Though obviously it is more reprehensible for a woman—“Getting ahead of herself.”
What a long time it is taking Margot Sharpe, to complete requirements for her Ph.D.! Nearly five years.
Each time she has thought she might have finished, her advisor has further criticisms and suggestions. He is always (guardedly) enthusiastic about her work, it is clear that he likes and trusts her, appreciating (perhaps) her taciturnity in the lab, her somber and diligent way of implementing experiments, rarely questioning his judgment as others might—(Kaplan, for instance. There is a volatile paternal-filial relationship between Ferris and Kaplan, which Margot Sharpe envies; she knows that Kaplan is devoted to Ferris, with whom he has been working for nearly eight years). As Ferris is the chair of her Ph.D. committee, and has taken an avuncular, if not a paternal, interest in her since her arrival in his lab, Margot knows that she must placate him in every way—more than placate, she must please.
When she thinks of it, five years isn’t such a long time to acquire a Ph.D. with Milton Ferris who is known for helping his (handpicked, elite) former students throughout their professional careers.
THE SPECIAL CASE. “We’ll be famous one day, Eli! You and me.”
“Will we!”—E.H. smiles at Margot Sharpe affably if perplexedly.
“You are a ‘special case’—you must know. This is why we’ve been studying you for years. We are challenging the belief that complex memories are distributed throughout the cerebral cortex—not localized in a small area. We think that you suggest otherwise, Eli!”
“‘Memory’—‘cere-bral cor-tex.’” E.H. pronounces these words as if he has never heard them before. As if they are words in a foreign language, incomprehensible to him. He laughs at Margot with a kind of childlike delight which is troubling to Margot, who knows that the essential E.H. is a much more intelligent person, given to irony.
Is it a game he is playing with us, continuously inventing a personality like a shield?
A personality that does not offend. Inspires sympathy, not cruelty.
As if he can read Margot’s thoughts E.H. says, with a frown and a wink, “Well—if you think so, Doctor—I am happy for you. I am happy for the future of neuroscience.”
Of course—it is not advised to speak with subjects about the nature of the experiments in which they are involved. Such exchanges remind Margot uneasily of brain surgery: the skull sawed open, the living brain exposed, but since there is no pain (why no pain?—one has to marvel) the patient is kept conscious and the surgeon can speak to him during the operation.
Margot wonders: What is the protocol for such brain surgery? Do the surgeon and his assistants chat with the immobilized patient, or is the exchange elevated, grave? A patient so self-aware as Elihu Hoopes might wish to entertain with comical monologues, impersonations of Jimmy Durante, Jack Benny and Rochester, Sid Caesar and Imogene Coca—(as he has been doing lately at the Institute in the interstices of test-taking) . . .
Margot chooses to laugh at E.H.’s enigmatic remark. She is moved to touch E.H.’s striped-cotton dress-shirt sleeve, lightly. The most gossamer of touches, it is very possible to pass unnoticed by the amnesiac subject, as by anyone who happens to be observing.
“Eli, you are so very witty!”
Gentlemanly Elihu Hoopes certainly notices th
is touch, though he doesn’t respond—this, too, a gentlemanly gesture.
And Margot knows that, within seventy seconds, and long before he has been returned to his residence in suburban Philadelphia where he lives with a widowed aunt, E.H. will have totally forgotten their exchange and this lightest of touches.
LATE-WINTER/EARLY-SPRING 1974, A new battery of tests.
In these, E.H. is given varying lists of nonsense-terms to memorize. By degrees, the lists are lengthened. On the whole E.H. performs within the “normal” range—for this, he’s given a good deal of praise by the testers.
Until now, the test is more or less routine. E.H. is told that he is performing well, as he is frequently told. With a wink he asks, “Is there a test for ‘testes’? Is it a little weeny test-ie?”
Margot and others laugh, awkwardly. Is E.H. simulating a kind of dementia, as a (controlled) parody of his brain-damage?
As a man with a limp might exaggerate his limp, to arouse laughter and dispel pity.
The testing resumes. E.H. performs well.
Then in the midst of one of E.H.’s recitations there is an interruption, and another set of lists is introduced. This is a short list of only three items but when E.H. is instructed to return to the first list he is hopelessly lost. Within a few seconds his frail memory has been overturned—it isn’t just that E.H. can’t recall the items, he is unable even to recall that there was a test preceding the current test.
Margot thinks—It’s as if a shaky cart heaped with an unwieldy cargo has been pulled by an intrepid donkey up a steep and uneven hill—the cart topples over, the cargo falls to the ground.
“Eli, let’s try again. Take a deep breath. Relax . . .”
The test-with-interruptions is repeated several times. Each time E.H. performs very poorly. Though he has no memory beyond seventy seconds it seems clear that, with each test, he is becoming ever more frustrated and discouraged. It is noted by examiners that the amnesiac subject is “remembering” an upsetting emotion if not its precise origin.
By the end of the battery of tests E.H. is ashen-faced, sober. His smile has long since faded.
The test is a model of sadistic ingenuity. Margot Sharpe, a codesigner, feels a flush of shame.
“Eli? Mr. Hoopes?”
“Yes? Hel-lo . . .”
“Your work today has been very, very good. Outstanding, in fact. Thank you!”
Uncomprehendingly E.H. gazes at Margot Sharpe who has been designated to tell the amnesiac subject that, despite hours of a demonstration of severe memory loss, he has in fact done very well.
Weakly smiling E.H. rubs his jaw which is not quite so smooth-shaven as it had been when he’d first arrived at the Institute. “Well—thank you.” He gazes at Margot imploringly as if he has more to say to her—something to ask of her—but has lost heart, and does not ask.
THE CRUEL HANDSHAKE. Promptly at 10:30 A.M. Alvin Kaplan enters the testing-room. Margot Sharpe who has been working with the amnesiac subject on a series of tests involving visual cues for much of the morning introduces him to E.H. (Close by, unobtrusively with a small camera, a graduate student is filming the encounter.)
“Eli, I’d like you to meet my colleague Alvin Kaplan. He’s a professor of neuropsychology at the university and a member of Professor Ferris’s lab.”
E.H. rises to his feet. E.H. smiles brightly. That look of hope in the man’s eyes!—Margot never ceases to be moved.
Boldly E.H. extends his hand: “Hello, Professor!”
“Hello, Mr. Hoopes.”
E.H. has met Alvin Kaplan many times of course—(Margot might hazard a guess: approximately fifty times?)—but E.H. has no memory of the man.
It would be an ordinary exchange except as Kaplan shakes E.H.’s hand he squeezes the fingers, hard. E.H. reacts with surprise and pain, and disengages his hand.
Yet, Kaplan doesn’t betray any social cue that he has deliberately caused E.H. pain, nor even that he notices E.H.’s reaction. So far as you would guess, Kaplan has shaken E.H.’s hand “normally”—but E.H. has reacted “abnormally.”
Poor E.H. is so socialized, so eager to pass for normal, he disguises and minimizes his own pain. Taking his cues from Kaplan and Margot Sharpe (who is his “friend” in the testing-room, he thinks)—he “understands”—(mistakenly)—that the aggressive young Kaplan hasn’t intended any harm, nor is he aware of having afflicted harm. Post-handshake, Kaplan behaves entirely normally, speaking to E.H. as if nothing at all were amiss; nor does Margot Sharpe, smiling at both men, indicate that she has noticed—anything.
How can I do this to Eli! This is a terrible betrayal.
Fairly quickly, E.H. recovers from the surprise of the cruel handshake. If his fingers ache, after a few seconds he has no idea why; since he has no idea why, his fingers soon cease to ache.
In the original, classic experiment the French neuroscientist Édouard Claparède shook hands with his amnesiac subject with a pin between his fingers—so that there could have been no mistaking the intention of the experimenter to inflict pain. But Margot and Kaplan have devised a more subtle, possibly more cruel variant that involves, as well, a degree of social interaction as interesting in itself as the “memory” of pain.
After scarcely more than a minute E.H. is laughing and joking with his testers—Margot Sharpe, Alvin Kaplan. So long as both are in his presence E.H. is consciously aware of them. (Fascinating to Margot that the amnesiac’s seventy-second limit of short-term memory can be so extended, like water flowing into water—seamless, indivisible.) But then, a few minutes later, after the arrival of another member of the lab to distract the subject, Kaplan slips away unobtrusively—and “vanishes” from E.H.’s consciousness.
Warmly Margot says: “Shall we continue, Eli? You’ve been doing exceptionally well.”
“Have I! Thank you for saying so—is it ‘Mar-gr’t’?”
“Margot. My name is Margot.”
“‘Marr-got.’ Gotcha!”
E.H. winks at Margot. Sometimes, peering at Margot with a look of sly intimacy, if no one else is near E.H. draws his tongue along the surface of his lips in a way that is startling to Margot, and disturbing.
Sexual innuendo—is it? Or just—E.H.’s awkward humor?
It is believed that the injury to E.H.’s brain has radically reduced his sexual drive. In general there has been observed in the amnesiac subject a “flattening” of affect—as if the afflicted man, by nature sensitive and quick-witted, were forced to perceive the world through a bulky, swaddling scrim of some kind, or through a mask with raddled eye-holes. He tries to play a role of normalcy, but not always very skillfully. E.H. has been observed behaving in a way that might be described as warmly emotional—“affectionate and paternal”—with younger women medical workers and attendants, but no one has reported him behaving in an overtly sexual manner. Still less, in a way that might be described as sexually aggressive.
There is an essential restraint, a kind of emotional goodness in the man, Margot has thought.
This is nothing Margot Sharpe can ever “record”—unfortunately!
One hour and ten minutes later, at the conclusion of a battery of tests, when E.H. is resting in a chair by a window, carefully hand-printing in his little notebook, there is a knock at the door, and Margot Sharpe goes to open it—and Alvin Kaplan steps inside.
“Eli, I’d like you to meet my colleague Alvin Kaplan. He’s a professor of neuropsychology at the university and a member of Professor Ferris’s lab.”
E.H. rises to his feet. E.H. smiles brightly and puts away his little notebook. That look of hope in the man’s eyes!—Margot feels a pang of apprehension.
Boldly E.H. extends his hand: “Hello, Professor!”
“Hello, Mr. Hoopes.”
When Margot first met Alvin Kaplan in 1965, as a first-year graduate student, he’d been an assistant professor in the Department of Psychology at the university; young, without tenure, yet one of Milton Ferris’s “anointed”—alr
eady the recipient of a coveted research grant from the National Science Endowment. In the intervening years Kaplan has been promoted in the department, with tenure; he is still wiry-limbed and inclined to irony, though he has gained about fifteen pounds, and seems less uncertain of himself now that he has married, has become a father, and has begun to publish extensively. Margot never challenges Alvin Kaplan, whom she recognizes as very smart, and very shrewd; she guesses that he feels rivalrous toward her, as another of Milton Ferris’s protégés, his only serious competitor in the lab for the elder scientist’s admiration, favoritism, and affection. Yet Margot is self-effacing in Kaplan’s presence, and finds it easy to admire him—to praise him. For Kaplan does have very good ideas. She knows that it would be a terrible blunder to offend him.
Though E.H. has met Kaplan many times, he appears to have no memory of him, as usual.
Or does he? As Kaplan reaches out to shake E.H.’s hand, E.H. hesitates, as he has never hesitated previously; clearly, he is wary about shaking this stranger’s hand, assesses the situation and seems to make a stoic decision yes, he will shake Kaplan’s hand—and again, Kaplan squeezes his hand unnaturally hard, and E.H. reacts with surprise and pain, in wincing silence; and quickly disengages his hand.
Yet—once again—Kaplan doesn’t betray any social cue that he has deliberately caused E.H. pain, nor even that he notices E.H.’s reaction. So far as you would guess Kaplan has shaken E.H.’s hand “normally”—but E.H. has reacted “abnormally.”
After just a few minutes the encounter ends with a remark of Kaplan’s—a signal to the graduate student who has been filming.
“Very nice to meet you, Mr. Hoopes! I’ve heard much about you.”
E.H. smiles, guardedly. But doesn’t ask what the visitor has heard.
Kaplan and Margot exchange a glance—it is a fact, the amnesiac hasn’t reacted identically each time, with each handshake. His behavior has been modified by the “cruel handshake”—even as he has forgotten the specific circumstances of the handshake.
In the women’s restroom to which she flees as soon as she can, Margot trembles with excitement over this discovery. It is a profound discovery!
The Man Without a Shadow Page 6
