The Abyss - Music and Amnesia

In March of 1985, Clive Wearing, an eminent English musician and musicologist in his mid-forties, was struck by a brain infection—a herpes encephalitis—affecting especially the parts of his brain concerned with memory. He was left with a memory span of only seconds—the most devastating case of amnesia ever recorded. New events and experiences were effaced almost instantly. As his wife, Deborah, wrote in her 2005 memoir, “Forever Today”:

His ability to perceive what he saw and heard was unimpaired. But he did not seem to be able to retain any impression of anything for more than a blink. Indeed, if he did blink, his eyelids parted to reveal a new scene. The view before the blink was utterly forgotten. Each blink, each glance away and back, brought him an entirely new view. I tried to imagine how it was for him. . . . Something akin to a film with bad continuity, the glass half empty, then full, the cigarette suddenly longer, the actor’s hair now tousled, now smooth. But this was real life, a room changing in ways that were physically impossible.

In addition to this inability to preserve new memories, Clive had a retrograde amnesia, a deletion of virtually his entire past.

When he was filmed in 1986 for Jonathan Miller’s extraordinary documentary “Prisoner of Consciousness,” Clive showed a desperate aloneness, fear, and bewilderment. He was acutely, continually, agonizingly conscious that something bizarre, something awful, was the matter. His constantly repeated complaint, however, was not of a faulty memory but of being deprived, in some uncanny and terrible way, of all experience, deprived of consciousness and life itself. As Deborah wrote:

It was as if every waking moment was the first waking moment. Clive was under the constant impression that he had just emerged from unconsciousness because he had no evidence in his own mind of ever being awake before. . . . “I haven’t heard anything, seen anything, touched anything, smelled anything,” he would say. “It’s like being dead.”

Read full article (The New Yorker)

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