Passage

Joanna squinted at the screen, trying to follow what he was saying, her headache getting worse by the minute. “And that’s what the pattern in the scans resembles?”

“No,” he said. “However, Dr. Jamison reminded me that Dr. Oswell also did a series of experiments on image interpretation. He showed his subjects an abstract—”

“Do you have any food?” Joanna interrupted.

Richard turned and looked at her.

“I’m sorry,” she said, “but I didn’t get any dinner. Or lunch, now that I think of it, and I thought maybe you—”

“Sure.” He was already reaching in his pockets. “Let’s see, I’ve got a Mars bar,” he said, examining the items as he pulled them out, “…some cashews… Listen, we could go get some real dinner if you’d rather. I don’t suppose the cafeteria’s open at this hour?”

“The cafeteria’s never open.”

“We could run to Taco Pierre’s.”

“No, I’ve still got to go see Maisie,” she said, taking the Mars bar. “This is fine. You were saying?”

“Oh, yeah, well, in a separate series of experiments, Oswell showed subjects a scene in which objects and shapes were kept intentionally vague and abstract.”

“Like a Rorschach,” Joanna said.

“Like a Rorschach,” Richard said. “The subjects were asked, ‘What is this a picture of?’ Here’s an orange.” He handed it to her. “In most cases the pattern was similar to that of the open-ended L+R with increased activity in the memory cortex, and the subjects described the pattern as being… Skittles… and a package of cheese crackers with peanut butter. Nothing to drink, though, so maybe peanut butter’s a bad idea. I could get you a Coke from the vending machine—”

“I’m fine,” Joanna said, peeling the orange. “They described the pattern as being?”

“Just what you’d expect,” Richard said. “A big white oblong object on a blue background with a round blob of pink off to the right. However, in some instances, the subjects answered, ‘It’s Antarctica. There’s the ice and the sky. And there’s the sun setting.’ In those cases, the subject had searched through long-term memory to find a scenario that explained not only the separate images, but a metaphor for all the shapes and colors the subject was seeing.”

A metaphor. Something about a metaphor. That’s what triggered the feeling at Dish Night, Joanna thought, Vielle’s saying something about a metaphor. No, Vielle had called optioning Richard a simile, and she had corrected her, had told her a simile was a comparison using “like” or “as” while a metaphor was a direct comparison. Mr. Briarley taught me that, she thought, and tried to remember exactly what he had said. Something about fog.

“…with an abstract scene, the scans showed an entirely different pattern,” Richard said, “one that was much more scattered and chaotic—”

Fog. Ricky Inman, she thought, asking Mr. Briarley about a poem. “I don’t get it,” he’d said, rocking back in his chair. “How can fog come on little cat feet?”

And Mr. Briarley, picking up an eraser as if he were going to throw it and sweeping it across the blackboard in wide strokes, searching for a stub of chalk, printing the words in short strokes. She could hear the tap of chalk against slate as he printed the words. “Metaphor. [Tap.] A direct or implied comparison. [Tap.] ‘This is a nightmare.’ [Tap.] As opposed to simile. [Tap.] ‘Silent as death.’ [Tap.] Does that help, Mr. Inman?”

And Ricky, rocking so far back he threatened to overbalance, saying, “I still don’t get it. Fog doesn’t have feet.”

“The mathematical formula for the frontal-cortical activity is identical,” Richard said. “Your mind was clearly searching through long-term memory for a unifying image that would explain all the sensations you were experiencing — the sound, the tunnel, the light, figures in white. And, as you said, it all fit. The Titanic was that unifying image.”

“And that’s why I saw it,” Joanna said, “because it was the best match for the stimuli out of all the images in my long-term memory.”

“Yes,” Richard said. “The pattern—”

“What about Mercy General? Or Pompeii?”

“Pompeii?” he said blankly.

“Mercy General fits all the stimuli — long dark walkways, figures in white, buzzing code alarms — and so does Pompeii. The people wore white togas, the sky was pitch-black from ashfall,” she said, ticking the reasons off on her fingers, “it had long covered colonnades like tunnels, the volcano’s erupting made a loud, hard-to-describe sound, and Maisie talked to me about it not two hours before I went under.”

“There may be more than one suitable image in long-term, and the one that happens to be accessed first is chosen,” Richard said. “That wouldn’t necessarily be the most recent memory. Remember, acetylcholine levels are elevated, which increases the brain’s ability to access memories and see associations. Or the brain may only be able to access memories in certain areas. Some areas may be blocked or shut down.”

Like Mr. Briarley’s memory, Joanna thought. “That isn’t why I saw the Titanic,” she said. “I know where the memory came from.”

“You do?” Richard said warily.