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The truth is always too complicated, the world always too big, for claims of that sort. But it is impossible to stay grumpy with a writer who calls the three tiny bones that enable us to hear "a skeleton locked inside the ear", while dropping cheerful quips about Proust's "weak spot for subclauses and patisserie". Anyway, Lehrer's central point holds. Science had, has, and always will have a problem with subjective experience.

Scientific accounts of the world offer us a user's manual — a description of how we interact with the world. They say nothing whatsoever about the way the world really works — what vision scientist Donald Hoffman in dubbed "the relational realm": "We might hope that the theories of science will converge to a true theory of the relational realm. This is the hope of scientific realism. But it's a hope as yet unrealised, and a hope that cannot be proved true. Carried away by his own enthusiasm, Lehrer sometimes writes as if he thought scientists were unaware of their bind.

Elsewhere he summarises the problem in words so right, they sing: "It is ironic but true, the one reality science cannot reduce is the only reality we will ever know.

Proust Was a Neuroscientist | HMH Books

Not everything that is true can be proved. Two thousand pages later I had this epiphany that Proust had a very accurate idea of how our memory worked, it was an accurate representation of the modern neuroscience of memory, and that his fiction had in a sense anticipated some of the experimental facts I was discovering in the lab. Natasha Mitchell : And you were in fact in the lab of the great Nobel laureate Eric Kandel, who is a polymath himself, I think he enjoys the hybridity of the arts and sciences as much as you do.

Jonah Lehrer : Absolutely, he's a tremendous intellectual, he collects Klimt and Schiele drawings, you know he can talk about Proust with the best of them. Natasha Mitchell : When did this hybrid passion of yours for -- particularly 19th and 20th century art and literature emerge? Jonah Lehrer : I think Virginia Woolf was the first.

"Proust Was a Neuroscientist"

I was reading Mrs Dalloway and just falling in love with the novelist As gorgeous as the novel is, it also struck me -- because I was taking neuroscience classes at the time -- that the novel is also more than just a pretty, entertaining story. She had really captured something interesting and accurate about the mind.

And I think Woolf, like so many of the modernists including Proust and Gertrude Stein and Cezanne really was interested in the mind as an object of study. These people weren't just creating art to tell stories, to entertain their audience, they really wanted to express truth, and for them expressing truth was a 'flight into the mind' as Woolf put it.

You know, she defined the task of the novelist as studying the mind, capturing consciousness. Natasha Mitchell : Let's come to the time of the artists that you're looking at because they were certainly producing their work at what was an interesting time for science too, weren't they? Jonah Lehrer : Absolutely, I think for the first time science was able to dissect the world into atoms and molecules and, in the case the brain, neurons. And I think that artists consciously responding to that, saying well if science is so good at describing reality itself, the physical reality, material reality, perhaps we should carve out our own niche.

And I think that's what made him so interested in the mind, you know as Emerson put it, the 19th century was the century that the mind became aware of itself. And they really tried to express that and distil that first person subject of experience in their art. Natasha Mitchell : And it was the era of Darwinism of course too, you suggest it was the century in which man was revealed as a monkey, not a fallen angel.

Jonah Lehrer : Absolutely I think science was putting out these slightly depressing ideas about the place of man in the world and the universe -- that the brain was just three pounds of wrinkled flesh, there was no ghost in the machine, there was no soul, there was no incarnate in us. These artists were responding to this incredible helter-skelter of ideas. Natasha Mitchell : Let's come to Proust. In all of these artists you've really reverse engineered their great works. So Proust -- you think he pre-empted neuroscience in understanding how memory works -- how?

Jonah Lehrer : I think there are several very interesting things he discovered. Just begin with the famous Madeleine episode where Proust dips this sea-shell shaped cookie, you know, this mixture of lemons, essence, butter and flour into his lime flower tea -- and that's where the novel really begins. Natasha Mitchell : And this is the Madeleine biscuit, the infamous Madeleine biscuit. Jonah Lehrer : The famous Madeleine episode and all of a sudden Proust has his epiphany, he recovers all these childhood memories that he thought he had lost.

There they are like apparitions he says, like ghosts.


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Reading from Remembrance of Things Past : But when from a long distant past nothing subsists, after the people are dead, after the things are broken and scattered, still, alone, more fragile but with more vitality, more unsubstantial, more persistent, more faithful. The smell and taste of things remain poised a long time, like souls ready to remind us, waiting and hoping for their moment amid the ruins of all the rest.

And there, unfaltering in the tiny and almost impalpable drop of their essence, the vast structure of recollection. Jonah Lehrer : And I think what's interesting to me, what struck me reading this as a, you know, a student of neuroscience, was how Proust very emphatically says it was by taste and smell alone that the memories came back to him.

He talked about how he'd seen these cookies in bakeries all across Paris and never recovered the initial childhood memory and yet when he put the crumbs of the cookie in his mouth all of a sudden the memory came rushing back to him. And what struck me was this emphasis on the sentimentality of taste and smell as actually neurologically accurate. If you look at the structure of the brain the olfactory cortex where sense of taste and smell are centred are actually the only sense directly connected to the hippocampus, which is the centre of long term memory.

All our other senses go somewhere else first and then go to the hippocampus. So in a sense Proust was very prescient to talk about how our sense of smell and taste are uniquely nostalgic, uniquely sentimental. Natasha Mitchell : You also suggest that he really unravelled that our remembrance of things past is deeply imperfect. Jonah Lehrer : Absolutely, this is for a novel about memory oddly sceptical about the truth of memory.

Proust says over and over again that the act of remembering the memory and putting those memories into a novel distorts the memory itself. That to recall the memories is to change the memory. Natasha Mitchell : I'm fascinated by your clarion call: you say as scientists dissect remembrances into a list of molecules and brain regions they fail to realise that they are channelling a reclusive French novelist. Proust may not have lived forever but his theory of memory endures.

Could Proust, I have to ask, really be of practical use to today's scientists? Jonah Lehrer : Well obviously Proust isn't going to invent Prozac and he's not going to help you do your experiments with rats. But all these artists can do is help clarify the way we think about these concepts.


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  • They can really help us ask better questions, they are not going to give you the experimental answer but they can improve your questions. Natasha Mitchell : Let's come to the great poet and journalist and essayist Walt Whitman, he's another of your artists. You suggest that he discovered our anatomical reality, he turned to the body in search of the soul way before scientists did.

    Can you explain what you're getting at? Jonah Lehrer : Born in the big themes of Whitman's poetry, it talks about how the body is the soul and the soul is the body, he says this dozens of times in Leaves of Grass , his big collection of poems.


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    • At the time this was a radical idea, this was the height of Victorian prudery and for Whitman to talk so nakedly about the body definitely got him into trouble too, got him banned in Boston for example. People called his poetry a form of pornography. O my body! I dare not desert the likes of you in other men and women, nor the likes of the parts of you. I believe the likes of you are to stand or fall with the likes of the soul, and that they are the soul, I believe the likes of you shall stand or fall with my poems, and that they are my poems.

      Man's, woman's, child, youth's wife's, husband's, mother's, father's, young man's, young woman's poems, Head, neck, hair, ears, drop and tympan of the ears, Eyes, eye-fringes, iris of the eye, eyebrows, and the waking or sleeping of the lids, Mouth, tongue, lips, teeth, roof of the mouth, jaws, and the maw-hinges.

      Nose, nostrils of the nose, and the partition Cheeks, temples, forehead, chin, throat, back of the neck, neck-slue Strong shoulders, manly beard, scapula, hind-shoulders, and the ample side-round of the chest, Upper-arm, armpit, elbow-socket, lower-arm, arm-sinews, arm-bones, Wrist and wrist-joints, hand, palm, knuckles, thumb, forefinger, finger-joints, finger-nails,. Broad breast-front, curling hair of the breast, breast-bone, breast-side, Ribs, belly, backbone, joints of the backbone.

      Hips, Hip-sockets, hip-strength, inward and outward round, man-balls, man-root, Strong set of thighs, well carrying the trunk above, Leg-fibres, knee, knee-pan, upper-leg, under-leg, Ankles, instep, foot-ball, toes, toe-joints, the heel;. All attitudes, all the shapeliness, all the belongings of my or your body or of any one's body, male or female, The lung-sponges, the stomach-sac, the bowels sweet and clean, The brain in its folds inside the skull-frame, Sympathies, heart-valves, palate-valves, sexuality, maternity, Womanhood and all that is a woman, and the man that comes from woman The womb, the teats, nipples, breast-milk, tears, laughter, weeping, love-looks, love-perturbations and risings, The voice, articulation, language, whispering, shouting aloud, Food, drink, pulse, digestion, sweat, sleep, walking, swimming, Poise on the hips, leaping, reclining, embracing, arm-curving and tightening, The continue changes of the flex of the mouth, and around the eyes, The skin, the sunburnt shade, freckles, hair.

      The curious sympathy one feels when feeling with the hand the naked meat of the body, The circling rivers the breath, and breathing it in and out, The beauty of the waist, and thence of the hips, and thence downward toward the knees The thin red jellies within you or within me, the bones and the marrow in the bones The exquisite realisation of health; O I say these are not the parts and poems of the body only, but of the soul, OI say now these are the soul!

      Jonah Lehrer : He was a nurse in the Civil War and it was a gruesome job you know there was so little modern medicine could do. He was exposed to many soldiers who were amputee victims and had their limbs cut off and at the time Silas Weir Mitchell, who was actually a good friend of Whitman's and later went on to support the poet, was formulating his first theory of phantom limbs, sensory ghost syndrome as he put it. And this was after the Battle of Gettysburg these amputee victims flooded the hospitals and they told Silas Weir Mitchell, the neurologist at a Philadelphia hospital, you know, they said doctor, doctor my limb is gone, my right arm or my left leg is gone and yet I can still feel it.

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      It still feels like a limb is there. And often they'd report pain in their missing limbs.

      Transcript

      For both Weir Mitchell and Whitman this was evidence of just how entangled our body and soul were, that even when you lost a part of your body, because the soul still remembered the arm being there -- and this is the language they would use to describe how they explained sensory ghosts: the soul and body were in this kind of you know knot together, they were knotted together and you couldn't just take out one without the other. Jonah Lehrer : I think there was at the time the old Cartesian dualism that everything important came from the brain and the body was just the power plant for the brain's light bulbs, that the soul and emotion, all these things would seem so metaphysical appeared mysteriously from the brain, the body was just a lump of matter, it was animal flesh.

      And Whitman I think really reversed that, he saw the body as an essential part of the soul, incredibly entangled especially when it came to emotion. And as bizarre as that idea sounds, that is one of the big ideas of modern neuroscience in the last ten or twenty years, especially in the work of people like Antonio De Marcio, who have really I think done a great job of documenting just how embodied our emotions are. Natasha Mitchell : Antonio De Marcio has done some great work in suggesting that our mind is embodied not just embrained, as he describes it.

      Jonah Lehrer : Yes, absolutely. Much of it with neurological patients who have lost the ability to experience emotion to interpret their own changes in bodily states. And in a sense he's also building on the work of William James who was inspired to come up with his own theory of emotion in the body in part because of the poems of Walter Whitman. Natasha Mitchell : William James is a figure that links many of your artists and some would call him the father of psychology, he was the first professor of psychology at Harvard and produced that epic text Principles of Psychology.

      Why he is so special in this story of yours? Jonah Lehrer : Well he's certainly one of my intellectual heroes, but I think in this particular book the reason James appears so often is because of his stance. I mean look at the Principles of Psychology epic text.

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      Chapter 9, the famous chapter on the stream of consciousness. He begins with the famous line, 'We now begin our study of the mind from within Natasha Mitchell : And you think he represents a science of the mind that has all but disappeared, that's a strong statement to make. Jonah Lehrer : I do, I think he represents a possible corrective for I think the excesses of reductionism in modern neuroscience. Jonah Lehrer : I think in part it's the fact that modern neuroscience has been so successful and so good at breaking the brain apart, at turning these three pounds of flesh into this long list of enzymes and acronyms and proteins and networks and all the rest.

      We've gotten so good at that that it's tempting to think that that's the only way to understand the mind, something else is lost and I think James is one of those figures who reminds us of what's lost. Books on neuroscience used to be relegated to the shelves of medical libraries. Perhaps the most original of the brain books, though, is "Proust Was a Neuroscientist. In the book, author Jonah Lehrer describes how novelist Marcel Proust, as well as chef Auguste Escoffier, composer Igor Stravinsky, and writers Walt Whitman, George Eliot, Gertrude Stein and Virginia Woolf built upon the scientific knowledge of their time to make discoveries of their own in the field of neuroscience.

      Proust's understanding of memory, Lehrer argues, even surpassed that of the scientists of his day. Jonah Lehrer: One thing was how seriously all of these artists took their art. They really believed that their novels and paintings and poetry were expressing deep truths about the human mind. As Virginia Woolf put it, the task of the novelist is to "examine for a moment an ordinary mind on an ordinary day … [tracing] the pattern, however disconnected and incoherent in appearance, which each sight or incident scores upon the consciousness.

      Proust was a neuroscientist

      Everything else is secondary. So what did Proust divine about humans ahead of neuroscientists? After he dips the madeleine into the tea and recovers those lost childhood memories [in "In Search of Lost Time"], Proust realizes that our noses bear a unique burden of memory.