Elliot said, "She said 'No.' Yes, Amy, they come."
She was silent a moment, and then she signed, Things come.
Munro again asked what she had said.
"She said, 'Things come.' " Elliot translated the rest of her responses for them.
Ross asked, "What things, Amy?"
Bad things.
Munro said, "Were they gorillas, Amy?"
Not gorillas. Bad things. Many bad things come forest come. Breath talk. Come night come.
Munro said, "Where are they now, Amy?"
Amy looked around at the jungle. Here. This bad old place things come.
Ross said, "What things, Amy? Are they animals?" Elliot told them that Amy could not abstract the category "animals." "She thinks people are animals," he explained. "Are the bad things people, Amy? Are they human persons?"
No.
Munro said, "Monkeys?"
No. Bad things. not sleep night.
Munro said, "Is she reliable?"
What means?
"Yes," Elliot said. "Perfectly."
"She knows what gorillas are?"
Amy good gorilla, she signed.
"Yes, you are," Elliot said. "She's saying she's a good gorilla."
Munro frowned. "So she knows what gorillas are, but she says these things are not gorillas?"
"That's what she says."
2.Missing Elements
ELLIOT GOT ROSS TO SET UP THE VIDEO CAMERA AT the outskirts of the city, facing the campsite. With the videotape running he led Amy to the edge of the camp to look at the ruined buildings. Elliot wanted to confront Amy with the lost city, the reality behind her dreams - and he wanted a record of her responses to that moment. What happened was totally unexpected.
Amy had no reaction at all.
Her face remained impassive, her body relaxed. She did not sign. If anything she gave the impression of boredom, of suffering through another of Elliot's enthusiasms that she did not share. Elliot watched her carefully. She wasn't displacing; she wasn't repressing; she wasn't doing anything. She stared at the city with equanimity.
"Amy know this place?"
Yes.
"Amy tell Peter what place." Bad place old place.
"Sleep pictures?" This bad place.
"Why is it bad, Amy?"
Bad place old place.
"Yes, but why, Amy?" Amy fear.
She showed no somatic indication of fear. Squatting on the ground alongside him she gazed forward, perfectly calm.
"Why Amy fear?"
Amy want eat.
"Why Amy fear?"
She would not answer, in the way that she did not deign to answer him whenever she was completely bored; he could not provoke her to discuss her dreams further. She was as closed on the subject as she had been in San Francisco. When he asked her to accompany them into the ruins, she calmly refused to do so. On the other hand, she did not seem distressed that Elliot was going into the city, and she cheerfully waved goodbye before going to demand more food from Kahega.
Only after the expedition was concluded and Elliot had returned to Berkeley did he find the explanation to this perplexing event - in Freud's Interpretation of Dreams, first published in 1887.
It may happen on rare occasions that a patient may be confronted by the reality behind his dreams. Whether a physical edifice, a person, or a situation that has the tenor of deep familiarity, the subjective response of the dreamer is uniformly the same. The emotive content held in the dream - whether frightening, pleasurable, or mysterious - is drained away upon sight of the reality. . . . We may be certain that the apparent boredom of the subject does not prove the dream-content is false. Boredom may be most strongly felt when the dream-content is real. The subject recognizes on some deep level his inability to alter the conditions that he feels, and so finds himself overcome by fatigue, boredom, and indifference, to conceal from him his fundamental helplessness in the face of a genuine problem which must be rectified.
Months later, Elliot would conclude that Amy's bland reaction only indicated the depth of her feeling, and that Freud's analysis was correct; it protected her from a situation that had to be changed, but that Amy felt powerless to alter, especially considering whatever infantile memories remained from the traumatic death of her mother.
Yet at the time, Elliot felt disappointment with Amy's neutrality. Of all the possible reactions he had imagined when he first set out for the Congo, boredom was the least expected, and he utterly failed to grasp its significance - that the city of Zinj was so fraught with danger that Amy felt obliged in her own mind to push it aside, and to ignore it.
Elliot, Munro, and Ross spent a hot, difficult morning hacking their way through the dense bamboo and the clinging, tearing vines of secondary jungle growth to reach new buildings in the heart of the city. By midday, their efforts were rewarded as they entered structures unlike any they had seen before. These buildings were impressively engineered, enclosing vast cavernous spaces descending three and four stories beneath the ground.
Ross was delighted by the underground constructions, for it proved to her that the Zinj people had evolved the technology to dig into the earth, as was necessary fur diamond mines. Munro expressed a similar view: "These people," he said, "could do anything with earthworks."
Despite their enthusiasm, they found nothing of interest in the depths of the city. They ascended to higher levels later in the day, coming upon a building so filled with reliefs that they termed it "the gallery." With the video camera hooked to the satellite linkup, they examined the pictures in the gallery.
These showed aspects of ordinary city life. There were domestic scenes of women cooking around fires, children playing a ball game with sticks, scribes squatting on the ground as they kept records on clay tablets. A whole wall of hunting scenes, the men in brief loincloths, armed with spears. And finally scenes of mining, men carrying baskets of stones from tunnels in the earth.