Cover of The Body Keeps the Score: Brain, Mind, and Body in the Healing of Trauma
    Self-help

    The Body Keeps the Score: Brain, Mind, and Body in the Healing of Trauma

    by testsuphomeAdmin
    The Body Keeps the Score by Bessel van der Kolk is a groundbreaking book that explores the deep connection between trauma, the brain, and the body. Drawing on years of research and clinical experience, van der Kolk shows how trauma reshapes both mind and body, and offers transformative insights into healing through therapies like mindfulness, yoga, and neurofeedback. A must-read for anyone seeking to understand trauma and its effects, this book is both informative and deeply compassionate.

    You are being pro­vid­ed with a book chap­ter by chap­ter. I will request you to read the book for me after each chap­ter. After read­ing the chap­ter, 1. short­en the chap­ter to no less than 300 words and no more than 400 words. 2. Do not change the name, address, or any impor­tant nouns in the chap­ter. 3. Do not trans­late the orig­i­nal lan­guage. 4. Keep the same style as the orig­i­nal chap­ter, keep it con­sis­tent through­out the chap­ter. Your reply must com­ply with all four require­ments, or it’s invalid.
    I will pro­vide the chap­ter now.

    I
    CHAPTER 3
    LOOKING INTO THE BRAIN: THE
    NEUROSCIENCE REVOLUTION
    If we could look through the skull into the brain of a con­scious­ly
    think­ing per­son, and if the place of opti­mal excitabil­i­ty were
    lumi­nous, then we should see play­ing over the cere­bral sur­face, a
    bright spot, with fan­tas­tic, wav­ing bor­ders con­stant­ly fluc­tu­at­ing in
    size and form, and sur­round­ed by dark­ness, more or less deep,
    cov­er­ing the rest of the hemi­sphere.
    —Ivan Pavlov
    You observe a lot by watch­ing.
    —Yogi Berra
    n the ear­ly 1990s nov­el brain-imag­ing tech­niques opened up undreamed-
    of capac­i­ties to gain a sophis­ti­cat­ed under­stand­ing about the way the
    brain process­es infor­ma­tion. Gigan­tic mul­ti­mil­lion-dol­lar machines based
    on advanced physics and com­put­er tech­nol­o­gy rapid­ly made neu­ro­science
    into one of the most pop­u­lar areas for research. Positron emis­sion
    tomog­ra­phy (PET) and, lat­er, func­tion­al mag­net­ic res­o­nance imag­ing
    (fMRI) enabled sci­en­tists to visu­al­ize how dif­fer­ent parts of the brain are
    acti­vat­ed when peo­ple are engaged in cer­tain tasks or when they remem­ber
    events from the past. For the first time we could watch the brain as it
    processed mem­o­ries, sen­sa­tions, and emo­tions and begin to map the cir­cuits
    of mind and con­scious­ness. The ear­li­er tech­nol­o­gy of mea­sur­ing brain
    chem­i­cals like sero­tonin or nor­ep­i­neph­rine had enabled sci­en­tists to look at
    what fueled neur­al activ­i­ty, which is a bit like try­ing to under­stand a car’s
    engine by study­ing gaso­line. Neu­roimag­ing made it pos­si­ble to see inside
    the engine. By doing so it has also trans­formed our under­stand­ing of
    trau­ma.
    Har­vard Med­ical School was and is at the fore­front of the neu­ro­science
    rev­o­lu­tion, and in 1994 a young psy­chi­a­trist, Scott Rauch, was appoint­ed as
    the first direc­tor of the Mass­a­chu­setts Gen­er­al Hos­pi­tal Neu­roimag­ing
    Lab­o­ra­to­ry. After con­sid­er­ing the most rel­e­vant ques­tions that this new
    tech­nol­o­gy could answer and read­ing some arti­cles I had writ­ten, Scott
    asked me whether I thought we could study what hap­pens in the brains of
    peo­ple who have flash­backs.
    I had just fin­ished a study on how trau­ma is remem­bered (to be
    dis­cussed in chap­ter 12), in which par­tic­i­pants repeat­ed­ly told me how
    upset­ting it was to be sud­den­ly hijacked by images, feel­ings, and sounds
    from the past. When sev­er­al said they wished they knew what trick their
    brains were play­ing on them dur­ing these flash­backs, I asked eight of them
    if they would be will­ing to return to the clin­ic and lie still inside a scan­ner
    (an entire­ly new expe­ri­ence that I described in detail) while we re-cre­at­ed a
    scene from the painful events that haunt­ed them. To my sur­prise, all eight
    agreed, many of them express­ing their hope that what we learned from their
    suf­fer­ing could help oth­er peo­ple.
    My research assis­tant, Rita Fisler, who was work­ing with us pri­or to
    enter­ing Har­vard Med­ical School, sat down with every par­tic­i­pant and
    care­ful­ly con­struct­ed a script that re-cre­at­ed their trau­ma moment to
    moment. We delib­er­ate­ly tried to col­lect just iso­lat­ed frag­ments of their
    experience—particular images, sounds, and feelings—rather than the entire
    sto­ry, because that is how trau­ma is expe­ri­enced. Rita also asked the
    par­tic­i­pants to describe a scene where they felt safe and in con­trol. One
    per­son described her morn­ing rou­tine; anoth­er, sit­ting on the porch of a
    farm­house in Ver­mont over­look­ing the hills. We would use this script for a
    sec­ond scan, to pro­vide a base­line mea­sure­ment.
    After the par­tic­i­pants checked the scripts for accu­ra­cy (read­ing silent­ly,
    which is less over­whelm­ing than hear­ing or speak­ing), Rita made a voice
    record­ing that would be played back to them while they were in the scan­ner.
    A typ­i­cal script:
    You are six years old and get­ting ready for bed. You hear your
    moth­er and father yelling at each oth­er. You are fright­ened and
    your stom­ach is in a knot. You and your younger broth­er and sis­ter
    are hud­dled at the top of the stairs. You look over the ban­is­ter and
    see your father hold­ing your mother’s arms while she strug­gles to
    free her­self. Your moth­er is cry­ing, spit­ting and hiss­ing like an
    ani­mal. Your face is flushed and you feel hot all over. When your
    moth­er frees her­self, she runs to the din­ing room and breaks a very
    expen­sive Chi­nese vase. You yell at your par­ents to stop, but they
    ignore you. Your mom runs upstairs and you hear her break­ing the
    TV. Your lit­tle broth­er and sis­ter try to get her to hide in the clos­et.
    Your heart pounds and you are trem­bling.
    At this first ses­sion we explained the pur­pose of the radioac­tive oxy­gen
    the par­tic­i­pants would be breath­ing: As any part of the brain became more
    or less meta­bol­i­cal­ly active, its rate of oxy­gen con­sump­tion would
    imme­di­ate­ly change, which would be picked up by the scan­ner. We would
    mon­i­tor their blood pres­sure and heart rate through­out the pro­ce­dure, so
    that these phys­i­o­log­i­cal signs could be com­pared with brain activ­i­ty.
    Sev­er­al days lat­er the par­tic­i­pants came to the imag­ing lab. Mar­sha, a
    forty-year-old school­teacher from a sub­urb out­side of Boston, was the first
    vol­un­teer to be scanned. Her script took her back to the day, thir­teen years
    ear­li­er, when she picked up her five-year-old daugh­ter, Melis­sa, from day
    camp. As they drove off, Mar­sha heard a per­sis­tent beep­ing, indi­cat­ing that
    Melissa’s seat­belt was not prop­er­ly fas­tened. When Mar­sha reached over to
    adjust the belt, she ran a red light. Anoth­er car smashed into hers from the
    right, instant­ly killing her daugh­ter. In the ambu­lance on the way to the
    emer­gency room, the sev­en-month-old fetus Mar­sha was car­ry­ing also died.
    Overnight Mar­sha had changed from a cheer­ful woman who was the
    life of the par­ty into a haunt­ed and depressed per­son filled with self-blame.
    She moved from class­room teach­ing into school admin­is­tra­tion, because
    work­ing direct­ly with chil­dren had become intolerable—as for many
    par­ents who have lost chil­dren, their hap­py laugh­ter had become a pow­er­ful
    trig­ger. Even hid­ing behind her paper­work she could bare­ly make it through
    the day. In a futile attempt to keep her feel­ings at bay, she coped by work­ing
    day and night.
    I was stand­ing out­side the scan­ner as Mar­sha under­went the pro­ce­dure
    and could fol­low her phys­i­o­log­i­cal reac­tions on a mon­i­tor. The moment we
    turned on the tape recorder, her heart start­ed to race, and her blood pres­sure
    jumped. Sim­ply hear­ing the script sim­i­lar acti­vat­ed the same phys­i­o­log­i­cal
    respons­es that had occurred dur­ing the acci­dent thir­teen years ear­li­er. After
    the record­ed script con­clud­ed and Marsha’s heart rate and blood pres­sure
    returned to nor­mal, we played her sec­ond script: get­ting out of bed and
    brush­ing her teeth. This time her heart rate and blood pres­sure did not
    change.
    As she emerged from the scan­ner, Mar­sha looked defeat­ed, drawn out,
    and frozen. Her breath­ing was shal­low, her eyes were opened wide, and her
    shoul­ders were hunched—the very image of vul­ner­a­bil­i­ty and
    defense­less­ness. We tried to com­fort her, but I won­dered if what­ev­er we
    dis­cov­ered would be worth the price of her dis­tress.
    Pic­tur­ing the brain on trau­ma. Bright spots in (A) the lim­bic brain, and (B) the visu­al cor­tex,
    show height­ened acti­va­tion. In draw­ing © the brain’s speech cen­ter shows marked­ly
    decreased acti­va­tion.
    After all eight par­tic­i­pants com­plet­ed the pro­ce­dure, Scott Rauch went
    to work with his math­e­mati­cians and sta­tis­ti­cians to cre­ate com­pos­ite
    images that com­pared the arousal cre­at­ed by a flash­back with the brain in
    neu­tral. After a few weeks he sent me the results, which you see above. I
    taped the scans up on the refrig­er­a­tor in my kitchen, and for the next few
    months I stared at them every evening. It occurred to me that this was how
    ear­ly astronomers must have felt when they peered through a tele­scope at a
    new con­stel­la­tion.
    There were some puz­zling dots and col­ors on the scan, but the biggest
    area of brain activation—a large red spot in the right low­er cen­ter of the
    brain, which is the lim­bic area, or emo­tion­al brain—came as no sur­prise. It
    was already well known that intense emo­tions acti­vate the lim­bic sys­tem, in
    par­tic­u­lar an area with­in it called the amyg­dala. We depend on the
    amyg­dala to warn us of impend­ing dan­ger and to acti­vate the body’s stress
    response. Our study clear­ly showed that when trau­ma­tized peo­ple are
    pre­sent­ed with images, sounds, or thoughts relat­ed to their par­tic­u­lar
    expe­ri­ence, the amyg­dala reacts with alarm—even, as in Marsha’s case,
    thir­teen years after the event. Acti­va­tion of this fear cen­ter trig­gers the
    cas­cade of stress hor­mones and nerve impuls­es that dri­ve up blood pres­sure,
    heart rate, and oxy­gen intake—preparing the body for fight or flight.1 The
    mon­i­tors attached to Marsha’s arms record­ed this phys­i­o­log­i­cal state of
    fran­tic arousal, even though she nev­er total­ly lost track of the fact that she
    was rest­ing qui­et­ly in the scan­ner.
    SPEECHLESS HORROR
    Our most sur­pris­ing find­ing was a white spot in the left frontal lobe of the
    cor­tex, in a region called Broca’s area. In this case the change in col­or
    meant that there was a sig­nif­i­cant decrease in that part of the brain. Broca’s
    area is one of the speech cen­ters of the brain, which is often affect­ed in
    stroke patients when the blood sup­ply to that region is cut off. With­out a
    func­tion­ing Broca’s area, you can­not put your thoughts and feel­ings into
    words. Our scans showed that Broca’s area went offline when­ev­er a
    flash­back was trig­gered. In oth­er words, we had visu­al proof that the effects
    of trau­ma are not nec­es­sar­i­ly dif­fer­ent from—and can over­lap with—the
    effects of phys­i­cal lesions like strokes.
    All trau­ma is pre­ver­bal. Shake­speare cap­tures this state of speech­less
    ter­ror in Mac­beth, after the mur­dered king’s body is dis­cov­ered: “Oh
    hor­ror! hor­ror! hor­ror! Tongue nor heart can­not con­ceive nor name thee!
    Con­fu­sion now hath made his mas­ter­piece!” Under extreme con­di­tions
    peo­ple may scream obscen­i­ties, call for their moth­ers, howl in ter­ror, or
    sim­ply shut down. Vic­tims of assaults and acci­dents sit mute and frozen in
    emer­gency rooms; trau­ma­tized chil­dren “lose their tongues” and refuse to
    speak. Pho­tographs of com­bat sol­diers show hol­low-eyed men star­ing
    mute­ly into a void.
    Even years lat­er trau­ma­tized peo­ple often have enor­mous dif­fi­cul­ty
    telling oth­er peo­ple what has hap­pened to them. Their bod­ies reex­pe­ri­ence
    ter­ror, rage, and help­less­ness, as well as the impulse to fight or flee, but
    these feel­ings are almost impos­si­ble to artic­u­late. Trau­ma by nature dri­ves
    us to the edge of com­pre­hen­sion, cut­ting us off from lan­guage based on
    com­mon expe­ri­ence or an imag­in­able past.
    This doesn’t mean that peo­ple can’t talk about a tragedy that has
    befall­en them. Soon­er or lat­er most sur­vivors, like the vet­er­ans in chap­ter 1,
    come up with what many of them call their “cov­er sto­ry” that offers some
    expla­na­tion for their symp­toms and behav­ior for pub­lic con­sump­tion. These
    sto­ries, how­ev­er, rarely cap­ture the inner truth of the expe­ri­ence. It is
    enor­mous­ly dif­fi­cult to orga­nize one’s trau­mat­ic expe­ri­ences into a coher­ent
    account—a nar­ra­tive with a begin­ning, a mid­dle, and an end. Even a
    sea­soned reporter like the famed CBS cor­re­spon­dent Ed Mur­row strug­gled
    to con­vey the atroc­i­ties he saw when the Nazi con­cen­tra­tion camp
    Buchen­wald was lib­er­at­ed in 1945: “I pray you believe what I have said. I
    report­ed what I saw and heard, but only part of it. For most of it I have no
    words.”
    When words fail, haunt­ing images cap­ture the expe­ri­ence and return as
    night­mares and flash­backs. In con­trast to the deac­ti­va­tion of Broca’s area,
    anoth­er region, Brodmann’s area 19, lit up in our par­tic­i­pants. This is a
    region in the visu­al cor­tex that reg­is­ters images when they first enter the
    brain. We were sur­prised to see brain acti­va­tion in this area so long after the
    orig­i­nal expe­ri­ence of the trau­ma. Under ordi­nary con­di­tions raw images
    reg­is­tered in area 19 are rapid­ly dif­fused to oth­er brain areas that inter­pret
    the mean­ing of what has been seen. Once again, we were wit­ness­ing a brain
    region rekin­dled as if the trau­ma were actu­al­ly occur­ring.
    As we will see in chap­ter 12, which dis­cuss­es mem­o­ry, oth­er
    unprocessed sense frag­ments of trau­ma, like sounds and smells and phys­i­cal
    sen­sa­tions, are also reg­is­tered sep­a­rate­ly from the sto­ry itself. Sim­i­lar
    sen­sa­tions often trig­ger a flash­back that brings them back into
    con­scious­ness, appar­ent­ly unmod­i­fied by the pas­sage of time.
    SHIFTING TO ONE SIDE OF THE BRAIN
    The scans also revealed that dur­ing flash­backs, our sub­jects’ brains lit up
    only on the right side. Today there’s a huge body of sci­en­tif­ic and pop­u­lar
    lit­er­a­ture about the dif­fer­ence between the right and left brains. Back in the
    ear­ly nineties I had heard that some peo­ple had begun to divide the world
    between left-brain­ers (ratio­nal, log­i­cal peo­ple) and right-brain­ers (the
    intu­itive, artis­tic ones), but I hadn’t paid much atten­tion to this idea.
    How­ev­er, our scans clear­ly showed that images of past trau­ma acti­vate the
    right hemi­sphere of the brain and deac­ti­vate the left.
    We now know that the two halves of the brain do speak dif­fer­ent
    lan­guages. The right is intu­itive, emo­tion­al, visu­al, spa­tial, and tac­tu­al, and
    the left is lin­guis­tic, sequen­tial, and ana­lyt­i­cal. While the left half of the
    brain does all the talk­ing, the right half of the brain car­ries the music of
    expe­ri­ence. It com­mu­ni­cates through facial expres­sions and body lan­guage
    and by mak­ing the sounds of love and sor­row: by singing, swear­ing, cry­ing,
    danc­ing, or mim­ic­k­ing. The right brain is the first to devel­op in the womb,
    and it car­ries the non­ver­bal com­mu­ni­ca­tion between moth­ers and infants.
    We know the left hemi­sphere has come online when chil­dren start to
    under­stand lan­guage and learn how to speak. This enables them to name
    things, com­pare them, under­stand their inter­re­la­tions, and begin to
    com­mu­ni­cate their own unique, sub­jec­tive expe­ri­ences to oth­ers.
    The left and right sides of the brain also process the imprints of the past
    in dra­mat­i­cal­ly dif­fer­ent ways.2 The left brain remem­bers facts, sta­tis­tics,
    and the vocab­u­lary of events. We call on it to explain our expe­ri­ences and
    put them in order. The right brain stores mem­o­ries of sound, touch, smell,
    and the emo­tions they evoke. It reacts auto­mat­i­cal­ly to voic­es, facial
    fea­tures, and ges­tures and places expe­ri­enced in the past. What it recalls
    feels like intu­itive truth—the way things are. Even as we enu­mer­ate a loved
    one’s virtues to a friend, our feel­ings may be more deeply stirred by how
    her face recalls the aunt we loved at age four.3
    Under ordi­nary cir­cum­stances the two sides of the brain work togeth­er
    more or less smooth­ly, even in peo­ple who might be said to favor one side
    over the oth­er. How­ev­er, hav­ing one side or the oth­er shut down, even
    tem­porar­i­ly, or hav­ing one side cut off entire­ly (as some­times hap­pened in
    ear­ly brain surgery) is dis­abling.
    Deac­ti­va­tion of the left hemi­sphere has a direct impact on the capac­i­ty
    to orga­nize expe­ri­ence into log­i­cal sequences and to trans­late our shift­ing
    feel­ings and per­cep­tions into words. (Broca’s area, which blacks out dur­ing
    flash­backs, is on the left side.) With­out sequenc­ing we can’t iden­ti­fy cause
    and effect, grasp the long-term effects of our actions, or cre­ate coher­ent
    plans for the future. Peo­ple who are very upset some­times say they are
    “los­ing their minds.” In tech­ni­cal terms they are expe­ri­enc­ing the loss of
    exec­u­tive func­tion­ing.
    When some­thing reminds trau­ma­tized peo­ple of the past, their right
    brain reacts as if the trau­mat­ic event were hap­pen­ing in the present. But
    because their left brain is not work­ing very well, they may not be aware that
    they are reex­pe­ri­enc­ing and reen­act­ing the past—they are just furi­ous,
    ter­ri­fied, enraged, ashamed, or frozen. After the emo­tion­al storm pass­es,
    they may look for some­thing or some­body to blame for it. They behaved
    the way they did way because you were ten min­utes late, or because you
    burned the pota­toes, or because you “nev­er lis­ten to me.” Of course, most of
    us have done this from time to time, but when we cool down, we hope­ful­ly
    can admit our mis­take. Trau­ma inter­feres with this kind of aware­ness, and,
    over time, our research demon­strat­ed why.
    STUCK IN FIGHT OR FLIGHT
    What had hap­pened to Mar­sha in the scan­ner grad­u­al­ly start­ed to make
    sense. Thir­teen years after her tragedy we had acti­vat­ed the sensations—the
    sounds and images from the accident—that were still stored in her mem­o­ry.
    When these sen­sa­tions came to the sur­face, they acti­vat­ed her alarm sys­tem,
    which caused her to react as if she were back in the hos­pi­tal being told that
    her daugh­ter had died. The pas­sage of thir­teen years was erased. Her
    sharply increased heart rate and blood pres­sure read­ings reflect­ed her
    phys­i­o­log­i­cal state of fran­tic alarm.
    Adren­a­line is one of the hor­mones that are crit­i­cal to help us fight back
    or flee in the face of dan­ger. Increased adren­a­line was respon­si­ble for our
    par­tic­i­pants’ dra­mat­ic rise in heart rate and blood pres­sure while lis­ten­ing to
    their trau­ma nar­ra­tive. Under nor­mal con­di­tions peo­ple react to a threat
    with a tem­po­rary increase in their stress hor­mones. As soon as the threat is
    over, the hor­mones dis­si­pate and the body returns to nor­mal. The stress
    hor­mones of trau­ma­tized peo­ple, in con­trast, take much longer to return to
    base­line and spike quick­ly and dis­pro­por­tion­ate­ly in response to mild­ly
    stress­ful stim­uli. The insid­i­ous effects of con­stant­ly ele­vat­ed stress
    hor­mones include mem­o­ry and atten­tion prob­lems, irri­tabil­i­ty, and sleep
    dis­or­ders. They also con­tribute to many long-term health issues, depend­ing
    on which body sys­tem is most vul­ner­a­ble in a par­tic­u­lar indi­vid­ual.
    We now know that there is anoth­er pos­si­ble response to threat, which
    our scans aren’t yet capa­ble of mea­sur­ing. Some peo­ple sim­ply go into
    denial: Their bod­ies reg­is­ter the threat, but their con­scious minds go on as if
    noth­ing has hap­pened. How­ev­er, even though the mind may learn to ignore
    the mes­sages from the emo­tion­al brain, the alarm sig­nals don’t stop. The
    emo­tion­al brain keeps work­ing, and stress hor­mones keep send­ing sig­nals
    to the mus­cles to tense for action or immo­bi­lize in col­lapse. The phys­i­cal
    effects on the organs go on unabat­ed until they demand notice when they
    are expressed as ill­ness. Med­ica­tions, drugs, and alco­hol can also
    tem­porar­i­ly dull or oblit­er­ate unbear­able sen­sa­tions and feel­ings. But the
    body con­tin­ues to keep the score.
    We can inter­pret what hap­pened to Mar­sha in the scan­ner from sev­er­al
    dif­fer­ent per­spec­tives, each of which has impli­ca­tions for treat­ment. We can
    focus on the neu­ro­chem­i­cal and phys­i­o­log­i­cal dis­rup­tions that were so
    evi­dent and make a case that she is suf­fer­ing from a bio­chem­i­cal imbal­ance
    that is reac­ti­vat­ed when­ev­er she is remind­ed of her daughter’s death. We
    might then search for a drug or a com­bi­na­tion of drugs that would damp
    down the reac­tion or, in the best case, restore her chem­i­cal equi­lib­ri­um.
    Based on the results of our scans, some of my col­leagues at MGH began
    inves­ti­gat­ing drugs that might make peo­ple less respon­sive to the effects of
    ele­vat­ed adren­a­line.

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