Tuesdays With Morrie (10 page)

He coughed and reached for the small bell that lay on the chair. He had to poke a few times at it, and I finally picked it up and put it in his hand.

"Thank you," he whispered. He shook it weakly, trying to get Connie's attention.

"This Ted Turner guy," Morrie said, "he couldn't think of anything else for his tombstone?"

'Each night, when I go to sleep, I die. And the next morning, when I wake up, I am reborn. "

--MAHATMA GANDHI

The Ninth Tuesday We Talk About How Love Goes On

The leaves had begun to change color, turning the ride through West Newton into a portrait of gold and rust. Back in Detroit, the labor war had stagnated, with each side accusing the other of failing to communicate. The stories on the TV news were just as depressing. In rural Kentucky, three men threw pieces of a tombstone off a bridge, smashing the windshield of a passing car, killing a teenage girl who was traveling with her family on a religious pilgrimage. In California, the O. J. Simpson trial was heading toward a conclusion, and the whole country seemed to be obsessed. Even in airports, there were hanging TV sets tuned to CNN so that you could get an O.J. update as you made your way to a gate.

I had tried calling my brother in Spain several times. I left messages saying that I really wanted to talk to him, that I had been doing a lot of thinking about us. A few weeks later, I got back a short message saying everything was okay, but he was sorry, he really didn't feel like talking about being sick.

For my old professor, it was not the talk of being sick but the being sick itself that was sinking him. Since my last visit, a nurse had inserted a catheter into his penis, which drew the urine out through a tube and into a bag that sat at the foot of his chair. His legs needed constant tending (he could still feel pain, even though he could not move them, another one of ALS's cruel little ironies), and unless his feet dangled just the right number of inches off the foam pads, it felt as if someone were poking him with a fork. In the middle of conversations, Morrie would have to ask visitors to lift his foot and move it just an inch, or to adjust his head so that it fit more easily into the palm of the colored pillows. Can you imagine being unable to move your own head?

With each visit, Morrie seemed to be melting into his chair, his spine taking on its shape. Still, every morning he insisted on being lifted from his bed and wheeled to his study, deposited there among his books and papers and the hibiscus plant on the windowsill. In typical fashion, he found something philosophical in this.

"I sum it up in my newest aphorism," he said. Let me hear it.

"When you're in bed, you're dead."

He smiled. Only Morrie could smile at something like that.

He had been getting calls from the "Nightline" people and from Ted Koppel himself.

"They want to come and do another show with me," he said. "But they say they want to wait."

Until what? You're on your last breath? "Maybe. Anyhow, I'm not so far away." Don't say that.

"I'm sorry."

That bugs me, that they want to wait until you wither.

"It bugs you because you look out for me."

He smiled. "Mitch, maybe they are using me for a little drama. That's okay. Maybe I'm using them, too. They help me get my message to millions of people. I couldn't do that without them, right? So it's a compromise."

He coughed, which turned into a long-drawn-out gargle, ending with another glob into a crushed tissue. "Anyhow," Morrie said, "I told them they better not wait too long, because my voice won't be there. Once this thing hits my lungs, talking may become impossible. I can't speak for too long without needing a rest now. I have already canceled a lot of the people who want to see me. Mitch, there are so many. But I'm too fatigued. If I can't give them the right attention, I can't help them." I looked at the tape recorder, feeling guilty, as if I were stealing what was left of his precious speaking time. "Should we skip it?" I asked. "Will it make you too tired?"

Morrie shut his eyes and shook his head. He seemed to be waiting for some silent pain to pass. "No," he finally said. "You and I have to go on.

"This is our last thesis together, you know." Our last thesis.

"We want to get it right."

I thought about our first thesis together, in college. It was Morrie's idea, of course. He told me I was good enough to write an honors project-something I had never considered.

Now here we were, doing the same thing once more. Starting with an idea. Dying man talks to living man, tells him what he should know. This time, I was in less of a hurry to finish.

"Someone asked me an interesting question yesterday," Morrie said now, looking over my shoulder at the wallhanging behind me, a quilt of hopeful messages that friends had stitched for him on his seventieth birthday. Each patch on the quilt had a different message: STAY THE COURSE, THE BEST IS YET TO BE, MORRIE-ALWAYS NO. 1 IN MENTAL HEALTH!

What was the question? I asked.

"If I worried about being forgotten after I died?" Well? Do you?

"I don't think I will be. I've got so many people who have been involved with me in close, intimate ways. And love is how you stay alive, even after you are gone."

Sounds like a song lyric-"love is how you stay alive."

Morrie chuckled. "Maybe. But, Mitch, all this talk that we're doing? Do you ever hear my voice sometimes when you're back home? When you're all alone? Maybe on the plane? Maybe in your car?"

Yes, I admitted.

"Then you will not forget me after I'm gone. Think of my voice and I'll be there."

Think of your voice.

"And if you want to cry a little, it's okay."

Morrie. He had wanted to make me cry since I was a freshman. "One of these days, I'm gonna get to you," he would say.

Yeah, yeah, I would answer.

"I decided what I wanted on my tombstone," he said.

I don't want to hear about tombstones. "Why? They make you nervous?"

I shrugged.

"We can forget it."

No, go ahead. What did you decide?

Morrie popped his lips. "I was thinking of this: A Teacher to the Last."

He waited while I absorbed it.

A Teacher to the Last.

"Good?" he said.

Yes, I said. Very good.

I came to love the way Morrie lit up when I entered the room. He did this for many people, I know, but it was his special talent to make each visitor feel that the smile was unique.

"Ahhhh, it's my buddy," he would say when he saw me, in that foggy, high-pitched voice. And it didn't stop with the greeting. When Morrie was with you, he was really with you. He looked you straight in the eye, and he listened as if you were the only person in the world. How much better would people get along if their first encounter each day were like this-instead of a grumble from a waitress or a bus driver or a boss?

"I believe in being fully present," Morrie said. "That means you should be with the person you're with. When I'm talking to you now, Mitch, I try to keep focused only on what is going on between us. I am not thinking about something we said last week. I am not thinking of what's coming up this Friday. I am not thinking about doing another Koppel show, or about what medications I'm taking.

"I am talking to you. I am thinking about you."

I remembered how he used to teach this idea in the Group Process class back at Brandeis. I had scoffed back then, thinking this was hardly a lesson plan for a university course. Learning to pay attention? How important could that be? I now know it is more important than almost everything they taught us in college.

Morrie motioned for my hand, and as I gave it to him, I felt a surge of guilt. Here was a man who, if he wanted, could spend every waking moment in self-pity, feeling his body for decay, counting his breaths. So many people with far smaller problems are so self-absorbed, their eyes glaze over if you speak for more than thirty seconds. They already have something else in mind-a friend to call, a fax to send, a lover they're daydreaming about. They only snap back to full attention when you finish talking, at which point they say "Uh-huh" or "Yeah, really" and fake their way back to the moment.

"Part of the problem, Mitch, is that everyone is in such a hurry," Morrie said. "People haven't found meaning in their lives, so they're running all the time looking for it. They think the next car, the next house, the next job. Then they find those things are empty, too, and they keep running."

Once you start running, I said, it's hard to slow yourself down.

"Not so hard," he said, shaking his head. "Do you know what I do? When someone wants to get ahead of me in traffic-when I used to be able to drive-I would raise my hand . . ."

He tried to do this now, but the hand lifted weakly, only six inches.

" . . . I would raise my hand, as if I was going to make a negative gesture, and then I would wave and smile. Instead of giving them the finger, you let them go, and you smile.

"You know what? A lot of times they smiled back. "The truth is, I don't have to be in that much of a hurry with my car. I would rather put my energies into people."

He did this better than anyone I'd ever known. Those who sat with him saw his eyes go moist when they spoke about something horrible, or crinkle in delight when they told him a really bad joke. He was always ready to openly display the emotion so often missing from my baby boomer generation. We are great at small talk: "What do you do?" "Where do you live?" But really listening to someone-without trying to sell them something, pick them up, recruit them, or get some kind of status in return-how often do we get this anymore? I believe many visitors in the last few months of Morrie's life were drawn not because of the attention they wanted to pay to him but because of the attention he paid to them. Despite his personal pain and decay, this little old man listened the way they always wanted someone to listen.

I told him he was the father everyone wishes they had.

"Well," he said, closing his eyes, "I have some experience in that area . . ."

The last time Morrie saw his own father was in a city morgue. Charlie Schwartz was a quiet man who liked to read his newspaper, alone, under a streetlamp on Tremont Avenue in the Bronx. Every night, when Morrie was little, Charlie would go for a walk after dinner. He was a small Russian man, with a ruddy complexion and a full head of grayish hair. Morrie and his brother, David, would look out the window and see him leaning against the lamppost, and Morrie wished he would come inside and talk to them, but he rarely did. Nor did he tuck them in, nor kiss them good-night.

Morrie always swore he would do these things for his own children if he ever had any. And years later, when he had them, he did.

Meanwhile, as Morrie raised his own children, Charlie was still living in the Bronx. He still took that walk. He still read the paper. One night, he went outside after dinner. A few blocks from home, he was accosted by two robbers.

"Give us your money," one said, pulling a gun. Frightened, Charlie threw down his wallet and began to run. He ran through the streets, and kept running until he reached the steps of a relative's house, where he collapsed on the porch.

Heart attack.

He died that night.

Morrie was called to identify the body. He flew to New York and went to the morgue. He was taken downstairs, to the cold room where the corpses were kept.

"Is this your father?" the attendant asked.

Morrie looked at the body behind the glass, the body of the man who had scolded him and molded him and taught him to work, who had been quiet when Morrie wanted him to speak, who had told Morrie to swallow his memories of his mother when he wanted to share them with the world.

He nodded and he walked away. The horror of the room, he would later say, sucked all other functions out of him. He did not cry until days later.

Still, his father's death helped prepare Morrie for his own. This much he knew: there would be lots of holding and kissing and talking and laughter and no good-byes left unsaid, all the things he missed with his father and his mother.

When the final moment came, Morrie wanted his loved ones around him, knowing what was happening. No one would get a phone call, or a telegram, or have to look through a glass window in some cold and foreign basement.

In the South American rain forest, there is a tribe called the Desana, who see the world as a fixed quantity of energy that flows between all creatures. Every birth must therefore engender a death, and every death bring forth another birth. This way, the energy of the world remains complete.

When they {hunt for food, the Desana know that the animals they kill will leave a hole in the spiritual well. But that hole will be filled, they believe, by the souls of the Desana hunters when they die. Were there no men dying, there would be no birds orfish being born. I like this idea. Morrie likes it, too. The closer he gets to good-bye, the more he seems to feel we are all creatures in the same forest. What we take, we must replenish.

"It's only fair," he says.

The Tenth Tuesday We Talk About Marriage

I brought a visitor to meet Morrie. My wife.

He had been asking me since the first day I came. "When do I meet Janine?" "When are you bringing her?" I'd always had excuses until a few days earlier, when I called his house to see how he was doing.

It took a while for Morrie to get to the receiver. And when he did, I could hear the fumbling as someone held it to his ear. He could no longer lift a phone by himself. "Hiiiiii," he gasped.

You doing okay, Coach?

I heard him exhale. "Mitch . . . your coach . . . isn't having such a great day . . .

His sleeping time was getting worse. He needed oxygen almost nightly now, and his coughing spells had become frightening. One cough could last an hour, and he never knew if he'd be able to stop. He always said he would die when the disease got his lungs. I shuddered when I thought how close death was.

I'll see you on Tuesday, I said. You'll have a better day then.

"Mitch."

Yeah?

"Is your wife there with you?" She was sitting next to me.