by Nora Ephron
There are all sorts of books written for older women. They are, as far as I can tell, uniformly upbeat and full of bromides and homilies about how pleasant life can be once one is free from all the nagging obligations of children, monthly periods, and, in some cases, full-time jobs. I find these books utterly useless, just as I found all the books I once read about menopause utterly useless. Why do people write books that say it’s better to be older than to be younger? It’s not better. Even if you have all your marbles, you’re constantly reaching for the name of the person you met the day before yesterday. Even if you’re in great shape, you can’t chop an onion the way you used to and you can’t ride a bicycle several miles without becoming a candidate for traction. If you work, you’re surrounded by young people who are plugged into the marketplace, the demographic, the zeitgeist; they want your job and someday soon they’re going to get it. If you’re fortunate enough to be in a sexual relationship, you’re not going to have the sex you once had. Plus, you can’t wear a bikini. Oh, how I regret not having worn a bikini for the entire year I was twenty-six. If anyone young is reading this, go, right this minute, put on a bikini, and don’t take it off until you’re thirty-four.
A magazine editor called me the other day, an editor who, like me, is over sixty. Her magazine was going to do an issue on Age, and she wanted me to write something for it. We began to talk about the subject, and she said, “You know what drives me nuts? Why do women our age say, ‘In my day …’? This is our day.”
But it isn’t our day. It’s their day. We’re just hanging on. We can’t wear tank tops, we have no idea who 50 Cent is, and we don’t know how to use almost any of the functions on our cell phones. If we hit the wrong button on the remote control and the television screen turns to snow, we have no idea how to get the television set back to where it was in the first place. (This is the true nightmare of the empty nest: Your children are gone, and they were the only people in the house who knew how to use the remote control.) Technology is a bitch. I can no longer even figure out how to get the buttons on the car radio to play my favorite stations. The gears on my bicycle mystify me. On my bicycle! And thank God no one has given me a digital wristwatch. In fact, if any of my friends are reading this, please don’t ever give me a digital anything.
Just the other day I went shopping at a store in Los Angeles that happens to stock jeans that actually come all the way up to my waist, and I was stunned to discover that the customer just before me was Nancy Reagan. That’s how old I am: Nancy Reagan and I shop in the same store.
Anyway, I said to this editor, you’re wrong, you are so wrong, this is not our day, this is their day. But she was undaunted. She said to me, well then, I have another idea: Why don’t you write about Age Shame? I said to her, get someone who is only fifty to write about Age Shame. I am way past Age Shame, if I ever had it. I’m just happy to be here at all.
Anyway, the point is, I don’t know why so much nonsense about age is written—although I can certainly understand that no one really wants to read anything that says aging sucks. We are a generation that has learned to believe we can do something about almost everything. We are active—hell, we are proactive. We are positive thinkers. We have the power. We will take any suggestion seriously. If a pill will help, we will take it. If being in the Zone will help, we will enter the Zone. When we hear about the latest ludicrously expensive face cream that is alleged to turn back the clock, we will go out and buy it even though we know that the last five face creams we fell for were completely ineffectual. We will do crossword puzzles to ward off Alzheimer’s and eat six almonds a day to ward off cancer; we will scan ourselves to find whatever can be nipped in the bud. We are in control. Behind the wheel. On the cutting edge. We make lists. We seek out the options. We surf the net.
But there are some things that are absolutely, definitively, entirely uncontrollable.
I am dancing around the D word, but I don’t mean to be coy. When you cross into your sixties, your odds of dying—or of merely getting horribly sick on the way to dying—spike. Death is a sniper. It strikes people you love, people you like, people you know, it’s everywhere. You could be next. But then you turn out not to be. But then again you could be.
Meanwhile, your friends die, and you’re left not just bereft, not just grieving, not just guilty, but utterly helpless. There is nothing you can do. Everybody dies.
“What is the answer?” Gertrude Stein asked Alice B. Toklas as Stein was dying.
There was no reply.
“In that case, what is the question?” Stein asked.
Well, exactly.
Well, not quite exactly. Here are some questions I am constantly noodling over: Do you splurge or do you hoard? Do you live every day as if it’s your last, or do you save your money on the chance you’ll live twenty more years? Is life too short, or is it going to be too long? Do you work as hard as you can, or do you slow down to smell the roses? And where do carbohydrates fit into all this? Are we really going to have to spend our last years avoiding bread, especially now that bread in America is so unbelievably delicious? And what about chocolate? There’s a question for you, Gertrude Stein—what about chocolate?
My friend Judy died last year. She was the person I told everything to. She was my best friend, my extra sister, my true mother, sometimes even my daughter, she was all these things, and one day she called up to say, the weirdest thing has happened, there’s a lump on my tongue. Less than a year later, she was dead. She was sixty-six years old. She had no interest in dying, right to the end. She died horribly. And now she’s gone. I think of her every day, sometimes six or seven times a day. This is the weekend she and I usually went to the spring garden and antiques show in Bridgehampton together. The fire screen in the next room is something she spotted in a corner of that antiques show, and above the fireplace is a poster of a seagull that she gave me only two summers ago. It’s June now; this is the month one or the other of us would make cornbread pudding, a ridiculous recipe we both loved that’s made with cornbread mix and canned cream corn. She made hers with sour cream, and I made mine without. “Hi, hon,” she would say when she called. “Hi, doll.” “Hello, my darling.” I don’t think she ever called me, or anyone else she knew, by their actual name. I have her white cashmere shawl. I wore it for days after her death; I wrapped myself up in it; I even slept in it. But now I can’t bear to wear it because it feels as if that’s all there is left of my Judy. I want to talk to her. I want to have lunch with her. I want her to give me a book she just read and loved. She is my phantom limb, and I can’t believe I’m here without her.
A few months before they found the lump on her tongue, Judy and I went out to lunch to celebrate a friend’s birthday. It had been a difficult year: barely a week had passed without some terrible news about someone’s health. I said at lunch, What are we going to do about this? Shouldn’t we talk about this? This is what our lives have become. Death is everywhere. How do we deal with it? Our birthday friend said, Oh, please, let’s not be morbid.
Yes. Let’s not be morbid.
Let’s not.
On the other hand, I meant to have a conversation with Judy about death. Before either of us was sick or dying. I meant to have one of those straightforward conversations where you discuss What You Want in the eventuality—well, I say “the eventuality,” but that’s one of the oddest things about this whole subject. Death doesn’t really feel eventual or inevitable. It still feels … avoidable somehow. But it’s not. We know in one part of our brains that we are all going to die, but on some level we don’t quite believe it.
But I meant to have that conversation with Judy, so that when the inevitable happened we would know what our intentions were, so that we could help each other die in whatever way we wanted to die. But of course, once they found the lump, there was no having the conversation. Living wills are much easier to draft when you are living instead of possibly dying; they’re the ultimate hypotheticals. And what difference would it have m
ade if we’d had that conversation? Before you get sick, you have absolutely no idea of how you’re going to feel once you do. You can imagine you’ll be brave, but it’s just as possible you’ll be terrified. You can hope that you’ll find a way to accept death, but you could just as easily end up raging against it. You have no idea what your particular prognosis is going to be, or how you’ll react to it, or what options you’ll have. You have no clue whether you will ever even know the truth about your prognosis, because the real question is, What is the truth, and who is going to tell it to us, and are we even going to want to hear it?
My friend Henry died a few months ago. He was what we refer to as one of the lucky ones. He died at eighty-two, having lived a full, rich, and successful life. He had coped brilliantly with macular degeneration—for almost two years, most of his friends had no idea he couldn’t see—and then he wrote a book about going blind that will probably outlast all the rest of his accomplishments, which were considerable. He died of heart failure, peacefully, in his sleep, with his adoring family around him. The day before his death, he asked to be brought a large brown accordion folder he kept in his office. In it were love letters he had received when he was younger. He sent them back to the women who’d written them, wrote them all lovely notes, and destroyed the rest. What’s more, he left complete, detailed instructions for his funeral, including the music he wanted—all of this laid out explicitly in a file on his computer he called “Exit.”
I so admire Henry and the way he handled his death. It’s inspirational. And yet I can’t quite figure out how any of it applies. For one thing, I have managed to lose all my love letters. Not that there were that many. And if I ever found them and sent them back to the men who wrote them to me, I promise you they would be completely mystified. I haven’t heard from any of these men in years, and on the evidence, they all seem to have done an extremely good job of getting over me. As for instructions for my funeral, I suppose I could come up with a few. For example, if there’s a reception afterward, I know what sort of food I would like served: those little finger sandwiches from this place on Lexington Avenue called William Poll. And champagne would be nice. I love champagne. It’s so festive. But otherwise I don’t have a clue. I haven’t even figured out whether I want to be buried or cremated—largely because I’ve always worried that cremation in some way lowers your chances of being reincarnated. (If there is such a thing.) (Which I know there isn’t.) (And yet.)
“I don’t want to die,” Judy said.
“I believe in miracles,” she said.
“I love you,” she said.
“Can you believe this?” she said.
No, I can’t believe it. I still can’t believe it.
But let’s not be morbid.
Let’s put little smiley faces on our faces.
LOL.
Eat, drink, and be merry.
Seize the day.
Life goes on.
It could be worse.
And the ever popular “Consider the alternative.”
And meanwhile, here we are.
What is to be done?
I don’t know. I hope that’s clear. In a few minutes I will be through with writing this piece, and I will go back to life itself. Squirrels have made a hole in the roof, and we don’t quite know what to do about it. Soon it will rain; we should probably take the cushions inside. I need more bath oil. And that reminds me to say something about bath oil. I use this bath oil I happen to love. It’s called Dr. Hauschka’s lemon bath. It costs about twenty dollars a bottle, which is enough for about two weeks of baths if you follow the instructions. The instructions say one capful per bath. But a capful gets you nowhere. A capful is not enough. I have known this for a long time. But if the events of the last few years have taught me anything, it’s that I’m going to feel like an idiot if I die tomorrow and I skimped on bath oil today. So I use quite a lot of bath oil. More than you could ever imagine. After I take a bath, my bathtub is as dangerous as an oil slick. But thanks to the bath oil, I’m as smooth as silk. I am going out to buy more, right now. Goodbye.
—June 2006
On Rapture
I’VE JUST SURFACED from spending several days in a state of rapture—with a book. I loved this book. I loved every second of it. I was transported into its world. I was reminded of all sorts of things in my own life. I was in anguish over the fate of its characters. I felt alive, and engaged, and positively brilliant, bursting with ideas, brimming with memories of other books I’ve loved. I composed a dozen imaginary letters to the author, letters I’ll never write, much less send. I wrote letters of praise. I wrote letters relating entirely inappropriate personal information about my own experiences with the author’s subject matter. I even wrote a letter of recrimination when one of the characters died and I was grief-stricken. But mostly I wrote letters of gratitude: the state of rapture I experience when I read a wonderful book is one of the main reasons I read, but it doesn’t happen every time or even every other time, and when it does happen, I’m truly beside myself.
When I was a child, nearly every book I read sent me into rapture. Can I be romanticizing my early reading experiences? I don’t think so. I can tick off so many books that I read and re-read when I was growing up—foremost among them the Oz books, which obsessed me—but so many others that were favorites in the most compelling way. I wanted so badly to be Jane Banks, growing up in London with Mary Poppins for a nanny, or Homer Price, growing up in Centerburg with an uncle who owned a donut machine that wouldn’t stop making donuts. Little Sara Crewe in Frances Hodgson Burnett’s classic A Little Princess was my alter ego—not in any real way, you understand; she was a much better-behaved child than I ever was—but I was so entranced by the story of the little rich girl who was sent up to the garret to be the scullery maid at the fancy boarding school where she’d been a pampered student before her father died. Oh, how I wanted to be an orphan! I read The Nun’s Story, and oh, how I wanted to be a nun! I wanted to be shipwrecked on a desert island and stranded in Krakatoa! I wanted to be Ozma, and Jo March, and Anne Frank, and Nancy Drew, and Eloise, and Anne of Green Gables—and in my imagination, at least, I could be.
I did most of my reading as a child on my bed or on a rattan sofa in the sunroom of the house I grew up in. Here’s a strange thing: Whenever I read a book I love, I start to remember all the other books that have sent me into rapture, and I can remember where I was living and the couch I was sitting on when I read them. After college, living in Greenwich Village, I sat on my brand-new wide-wale corduroy couch and read The Golden Notebook by Doris Lessing, the extraordinary novel that changed my life and the lives of so many other young women in the 1960s. I have the paperback copy I read at the time, and it’s dog-eared, epiphany after epiphany marked so that I could easily refer back to them. Does anyone read The Golden Notebook nowadays? I don’t know, but at the time, just before the second stage of the women’s movement burst into being, I was electrified by Lessing’s heroine, Anna, and her struggle to become a free woman. Work, friendship, love, sex, politics, psychoanalysis, writing—all the things that preoccupied me were Lessing’s subjects, and I can remember how many times I put the book down, reeling from its brilliance and insights.
Cut to a few years later. The couch is covered with purple slipcovers, and I’m reading for pure pleasure—it’s The Godfather by Mario Puzo, a divine book that sweeps me off into a wave of romantic delirium. I want to be a mafioso! No, that’s not quite right. Okay then, I want to be a mafioso’s wife!
A few years later, I’m divorced. No surprise there. The couch and I have moved to a dark apartment in the West Fifties. It’s a summer weekend, I have nothing whatsoever to do, and I should be lonely but I’m not—I’m reading the collected works of Raymond Chandler.
Six years later, another divorce. For weeks I’ve been unable to focus, to settle down, to read anything at all. A friend I’m staying with gives me the bound galleys of Smiley’s People. I sink into bed in the guest bedroo
m and happily surrender to John le Carré. I love John le Carré, but I’m even more in love with his hero, George Smiley, the spy with the broken heart. I want George Smiley to get over his broken heart. I want him to get over his horrible ex-wife who betrayed him. I want George Smiley to fall in love. I want George Smiley to fall in love with me. George Smiley, come to think of it, is exactly the sort of person I ought to marry and never do. I make a mental note to write John le Carré a letter giving him the benefit of my wisdom on this score.
But meanwhile, my purple couch is lost in the divorce and I buy a new couch, a wonderful squishy thing covered with a warm, cozy fabric, with arms you can lie back on and cushions you can sink into, depending on whether you want to read sitting up or lying down. On it I read most of Anthony Trollope and all of Edith Wharton, both of whom are dead and can’t be written to. Too bad; I’d like to tell them their books are as contemporary as they were when they were written. I read all of Jane Austen, six novels back to back, and spend days blissfully worrying over whether the lovers in each book will ever overcome the misunderstandings, objections, misapprehensions, character flaws, class distinctions, and all the other obstacles to love. I read these novels in a state of suspense so intense that you would never guess I have read them all at least ten times before.
And finally, one day, I read the novel that is probably the most rapture-inducing book of my adult life. On a chaise longue at the beach on a beautiful summer day, I open Wilkie Collins’s masterpiece, The Woman in White, probably the first great work of mystery fiction ever written (although that description hardly does it justice), and I am instantly lost to the world. Days pass as I savor every word. Each minute I spend away from the book pretending to be interested in everyday life is a misery. How could I have waited so long to read this book? When can I get back to it? Halfway through, I return to New York to work, to finish a movie, and I sit in the mix studio unable to focus on anything but whether my favorite character in the book will survive. I will not be able to bear it if anything bad happens to my beloved Marian Halcombe. Every so often I look up from the book and see a roomful of people waiting for me to make a decision about whether the music is too soft or the thunder is too loud, and I can’t believe they don’t understand that what I’m doing is Much More Important. I’m reading the most wonderful book.