by Albom, Mitch
I stopped renting. I started buying. I bought a house on a hill. I bought cars. I invested in stocks and built a portfolio. I was cranked to a fifth gear, and everything I did, I did on a deadline. I exercised like a demon. I drove my car at breakneck speed. I made more money than I had ever figured to see. I met a dark-haired woman named Janine who somehow loved me despite my schedule and the constant absences. We married after a seven year courtship. I was back to work a week after the wedding. I told her-and myself-that we would one day start a family, something she wanted very much. But that day never came.
Instead, I buried myself in accomplishments, because with accomplishments, I believed I could control things, I could squeeze in every last piece of happiness before I got sick and died, like my uncle before me, which I figured was my natural fate.
As for Morrie? Well, I thought about him now and then, the things he had taught me about "being human" and "relating to others," but it was always in the distance, as if from another life. Over the years, I threw away any mail that came from Brandeis University, figuring they were only asking for money. So I did not know of Morrie's illness. The people who might have told me were long forgotten, their phone numbers buried in some packed-away box in the attic.
It might have stayed that way, had I not been flicking through the TV channels late one night, when something caught my ear . . .
The Audiovisual
In March of 1995, a limousine carrying Ted Koppel, the host of ABC-TV's "Nightline" pulled up to the snow-covered curb outside Morrie's house in West Newton, Massachusetts.
Morrie was in a wheelchair full-time now, getting used to helpers lifting him like a heavy sack from the chair to the bed and the bed to the chair. He had begun to cough while eating, and chewing was a chore. His legs were dead; he would never walk again.
Yet he refused to be depressed. Instead, Morrie had become a lightning rod of ideas. He jotted down his thoughts on yellow pads, envelopes, folders, scrap paper. He wrote bite-sized philosophies about living with death's shadow: "Accept what you are able to do and what you are not able to do"; "Accept the past as past, without denying it or discarding it"; "Learn to forgive yourself and to forgive others"; "Don't assume that it's too late to get involved."
After a while, he had more than fifty of these "aphorisms," which he shared with his friends. One friend, a fellow Brandeis professor named Maurie Stein, was so taken with the words that he sent them to a Boston Globe reporter, who came out and wrote a long feature story on Morrie. The headline read:
A PROFESSOR'S FINAL COURSE: HIS OWN DEATH
The article caught the eye of a producer from the "Nightline" show, who brought it to Koppel in Washington, D. C.
"Take a look at this," the producer said.
Next thing you knew, there were cameramen in Morrie's living room and Koppel's limousine was in front of the house.
Several of Morrie's friends and family members had gathered to meet Koppel, and when the famous man entered the house, they buzzed with excitement-all except Morrie, who wheeled himself forward, raised his eyebrows, and interrupted the clamor with his high, singsong voice.
"Ted, I need to check you out before I agree to do this interview."
There was an awkward moment of silence, then the two men were ushered into the study. The door was shut. "Man," one friend whispered outside the door, "I hope Ted goes easy on Morrie."
"I hope Morrie goes easy on Ted," said the other.
Inside the office, Morrie motioned for Koppel to sit down. He crossed his hands in his lap and smiled.
"Tell me something close to your heart," Morrie began.
"My heart?"
Koppel studied the old man. "All right," he said cautiously, and he spoke about his children. They were close to his heart, weren't they?
"Good," Morrie said. "Now tell me something, about your faith."
Koppel was uncomfortable. "I usually don't talk about such things with people I've only known a few minutes."
"Ted, I'm dying," Morrie said, peering over his glasses. "I don't have a lot of time here."
Koppel laughed. All right. Faith. He quoted a passage from Marcus Aurelius, something he felt strongly about. Morrie nodded.
"Now let me ask you something," Koppel said. "Have you ever seen my program?"
Morrie shrugged. "Twice, I think." "Twice? That's all?"
"Don't feel bad. I've only seen `Oprah' once." "Well, the two times you saw my show, what did you think?"
Morrie paused. "To be honest?"
"Yes?"
"I thought you were a narcissist." Koppel burst into laughter.
"I'm too ugly to be a narcissist," he said.
Soon the cameras were rolling in front of the living room fireplace, with Koppel in his crisp blue suit and Morrie in his shaggy gray sweater. He had refused fancy clothes or makeup for this interview. His philosophy was that death should not be embarrassing; he was not about to powder its nose.
Because Morrie sat in the wheelchair, the camera never caught his withered legs. And because he was still able to move his hands-Morrie always spoke with both hands waving-he showed great passion when explaining how you face the end of life.
"Ted," he said, "when all this started, I asked myself, `Am I going to withdraw from the world, like most people do, or am I going to live?' I decided I'm going to live-or at least try to live-the way I want, with dignity, with courage, with humor, with composure.
"There are some mornings when I cry and cry and mourn for myself. Some mornings, I'm so angry and bitter. But it doesn't last too long. Then I get up and say, `I want to live . . .'
"So far, I've been able to do it. Will I be able to continue? I don't know. But I'm betting on myself that I will."
Koppel seemed extremely taken with Morrie. He asked about the humility that death induced.
"Well, Fred," Morrie said accidentally, then he quickly corrected himself. "I mean Ted . . . "
"Now that's inducing humility," Koppel said, laughing.
The two men spoke about the afterlife. They spoke about Morrie's increasing dependency on other people. He already needed help eating and sitting and moving from place to place. What, Koppel asked, did Morrie dread the most about his slow, insidious decay?
Morrie paused. He asked if he could say this certain thing on television.
Koppel said go ahead.
Morrie looked straight into the eyes of the most famous interviewer in America. "Well, Ted, one day soon, someone's gonna have to wipe my ass."
The program aired on a Friday night. It began with Ted Koppel from behind the desk in Washington, his voice booming with authority.
"Who is Morrie Schwartz," he said, "and why, by the end of the night, are so many of you going to care about him?"
A thousand miles away, in my house on the hill, I was casually flipping channels. I heard these words from the TV set "Who is Morrie Schwartz?"-and went numb.
It is our first class together, in the spring of 1976. I enter Morrie's large office and notice the seemingly countless books that line the wall, shelf after shelf. Books on sociology, philosophy, religion, psychology. There is a large rug on the hardwood floor and a window that looks out on the campus walk. Only a dozen or so students are there, fumbling with notebooks and syllabi. Most of them wear jeans and earth shoes and plaid flannel shirts. I tell myself it will not be easy to cut a class this small. Maybe I shouldn't take it.
"Mitchell?" Morrie says, reading from the attendance list. I raise a hand.
"Do you prefer Mitch? Or is Mitchell better?"
I have never been asked this by a teacher. I do a double take at this guy in his yellow turtleneck and green corduroy pants, the silver hair that falls on his forehead. He is smiling.
Mitch, I say. Mitch is what my friends called me.
"Well, Mitch it is then," Morrie says, as if closing a deal. "And, Mitch?"
Yes?
"I hope that one day you will think of me as your friend."
The Orient
ation
As I turned the rental car onto Morrie's street in West Newton, a quiet suburb of Boston, I had a cup of coffee in one hand and a cellular phone between my ear and shoulder. I was talking to a TV producer about a piece we were doing. My eyes jumped from the digital clock-my return flight was in a few hours-to the mailbox numbers on the tree-lined suburban street. The car radio was on, the all-news station. This was how I operated, five things at once.
"Roll back the tape," I said to the producer. "Let me hear that part again."
"Okay," he said. "It's gonna take a second." Suddenly, I was upon the house. I pushed the brakes, spilling coffee in my lap. As the car stopped, I caught a glimpse of a large Japanese maple tree and three figures sitting near it in the driveway, a young man and a middleaged woman flanking a small old man in a wheelchair. Morrie.
At the sight of my old professor, I froze.
"Hello?" the producer said in my ear. "Did I lose you?... "
I had not seen him in sixteen years. His hair was thinner, nearly white, and his face was gaunt. I suddenly felt unprepared for this reunion-for one thing, I was stuck on the phone-and I hoped that he hadn't noticed my arrival, so that I could drive around the block a few more times, finish my business, get mentally ready. But Morrie, this new, withered version of a man I had once known so well, was smiling at the car, hands folded in his lap, waiting for me to emerge.
"Hey?" the producer said again. "Are you there?" For all the time we'd spent together, for all the kindness and patience Morrie had shown me when I was young, I should have dropped the phone and jumped from the car, run and held him and kissed him hello. Instead, I killed the engine and sunk down off the seat, as if I were looking for something.
"Yeah, yeah, I'm here," I whispered, and continued my conversation with the TV producer until we were finished.
I did what I had become best at doing: I tended to my work, even while my dying professor waited on his front lawn. I am not proud of this, but that is what I did.
Now, five minutes later, Morrie was hugging me, his thinning hair rubbing against my cheek. I had told him I was searching for my keys, that's what had taken me so long in the car, and I squeezed him tighter, as if I could crush my little lie. Although the spring sunshine was warm, he wore a windbreaker and his legs were covered by a blanket. He smelled faintly sour, the way people on medication sometimes do. With his face pressed close to mine, I could hear his labored breathing in my ear.
"My old friend," he whispered, "you've come back at last."
He rocked against me, not letting go, his hands reaching up for my elbows as I bent over him. I was surprised at such affection after all these years, but then, in the stone walls I had built between my present and my past, I had forgotten how close we once were. I remembered graduation day, the briefcase, his tears at my departure, and I swallowed because I knew, deep down, that I was no longer the good, gift-bearing student he remembered.
I only hoped that, for the next few hours, I could fool him.
Inside the house, we sat at a walnut dining room table, near a window that looked out on the neighbor's house. Morrie fussed with his wheelchair, trying to get comfortable. As was his custom, he wanted to feed me, and I said all right. One of the helpers, a stout Italian woman named Connie, cut up bread and tomatoes and brought containers of chicken salad, hummus, and tabouli.
She also brought some pills. Morrie looked at them and sighed. His eyes were more sunken than I remembered them, and his cheekbones more pronounced. This gave him a harsher, older look-until he smiled, of course, and the sagging cheeks gathered up like curtains.
"Mitch," he said softly, "you know that I'm dying."
I knew.
"All right, then." Morrie swallowed the pills, put down the paper cup, inhaled deeply, then let it out. "Shall I tell you what it's like?"
What it's like? To die?
"Yes," he said.
Although I was unaware of it, our last class had just begun.
It is my freshman year. Morrie is older than most of the teachers, and I am younger than most of the students, having left high school a year early. To compensate for my youth on campus, I wear old gray sweatshirts and box in a local gym and walk around with an unlit cigarette in my mouth, even though I do not smoke. I drive a beat-up Mercury Cougar, with the windows down and the music up. I seek my identity in toughness-but it is Morrie's softness that draws me, and because he does not look at me as a kid trying to be something more than I am, I relax.
I finish that first course with him and enroll for another. He is an easy marker; he does not much care for grades. One year, they say, during the Vietnam War, Morrie gave all his male students A's to help them keep their student deferments.
I begin to call Morrie "Coach," the way I used to address my high school track coach. Morrie likes the nickname.
"Coach, " he says. "All right, I'll be your coach. And you can be my player. You can play all the lovely parts of life that I'm too old for now."
Sometimes we eat together in the cafeteria. Morrie, to my delight, is even more of a slob than I am. He talks instead of chewing, laughs with his mouth open, delivers a passionate thought through a mouthful of egg salad, the little yellow pieces spewing from his teeth.
It cracks me up. The whole time I know him, I have two overwhelming desires: to hug him and to give him a napkin.
The Classroom
The sun beamed in through the dining room window, lighting up the hardwood floor. We had been talking there for nearly two hours. The phone rang yet again and Morrie asked his helper, Connie, to get it. She had been jotting the callers' names in Morrie's small black appointment book. Friends. Meditation teachers. A discussion group. Someone who wanted to photograph him for a magazine. It was clear I was not the only one interested in visiting my old professor-the "Nightline" appearance had made him something of a celebrity-but I was impressed with, perhaps even a bit envious of, all the friends that Morrie seemed to have. I thought about the "buddies" that circled my orbit back in college. Where had they gone?
"You know, Mitch, now that I'm dying, I've become much more interesting to people."
You were always interesting.
"Ho." Morrie smiled. "You're kind." No, I'm not, I thought.
"Here's the thing," he said. "People see me as a bridge. I'm not as alive as I used to be, but I'm not yet dead. I'm sort of . . . in-between."
He coughed, then regained his smile. "I'm on the last great journey here-and people want me to tell them what to pack."
The phone rang again.
"Morrie, can you talk?" Connie asked.
"I'm visiting with my old pal now," he announced. "Let them call back."
I cannot tell you why he received me so warmly. I was hardly the promising student who had left him sixteen years earlier. Had it not been for "Nightline," Morrie might have died without ever seeing me again. I had no good excuse for this, except the one that everyone these days seems to have. I had become too wrapped up in the siren song of my own life. I was busy.
What happened to me? I asked myself. Morrie's high, smoky voice took me back to my university years, when I thought rich people were evil, a shirt and tie were prison clothes, and life without freedom to get up and go motorcycle beneath you, breeze in your face, down the streets of Paris, into the mountains of Tibet-was not a good life at all. What happened to me?
The eighties happened. The nineties happened. Death and sickness and getting fat and going bald happened. I traded lots of dreams for a bigger paycheck, and I never even realized I was doing it.
Yet here was Morrie talking with the wonder of our college years, as if I'd simply been on a long vacation.
"Have you found someone to share your heart with?" he asked.
"Are you giving to your community? "Are you at peace with yourself?
"Are you trying to be as human as you can be?"
I squirmed, wanting to show I had been grappling deeply with such questions. What happened to me? I once pr
omised myself I would never work for money, that I would join the Peace Corps, that I would live in beautiful, inspirational places.
Instead, I had been in Detroit for ten years now, at the same workplace, using the same bank, visiting the same barber. I was thirty-seven, more efficient than in college, tied to computers and modems and cell phones. I wrote articles about rich athletes who, for the most part, could not care less about people like me. I was no longer young for my peer group, nor did I walk around in gray sweatshirts with unlit cigarettes in my mouth. I did not have long discussions over egg salad sandwiches about the meaning of life.