by Albom, Mitch
". . . a sense of purpose," she continued. "Yes. That's good, you know."
"I hope so," I said.
I helped put the new food inside the refrigerator. The kitchen counter had all kinds of notes, messages, information, medical instructions. The table held more pill bottles than ever-Selestone for his asthma, Ativan to help him sleep, naproxen for infections-along with a powdered milk mix and laxatives. From down the hall, we heard the sound of a door open.
"Maybe he's available now . . . let me go check."
Charlotte glanced again at my food and I felt suddenly ashamed. All these reminders of things Morrie would never enjoy.
The small horrors of his illness were growing, and when I finally sat down with Morrie, he was coughing more than usual, a dry, dusty cough that shook his chest and made his head jerk forward. After one violent surge, he stopped, closed his eyes, and took a breath. I sat quietly because I thought he was recovering from his exertion.
"Is the tape on?" he said suddenly, his eyes still closed.
Yes, yes, I quickly said, pressing down the play and record buttons.
"What I'm doing now," he continued, his eyes still closed, "is detaching myself from the experience."
Detaching yourself?
"Yes. Detaching myself. And this is important-not just for someone like me, who is dying, but for someone like you, who is perfectly healthy. Learn to detach."
He opened his eyes. He exhaled. "You know what the Buddhists say? Don't cling to things, because everything is impermanent."
But wait, I said. Aren't you always talking about experiencing life? All the good emotions, all the bad ones?
"Yes. "
Well, how can you do that if you're detached?
"Ah. You're thinking, Mitch. But detachment doesn't mean you don't let the experience penetrate you. On the contrary, you let it penetrate you fully. That's how you are able to leave it."
I'm lost.
"Take any emotion-love for a woman, or grief for a loved one, or what I'm going through, fear and pain from a deadly illness. If you hold back on the emotions-if you don't allow yourself to go all the way through them-you can never get to being detached, you're too busy being afraid. You're afraid of the pain, you're afraid of the grief. You're afraid of the vulnerability that loving entails.
"But by throwing yourself into these emotions, by allowing yourself to dive in, all the way, over your head even, you experience them fully and completely. You know what pain is. You know what love is. You know what grief is. And only then can you say, `All right. I have experienced that emotion. I recognize that emotion. Now I need to detach from that emotion for a moment.' "
Morrie stopped and looked me over, perhaps to make sure I was getting this right.
"I know you think this is just about dying," he said, "but it's like I keep telling you. When you learn how to die, you learn how to live."
Morrie talked about his most fearful moments, when he felt his chest locked in heaving surges or when he wasn't sure where his next breath would come from. These were horrifying times, he said, and his first emotions were horror, fear, anxiety. But once he recognized the feel of those emotions, their texture, their moisture, the shiver down the back, the quick flash of heat that crosses your brain-then he was able to say, "Okay. This is fear. Step away from it. Step away."
I thought about how often this was needed in everyday life. How we feel lonely, sometimes to the point of tears, but we don't let those tears come because we are not supposed to cry. Or how we feel a surge of love for a partner but we don't say anything because we're frozen with the fear of what those words might do to the relationship.
Morrie's approach was exactly the opposite. Turn on the faucet. Wash yourself with the emotion. It won't hurt you. It will only help. If you let the fear inside, if you pull it on like a familiar shirt, then you can say to yourself, "All right, it's just fear, I don't have to let it control me. I see it for what it is."
Same for loneliness: you let go, let the tears flow, feel it completely-but eventually be able to say, "All right, that was my moment with loneliness. I'm not afraid of feeling lonely, but now I'm going to put that loneliness aside and know that there are other emotions in the world, and I'm going to experience them as well."
"Detach," Morrie said again.
He closed his eyes, then coughed. Then he coughed again.
Then he coughed again, more loudly.
Suddenly, he was half-choking, the congestion in his lungs seemingly teasing him, jumping halfway up, then dropping back down, stealing his breath. He was gagging, then hacking violently, and he shook his hands in front of him-with his eyes closed, shaking his hands, he appeared almost possessed-and I felt my forehead break into a sweat. I instinctively pulled him forward and slapped the back of his shoulders, and he pushed a tissue to his mouth and spit out a wad of phlegm.
The coughing stopped, and Morrie dropped back into the foam pillows and sucked in air.
"You okay? You all right?" I said, trying to hide my fear.
"I'm . . . okay," Morrie whispered, raising a shaky finger. "Just . . . wait a minute."
We sat there quietly until his breathing returned to normal. I felt the perspiration on my scalp. He asked me to close the window, the breeze was making him cold. I didn't mention that it was eighty degrees outside.
Finally, in a whisper, he said, "I know how I want to die."
I waited in silence.
"I want to die serenely. Peacefully. Not like what just happened.
"And this is where detachment comes in. If I die in the middle of a coughing spell like I just had, I need to be able to detach from the horror, I need to say, `This is my moment.'
"I don't want to leave the world in a state of fright. I want to know what's happening, accept it, get to a peaceful place, and let go. Do you understand?"
I nodded.
Don't let go yet, I added quickly.
Morrie forced a smile. "No. Not yet. We still have work to do."
Do you believe in reincarnation? I ask. "Perhaps. "
What would you come back as? `If I had my choice, a gazelle."
" A gazelle?"
"Yes. So graceful. So fast."
" A gazelle?
Morrie smiles at me. "You think that's strange?"
I study his shrunken frame, the loose clothes, the sockswrapped feet that rest stiffly on foam rubber cushions, unable to move, like a prisoner in leg irons. I picture a gazelle racing across the desert.
No, I say. I don't think that's strange at all.
The Professor, Part Two
The Morrie I knew, the Morrie so many others knew, would not have been the man he was without the years he spent working at a mental hospital just outside Washington, D.C., a place with the deceptively peaceful name of Chestnut Lodge. It was one of Morrie's first jobs after plowing through a master's degree and a Ph.D. from the University of Chicago. Having rejected medicine, law, and business, Morrie had decided the research world would be a place where he could contribute without exploiting others.
Morrie was given a grant to observe mental patients and record their treatments. While the idea seems common today, it was groundbreaking in the early fifties. Morrie saw patients who would scream all day. Patients who would cry all night. Patients soiling their underwear. Patients refusing to eat, having to be held down, medicated, fed intravenously.
One of the patients, a middle-aged woman, came out of her room every day and lay facedown on the tile floor, stayed there for hours, as doctors and nurses stepped around her. Morrie watched in horror. He took notes, which is what he was there to do. Every day, she did the same thing: came out in the morning, lay on the floor, stayed there until the evening, talking to no one, ignored by everyone. It saddened Morrie. He began to sit on the floor with her, even lay down alongside her, trying to draw her out of her misery. Eventually, he got her to sit up, and even to return to her room. What she mostly wanted, he learned, was the same thing many people want-someone
to notice she was there.
Morrie worked at Chestnut Lodge for five years. Although it wasn't encouraged, he befriended some of the patients, including a woman who joked with him about how lucky she was to be there "because my husband is rich so he can afford it. Can you imagine if I had to be in one of those cheap mental hospitals?"
Another woman-who would spit at everyone else took to Morrie and called him her friend. They talked each day, and the staff was at least encouraged that someone had gotten through to her. But one day she ran away, and Morrie was asked to help bring her back. They tracked her down in a nearby store, hiding in the back, and when Morrie went in, she burned an angry look at him.
"So you're one of them, too," she snarled.
"One of who?"
"My jailers."
Morrie observed that most of the patients there had been rejected and ignored in their lives, made to feel that they didn't exist. They also missed compassion-something the staff ran out of quickly. And many of these patients were well-off, from rich families, so their wealth did not buy them happiness or contentment. It was a lesson he never forgot.
I used to tease Morrie that he was stuck in the sixties. He would answer that the sixties weren't so bad, compared to the times we lived in now.
He came to Brandeis after his work in the mental health field, just before the sixties began. Within a few years, the campus became a hotbed for cultural revolution. Drugs, sex, race, Vietnam protests. Abbie Hoffman attended Brandeis. So did Jerry Rubin and Angela Davis. Morrie had many of the "radical" students in his classes.
That was partly because, instead of simply teaching, the sociology faculty got involved. It was fiercely antiwar, for example. When the professors learned that students who did not maintain a certain grade point average could lose their deferments and be drafted, they decided not to give any grades. When the administration said, "If you don't give these students grades, they will all fail," Morrie had a solution: "Let's give them all A's." And they did.
Just as the sixties opened up the campus, it also opened up the staff in Morrie's department, from the jeans and sandals they now wore when working to their view of the classroom as a living, breathing place. They chose discussions over lectures, experience over theory. They sent students to the Deep South for civil rights projects and to the inner city for fieldwork. They went to Washington for protest marches, and Morrie often rode the busses with his students. On one trip, he watched with gentle amusement as women in flowing skirts and love beads put flowers in soldiers' guns, then sat on the lawn, holding hands, trying to levitate the Pentagon.
"They didn't move it," he later recalled, "but it was a nice try."
One time, a group of black students took over Ford Hall on the Brandeis campus, draping it in a banner that read MALCOLM X UNIVERSITY. Ford Hall had chemistry labs, and some administration officials worried that these radicals were making bombs in the basement. Morrie knew better. He saw right to the core of the problem, which was human beings wanting to feel that they mattered.
The standoff lasted for weeks. And it might have gone on even longer if Morrie hadn't been walking by the building when one of the protesters recognized him as a favorite teacher and yelled for him to come in through the window.
An hour later, Morrie crawled out through the window with a list of what the protesters wanted. He took the list to the university president, and the situation was diffused.
Morrie always made good peace.
At Brandeis, he taught classes about social psychology, mental illness and health, group process. They were light on what you'd now call "career skills" and heavy on "personal development."
And because of this, business and law students today might look at Morrie as foolishly naive about his contributions. How much money did his students go on to make? How many big-time cases did they win?
Then again, how many business or law students ever visit their old professors once they leave? Morrie's students did that all the time. And in his final months, they came back to him, hundreds of them, from Boston, New York, California, London, and Switzerland; from corporate offices and inner city school programs. They called. They wrote. They drove hundreds of miles for a visit, a word, a smile.
"I've never had another teacher like you," they all said.
As my visits with Morrie go on, I begin to read about death_, how different cultures view the final passage. There is a tribe in the North American Arctic, for example, who believe that all things on earth have a soul that exists in a miniature form of the body that holds it-so that a deer has a tiny deer inside it, and a man has a tiny man inside him. When the large being dies, that tiny form lives on. It can slide into something being born nearby, or it can go to a temporary resting place in the sky, in the belly of a great feminine spirit, where it waits until the moon can send it back to earth.
Sometimes, they say, the moon is so busy with the new souls of the world that it disappears from the sky. That is why we have moonless nights. But in the end, the moon always returns, as do we all.
That is what they believe.
The Seventh Tuesday We Talk About the Fear o f Aging
Morrie lost his battle. Someone was now wiping his behind.
He faced this with typically brave acceptance. No longer able to reach behind him when he used the commode, he informed Connie of his latest limitation. "Would you be embarrassed to do it for me?" She said no.
I found it typical that he asked her first.
It took some getting used to, Morrie admitted, because it was, in a way, complete surrender to the disease. The most personal and basic things had now been taken from him-going to the bathroom, wiping his nose, washing his private parts. With the exception of breathing and swallowing his food, he was dependent on others for nearly everything.
I asked Morrie how he managed to stay positive through that.
"Mitch, it's funny," he said. "I'm an independent person, so my inclination was to fight all of this-being helped from the car, having someone else dress me. I felt a little ashamed, because our culture tells us we should be ashamed if we can't wipe our own behind. But then I figured, Forget what the culture says. I have ignored the culture much of my life. I am not going to be ashamed. What's the big deal?
"And you know what? The strangest thing." What's that?
"I began to enjoy my dependency. Now I enjoy when they turn me over on my side and rub cream on my behind so I don't get sores. Or when they wipe my brow, or they massage my legs. I revel in it. I close my eyes and soak it up. And it seems very familiar to me.
"It's like going back to being a child again. Someone to bathe you. Someone to lift you. Someone to wipe you. We all know how to be a child. It's inside all of us. For me, it's just remembering how to enjoy it.
"The truth is, when our mothers held us, rocked us, stroked our heads-none of us ever got enough of that. We all yearn in some way to return to those days when we were completely taken care of-unconditional love, unconditional attention. Most of us didn't get enough.
"I know I didn't."
I looked at Morrie and I suddenly knew why he so enjoyed my leaning over and adjusting his microphone, or fussing with the pillows, or wiping his eyes. Human touch. At seventy-eight, he was giving as an adult and taking as a child.
Later that day, we talked about aging. Or maybe 1 should say the fear of aging-another of the issues on my what's-bugging-my-generation list. On my ride from the Boston airport, I had counted the billboards that featured young and beautiful people. There was a handsome young man in a cowboy hat, smoking a cigarette, two beautiful young women smiling over a shampoo bottle, a sultrylooking teenager with her jeans unsnapped, and a sexy woman in a black velvet dress, next to a man in a tuxedo, the two of them snuggling a glass of scotch.
Not once did I see anyone who would pass for over thirty-five. I told Morrie I was already feeling over the hill, much as I tried desperately to stay on top of it. I worked out constantly. Watched what I ate. Checked my hairline in the
mirror. I had gone from being proud to say my age-because of all I had done so young-to not bringing it up, for fear I was getting too close to forty and, therefore, professional oblivion.
Morrie had aging in better perspective.
"All this emphasis on youth-I don't buy it," he said. "Listen, I know what a misery being young can be, so don't tell me it's so great. All these kids who came to me with their struggles, their strife, their feelings of inadequacy, their sense that life was miserable, so bad they wanted to kill themselves . . .