A Little Life

by Hanya Yanagihara

  “I don’t know, Jude,” says Harold, warily.

  “Come on, Harold,” he says. “Just to the first bench.” Malcolm has placed three benches along the path he has hacked through the forest to the house’s rear; one is located about a third of a way around the lake; the second at the halfway point; and the third at the two-thirds point. “We’ll go slowly, and I’ll take my cane.” It has been years since he has had to use a cane—not since he was a teenager—but now he needs it for any distance longer than fifty yards or so. Finally, Harold agrees, and he grabs his scarf and coat before Harold can change his mind.

  Once they are outdoors, his euphoria increases. He loves this house: he loves how it looks, he loves its quiet, and most of all, he loves that it is his and Willem’s, as far from Lispenard Street as imaginable, but as much theirs as that place was, something they made together and share. The house, which faces a second, different forest, is a series of glass cubes, and preceding it is a long driveway that switchbacks through the woods, so at certain angles you can see only swatches of it, and at other angles it disappears completely. At night, when it is lit, it glows like a lantern, which was what Malcolm had named it in his monograph: Lantern House. The back of the house looks out onto a wide lawn and beyond it, a lake. At the bottom of the lawn is a pool, which is lined with slabs of slate so that the water is always cold and clear, even on the hottest days, and in the barn there is an indoor pool and a living room; every wall of the barn can be lifted up and away from the structure, so that the entire interior is exposed to the outdoors, to the tree peonies and lilac bushes that bloom around it in the early spring; to the panicles of wisteria that drip from its roof in the early summer. To the right of the house is a field that paints itself red with poppies in July; to the left is another through which he and Willem scattered thousands of wildflower seeds: cosmos and daisies and foxglove and Queen Anne’s lace. One weekend shortly after they had moved in, they spent two days making their way through the forests before and behind the house, planting lilies of the valley near the mossy hillocks around the oak and elm trees, and sowing mint seeds throughout. They knew Malcolm didn’t approve of their landscaping efforts—he thought them sentimental and trite—and although they knew Malcolm was probably right, they also didn’t really care. In spring and summer, when the air was fragrant, they often thought of Lispenard Street, its aggressive ugliness, and of how then they wouldn’t even have had the visual imagination to conjure a place like this, where the beauty was so uncomplicated, so undeniable that it seemed at times an illusion.

  He and Harold set off toward the forest, where the rough walkway means that it is easier for him to navigate than it had been when construction began. Even so, he has to concentrate, for the path is only cleared once a season, and in the months between it becomes cluttered with saplings and ferns and twigs and tree matter.

  They aren’t quite halfway to the first bench when he knows he has made a mistake. His legs began throbbing as soon as they finished walking down the lawn, and now his feet are throbbing as well, and each step is agonizing. But he doesn’t say anything, just grips his cane more tightly, trying to re-center the discomfort, and pushes forward, clenching his teeth and squaring his jaw. By the time they reach the bench—really, a dark-gray limestone boulder—he is dizzy, and they sit for a long time, talking and looking out onto the lake, which is silvery in the cold air.

  “It’s chilly,” Harold says eventually, and it is; he can feel the cool of the stone through his pants. “We should get you back to the house.”

  “Okay,” he swallows, and stands, and immediately, he feels a hot stake of pain being thrust upward through his feet and gasps, but Harold doesn’t notice.

  They are only thirty steps into the forest when he stops Harold. “Harold,” he says, “I need—I need—” But he can’t finish.

  “Jude,” Harold says, and he can tell Harold is worried. He takes his left arm, slings it around his neck, and holds his hand in his own. “Lean on me as much as you can,” Harold says, putting his other arm around his waist, and he nods. “Ready?” He nods again.

  He’s able to take twenty more steps—such slow steps, his feet tangling in the mulch—before he simply can’t move any more. “I can’t, Harold,” he says, and by this time he can barely speak, the pain is so extreme, so unlike anything he has felt in such a long time. Not since he was in the hospital in Philadelphia have his legs, his back, his feet hurt so profoundly, and he lets go of Harold and falls to the forest floor.

  “Oh god, Jude,” Harold says, and bends over him, helping him to sit up against a tree, and he thinks how stupid, how selfish, he is. Harold is seventy-two. He should not be asking a seventy-two-year-old man, even an admirably healthy seventy-two-year-old man, for physical assistance. He cannot open his eyes because the world is torquing itself around him, but he hears Harold take out his phone, hears him try to call Willem, but the forest is so dense that the reception is poor, and Harold curses. “Jude,” he hears Harold say, but his voice is very faint, “I’m going to have to go back to the house and get your wheelchair. I’m so sorry. I’m going to be right back.” He nods, barely, and feels Harold button his coat closed, feels him push his hands into his coat’s pockets, feels him wrap something around his legs—Harold’s own coat, he realizes. “I’ll be right back,” Harold says. “I’ll be right back.” He hears Harold’s feet running away from him, the crunch of the sticks and leaves as they snap and crumple beneath him.

  He turns his head to the side and the ground beneath him shifts, dangerously, and he vomits, coughing up everything he has eaten that day, feels it slide off of his lips and drool down his cheek. Then he feels a bit better, and he leans his head against the tree again. He is reminded of his time in the forest when he was running away from the home, how he had hoped the trees might protect him, and now he hopes for it again. He takes his hand out of his pocket, feels for his cane, and squeezes it as hard as he can. Behind his eyelids, bright spangled drops of light burst into confetti, and then blink out into oily smears. He concentrates on the sound of his breath, and on his legs, which he imagines as large lumpen shards of wood into which have been drilled dozens of long metal screws, each as thick as a thumb. He pictures the screws being drawn out in reverse, each one rotating slowly out of him and landing with a ringing clang on a cement floor. He vomits again. He is so cold. He can feel himself begin to spasm.

  And then he hears someone running toward him, and he can smell it is Willem—his sweet sandalwood scent—before he hears his voice. Willem gathers him, and when he lifts him, everything sways again, and he thinks he is going to be sick, but he isn’t, and he puts his right arm around Willem’s neck and turns his vomity face into his shoulder and lets himself be carried. He can hear Willem panting—he may weigh less than Willem, but they are still the same height, and he knows how unwieldy he must be, his cane, still in his hand, banging against Willem’s thighs, his calves knocking against Willem’s rib cage—and is grateful when he feels himself being lowered into his chair, hears Willem’s and Harold’s voices above him. He bends over, resting his forehead on his knees, and is pushed back out of the forest and up the hill to the house, and once inside, he is lifted into bed. Someone takes off his shoes, and he screams out and is apologized to; someones wipes his face; someone wraps his hands around a hot-water bottle; someone wraps his legs with blankets. Above him, he can hear Willem being angry—“Why did you fucking go along with this? You know he can’t fucking do this!”—and Harold’s apologetic, miserable replies: “I know, Willem. I’m so sorry. It was moronic. But he wanted to go so badly.” He tries to speak, to defend Harold, to tell Willem it was his fault, that he made Harold come with him, but he can’t.

  “Open your mouth,” Willem says, and he feels a pill, bitter as metal, being placed on his tongue. He feels a glass of water being tipped toward his lips. “Swallow,” Willem says, and he does, and soon after, the world ceases to exist.

  When he wakes, he turns and sees
Willem in bed with him, staring at him. “I’m so sorry,” he whispers, but Willem doesn’t say anything. He reaches over and runs his hand through Willem’s hair. “Willem,” he says, “it wasn’t Harold’s fault. I made him do it.”

  Willem snorts. “Obviously,” he says. “But he still shouldn’t have agreed to it.”

  They are quiet for a long time, and he thinks of what he needs to say, what he has always thought but never articulated. “I know this is going to sound illogical to you,” he tells Willem, who looks back at him. “But even all these years later, I still can’t think of myself as disabled. I mean—I know I am. I know I am. I have been for twice as long as I haven’t been. It’s the only way you’ve known me: as someone who—who needs help. But I remember myself as someone who used to be able to walk whenever he wanted to, as someone who used to be able to run.

  “I think every person who becomes disabled thinks they were robbed of something. But I suppose I’ve always felt that—that if I acknowledge that I am disabled, then I’ll have conceded to Dr. Traylor, then I’ll have let Dr. Traylor determine the shape of my life. And so I pretend I’m not; I pretend I am who I was before I met him. And I know it’s not logical or practical. But mostly, I’m sorry because—because I know it’s selfish. I know my pretending has consequences for you. So—I’m going to stop.” He takes a breath, closes and opens his eyes. “I’m disabled,” he says. “I’m handicapped.” And as foolish as it is—he is forty-seven, after all; he has had thirty-two years to admit this to himself—he feels himself about to cry.

  “Oh, Jude,” says Willem, and pulls him toward him. “I know you’re sorry. I know this is hard. I understand why you’ve never wanted to admit it; I do. I just worry about you; I sometimes think I care more about your being alive than you do.”

  He shivers, hearing this. “No, Willem,” he says. “I mean—maybe, at one point. But not now.”

  “Then prove it to me,” Willem says, after a silence.

  “I will,” he says.

  January; February. He is busier than he has ever been. Willem is rehearsing a play. March: Two new wounds open up, both on his right leg. Now the pain is excruciating; now he never leaves his wheelchair except to shower and go to the bathroom and dress and undress. It has been a year, more, since he has had a reprieve from the pain in his feet. And yet every morning when he wakes, he places them on the floor and is, for a second, hopeful. Maybe today he will feel better. Maybe today the pain will have abated. But he never does; it never does. And still he hopes. April: His birthday. The play’s run begins. May: Back come the night sweats, the fever, the shaking, the chills, the delirium. Back he goes to the Hotel Contractor. Back goes the catheter, this time into the left side of his chest. But there is a change this time: this time the bacteria is different; this time, he will need an antibiotic drip every eight hours, not every twenty-four. Back comes Patrizia, now two times a day: at six a.m., at Greene Street; at two p.m. at Rosen Pritchard; and at ten p.m. again at Greene Street, a night nurse, Yasmin. For the first time in their friendship, he sees only one performance of Willem’s play: his days are so segmented, so controlled by his medication, that he is simply unable to go a second time. For the first time since this cycle began a year ago, he feels himself tumbling toward despair; he feels himself giving up. He has to remind himself he must prove to Willem that he wants to remain alive, when all he really wants to do is stop. Not because he is depressed, but because he is exhausted. At the conclusion of one appointment, Andy looks at him with a strange expression and tells him that he’s not sure if he’s realized, but it’s been a month since he last cut himself, and he thinks about this. Andy is right. He has been too tired, too consumed to think about cutting.

  “Well,” Andy says. “I’m glad. But I’m sorry this is why you’ve stopped, Jude.”

  “I am, too,” he says. They are both quiet, both, he fears, nostalgic for the days when cutting was his most serious problem.

  Now it is June, now it is July. The wounds on his legs—the old ones, which he has had for more than a year, and the more recent ones, which he has had since March—have not healed. They have barely diminished. And it is then, just after the Fourth of July weekend, just after Willem’s run ends, that Andy asks if he can come talk to him and Willem. And because he knows what Andy is going to say, he lies and says that Willem is busy, that Willem doesn’t have the time, as if by delaying the conversation, he might delay his future as well, but early one Saturday evening he comes home from the office and there they are in the apartment, waiting for him.

  The speech is what he expects. Andy recommends—he strongly recommends—amputation. Andy is gentle, very gentle, but he can tell, from how rehearsed his delivery is, from how formal he is, that he is nervous.

  “We always knew this day would come,” Andy begins, “but that doesn’t make it any easier. Jude, only you know how much pain, how much inconvenience, you can tolerate. I can’t tell you that. I can tell you that you’ve gone on far longer than most people would. I can tell you you’ve been extraordinarily courageous—don’t make that face: you have been; you are—and I can tell you that I can’t imagine what you’ve been suffering.

  “But all of that aside—even if you feel you have the wherewithal to keep going—there are some realities to consider here. The treatments aren’t working. The wounds aren’t healing. The fact that you’ve had two bone infections in less than a year is alarming to me. I’m worried you’re going to develop an allergy to one of the antibiotics, and then we’ll be really, really fucked. And even if you don’t, you’re not tolerating the drugs as well as I’d hoped you would: you’ve lost way too much weight, a troubling amount of weight, and every time I see you, you’ve gotten a little weaker.

  “The tissue in your upper legs seems to be healthy enough that I’m pretty certain we’ll be able to spare both knees. And Jude, I promise you that your quality of life will improve instantly if we amputate. There won’t be any more pain in your feet. You’ve never had a wound on your thighs, and I don’t think there’s any immediate fear you will. The prosthetics available now are so infinitely superior than what they were even ten years ago that honestly, your gait will probably be better, more natural, with them than it is with your actual legs. The surgery is very straightforward—just four hours or so—and I’ll do it myself. And the inpatient recovery is brief: less than a week in the hospital, and we’ll fit you with temporary prostheses immediately.”

  Andy stops, placing his hands on his knees, and looks at them. For a long while, none of them speaks, and then Willem begins to ask questions, smart questions, questions he should be asking: How long is the outpatient recovery period? What kind of physical therapy would he be doing? What are the risks associated with the surgery? He half listens to the responses, which he already knows, more or less, having researched these very questions, this very scenario, every year since Andy had first suggested it to him, seventeen years ago.

  Finally, he interrupts them. “What happens if I say no?” he asks, and he can see the dismay move across both of their faces.

  “If you say no, we’ll keep pushing forward with everything we’ve been doing and hope it works eventually,” Andy says. “But Jude, it’s always better to have an amputation when you get to decide to have it, not when you’re forced to have it.” He pauses. “If you get a blood infection, if you develop sepsis, then we will have to amputate, and I won’t be able to guarantee that you’ll keep the knees. I won’t be able to guarantee that you won’t lose some other extremity—a finger; a hand—that the infection won’t spread far beyond your lower legs.”

  “But you can’t guarantee me that I’ll even keep the knees this time,” he says, petulant. “You can’t guarantee I won’t develop sepsis in the future.”

  “No,” Andy admits. “But as I said, I think there’s a very good chance you will keep them. And I think if we remove this part of your body that’s so gravely infected that it’ll help prevent further disease.”


  They are all quiet again. “This sounds like a choice that isn’t a choice,” he mutters.

  Andy sighs. “As I said, Jude,” he says, “it is a choice. It’s your choice. You don’t have to make it tomorrow, or even this week. But I want you to think about it, carefully.”

  He leaves, and he and Willem are left alone. “Do we have to talk about it now?” he asks, when he can finally look at Willem, and Willem shakes his head. Outside the sky is turning rose-colored; the sunset will be long and beautiful. But he doesn’t want beauty. He wishes, suddenly, that he could swim, but he hasn’t swum since the first bone infection. He hasn’t done anything. He hasn’t gone anywhere. He has had to turn his London clients over to a colleague, because his IV has tethered him to New York. His muscles have disappeared: he is soft flesh on bone; he moves like an old man. “I’m going to bed,” he tells Willem, and when Willem says, quietly, “Yasmin’s coming in a couple of hours,” he wants to cry. “Right,” he says, to the floor. “Well. I’m going to take a nap, then. I’ll wake up for Yasmin.”

  That night, after Yasmin has left, he cuts himself for the first time in a long time; he watches the blood weep across the marble and into the drain. He knows how irrational it seems, his desire to keep his legs, his legs that have caused him so many problems, that have cost him how many hours, how much money, how much pain to maintain? But still: They are his. They are his legs. They are him. How can he willingly cut away a part of himself? He knows that he has already cut away so much of himself over the years: flesh, skin, scars. But somehow this is different. If he sacrifices his legs, he will be admitting to Dr. Traylor that he has won; he will be surrendering to him, to that night in the field with the car.

  And it is also different because he knows that once he loses them, he will no longer be able to pretend. He will no longer be able to pretend that someday he will walk again, that someday he will be better. He will no longer be able to pretend that he isn’t disabled. Up, once more, will go his freak-show factor. He will be someone who is defined, first and always, by what he is missing.