A Little Life

by Hanya Yanagihara

  And he is tired. He doesn’t want to have to learn how to walk again. He doesn’t want to work at regaining weight he knows he will lose, weight on top of the weight he has struggled to replace from the first bone infection, weight that he has re-lost with the second. He doesn’t want to go back into the hospital, he doesn’t want to wake disoriented and confused, he doesn’t want to be visited by night terrors, he doesn’t want to explain to his colleagues that he is sick yet again, he doesn’t want the months and months of being weak, of fighting to regain his equilibrium. He doesn’t want Willem to see him without his legs, he doesn’t want to give him one more challenge, one more grotesquerie to overcome. He wants to be normal, he has only ever wanted to be normal, and yet with each year, he moves further and further from normalcy. He knows it is fallacious to think of the mind and the body as two separate, competing entities, but he cannot help it. He doesn’t want his body to win one more battle, to make the decision for him, to make him feel so helpless. He doesn’t want to be dependent on Willem, to have to ask him to lift him in and out of bed because his arms will be too useless and watery, to help him use the bathroom, to see the remains of his legs rounded into stumps. He had always assumed that there would be some sort of warning before this point, that his body would alert him before it became seriously worse. He knows, he does, that this past year and a half was his warning—a long, slow, consistent, unignorable warning—but he has chosen, in his arrogance and stupid hope, not to see it for what it is. He has chosen to believe that because he had always recovered, that he would once again, one more time. He has given himself the privilege of assuming that his chances are limitless.

  Three nights later he wakes again with a fever; again he goes into the hospital; again he is discharged. This fever has been caused by an infection around his catheter, which is removed. A new one is inserted into his internal jugular vein, where it forms a bulge that not even his shirt collars can wholly camouflage.

  His first night back home, he is coasting through his dreams when he opens his eyes and sees that Willem isn’t in bed next to him, and he works himself into his wheelchair and glides out of the room.

  He sees Willem before Willem sees him; he is sitting at the dining table, the light on above him, his back to the bookcases, staring out into the room. There is a glass of water before him, and his elbow is resting on the table, his hand supporting his chin. He looks at Willem and sees how exhausted he is, how old, his bright hair gone whitish. He has known Willem for so long, has looked at his face so many times, that he is never able to see him anew: his face is better known to him than his own. He knows its every expression. He knows what Willem’s different smiles mean; when he is watching him being interviewed on television, he can always tell when he is smiling because he’s truly amused and when he is smiling to be polite. He knows which of his teeth are capped, and he knows which ones Kit made him straighten when it was clear that he was going to be a star, when it was clear that he wouldn’t just be in plays and independent films but would have a different kind of career, a different kind of life. But now he looks at Willem, at his face that is still so handsome but also so tired, the kind of tiredness he thought only he was feeling, and realizes that Willem is feeling it as well, that his life—Willem’s life with him—has become a sort of drudgery, a slog of illnesses and hospital visits and fear, and he knows what he will do, what he has to do.

  “Willem,” he says, and watches Willem jerk out of his trance and look at him.

  “Jude,” Willem says. “What’s wrong? Are you feeling sick? Why are you out of bed?”

  “I’m going to do it,” he says, and he thinks that they are like two actors on a stage, talking to each other across a great distance, and he wheels himself close to him. “I’m going to do it,” he repeats, and Willem nods, and then they lean their foreheads into each other’s, and both of them start crying. “I’m sorry,” he tells Willem, and Willem shakes his head, his forehead rubbing against his.

  “I’m sorry,” Willem tells him back. “I’m sorry, Jude. I’m so sorry.”

  “I know,” he says, and he does.

  The next day he calls Andy, who is relieved but also muted, as if out of respect to him. Things move briskly after that. They pick a date: the first date Andy proposes is Willem’s birthday, and even though he and Willem have agreed that they’ll celebrate Willem’s fiftieth birthday once he’s better, he doesn’t want to have the surgery on the actual day. So instead he’ll have it at the end of August, the week before Labor Day, the week before they usually go to Truro. In the next management committee meeting, he makes a brief announcement, explaining that this is a voluntary operation, that he’ll only be out of the office for a week, ten days at the most, that it isn’t a big deal, that he’ll be fine. Then he announces it to his department; he normally wouldn’t, he tells them, but he doesn’t want their clients to worry, he doesn’t want them to think that it’s something more serious than it is, he doesn’t want to be the subject of rumors and chatter (although he knows he will be). He reveals so little about himself at work that whenever he does, he can see people sit up and lean forward in their seats, can almost see their ears lift a little higher. He has met all of their wives and husbands and girlfriends and boyfriends, but they have never met Willem. He has never invited Willem to one of the company’s retreats, to their annual holiday parties, to their annual summer picnics. “You’d hate them,” he tells Willem, although he knows that isn’t really the case: Willem can have a good time anywhere. “Believe me.” And Willem has always shrugged. “I’d love to come,” he has always said, but he has never let him. He has always told himself that he is protecting Willem from a series of events that he would surely find tedious, but he has never considered that Willem might be hurt by his refusal to include him, might actually want to be a part of his life beyond Greene Street and their friends. He flushes now, realizing this.

  “Any questions?” he asks, not really expecting any, when he sees one of the younger partners, a callous but scarily effective man named Gabe Freston, raise his hand. “Freston?” he says.

  “I just wanted to say that I’m really sorry, Jude,” says Freston, and around him, everyone murmurs their agreement.

  He wants to make the moment light, to say—because it is true—“That’s the first time I’ve heard you be so sincere since I told you what your bonus would be last year, Freston,” but he doesn’t, just takes a deep breath. “Thank you, Gabe,” he says. “Thanks, all of you. Now everyone—back to work,” and they scatter.

  The surgery will be on a Monday, and although he stays at the office late on Friday, he doesn’t go in on Saturday. That afternoon, he packs a bag for the hospital; that evening, he and Willem have dinner at the tiny sushi place where they first celebrated the Last Supper. His final sessions with Patrizia and Yasmin had been on Thursday; Andy calls early on Saturday to tell him that he has the X-rays back, and that although the infection hasn’t budged, it also hasn’t spread. “Obviously, it won’t be a problem after Monday,” he says, and he swallows, hard, just as he had when Andy had said earlier that week, “You won’t have this foot pain after next Monday.” He remembers then that it is not the problem that is being eradicated; it is the source of the problem that is being eradicated. One is not the same as the other, but he supposes he has to be grateful, finally, for eradication, however it is delivered.

  He eats his final meal on Sunday at seven p.m.; the surgery is at eight the next morning, and so he is to have no more food, no more medication, nothing to drink, for the rest of the night.

  An hour later, he and Willem descend in the elevator to the ground floor, for his last walk on his own legs. He has made Willem promise him this walk, and even before they begin—they will go south on Greene one block to Grand, then west just another block to Wooster, then up Wooster four blocks to Houston, then back east to Greene and south to their apartment—he isn’t sure he’ll be able to finish. Above them, the sky is the color of bruises, and he re
members, suddenly, being forced out onto the street, naked, by Caleb.

  He lifts up his left leg and begins. Down the quiet street they walk, and at Grand, as they are turning right, he takes Willem’s hand, which he never does in public, but now he holds it close, and they turn right again and begin moving up Wooster.

  He had wanted so badly to complete this circuit, but perversely, his inability to do so—at Spring, still two blocks south of Houston, Willem glances at him and, without even asking, starts walking him back east to Greene Street—reassures him: he is making the right decision. He has pressed up against the inevitable, and he has made the only choice he could make, not just for Willem’s sake, but for his own. The walk has been almost unbearable, and when he gets back to the apartment, he is surprised to feel that his face is wet with tears.

  The next morning, Harold and Julia meet them at the hospital, looking gray and frightened. He can tell they are trying to remain stoic for him; he hugs and kisses them both, assures them he’ll be fine, that there’s nothing to worry about. He is taken away to be prepped. Since the injury, the hair on his legs has always grown unevenly, around and between the scars, but now he is shaved clean above and below his kneecaps. Andy comes in, holds his face in his hands, and kisses him on his forehead. He doesn’t say anything, just takes out a marker and draws a series of dashes, like Morse code signals, in inverted arcs a few inches below the bottoms of both knees, then tells him he’ll be back, but that he’ll send Willem in.

  Willem comes over and sits on the edge of his bed, and they hold each other’s hands in silence. He is about to say something, make some stupid joke, when Willem begins to cry, and not just cry, but keen, bending over and moaning, sobbing like he has never seen anyone sob. “Willem,” he says, desperately, “Willem, don’t cry: I’m going to be fine. I really am. Don’t cry. Willem, don’t cry.” He sits up in the bed, wraps his arms around Willem. “Oh, Willem,” he sighs, near tears himself. “Willem, I’m going to be okay. I promise you.” But he can’t soothe him, and Willem cries and cries.

  He senses that Willem is trying to say something, and he rubs his back, asking him to repeat himself. “Don’t go,” he hears Willem say. “Don’t leave me.”

  “I promise I won’t,” he says. “I promise. Willem—it’s an easy surgery. You know I have to come out on the other side so Andy can lecture me some more, right?”

  It is then that Andy walks in. “Ready, campers?” he asks, and then he sees and hears Willem. “Oh god,” he says, and he comes over, joins their huddle. “Willem,” he says, “I promise I’ll take care of him like he’s my own, you know that, right? You know I won’t let anything happen to him?”

  “I know,” they hear Willem gulp, at last. “I know, I know.”

  Finally, they are able to calm Willem down, who apologizes and wipes at his eyes. “I’m sorry,” Willem says, but he shakes his head, and pulls on Willem’s hand until he brings his face to his own, kisses him goodbye. “Don’t be,” he tells him.

  Outside the operating room, Andy brings his head down to his, and kisses him again, this time on his cheek. “I’m not going to be able to touch you after this,” he says. “I’ll be sterile.” The two of them grin, suddenly, and Andy shakes his head. “Aren’t you getting a little old for this kind of puerile humor?” he asks.

  “Aren’t you?” he asks. “You’re almost sixty.”

  “Never.”

  Then they are in the operating room, and he is gazing at the bright white disk of light above him. “Hello, Jude,” says a voice behind him, and he sees it’s the anesthesiologist, a friend of Andy’s named Ignatius Mba, whom he’s met before at one of Andy and Jane’s dinner parties.

  “Hi, Ignatius,” he says.

  “Count backward from ten for me,” says Ignatius, and he begins to, but after seven, he is unable to count any further; the last thing he feels is a tingling in his right toes.

  Three months later. It is Thanksgiving again, and they are having it at Greene Street. Willem and Richard have cooked everything, arranged everything, while he slept. His recovery has been harder and more complicated than anticipated, and he has contracted infections, twice. For a while he was on a feeding tube. But Andy was right: he has kept both knees. In the hospital, he would wake, telling Harold and Julia, telling Willem, that it felt like there was an elephant sitting on his feet, rocking back and forth on its rump until his bones turned into cracker dust, into something finer than ash. But they never told him that he was imagining this; they only told him that the nurse had just added a painkiller to his IV drip for this very purpose, and that he would be feeling better soon. Now he has these phantom pains less and less frequently, but they haven’t disappeared entirely. And he is still very tired, he is still very weak, and so Richard has placed a mauve velvet wingback chair on casters—one that India sometimes uses for sittings—for him at the head of the table, so he can lean his head against its wings when he feels depleted.

  That dinner is Richard and India, Harold and Julia, Malcolm and Sophie, JB and his mother, and Andy and Jane, whose children are visiting Andy’s brother in San Francisco. He starts to give a toast, thanking everyone for everything they have given him and done for him, but before he gets to the person he wants to thank most—Willem, sitting to his right—he finds he cannot continue, and he looks up from his paper at his friends and sees that they are all going to cry, and so he stops.

  He is enjoying the dinner, amused even by how people keep adding scoops of different food to his plate, even though he hasn’t eaten much of his first serving, but he is so sleepy, and eventually he burrows back into the chair and closes his eyes, smiling as he listens to the familiar conversation, the familiar voices, fill the air around him.

  Eventually Willem notices that he is falling asleep, and he hears him stand. “Okay,” he says, “time for your diva exit,” and turns the chair from the table and begins pushing it away toward their bedroom, and he uses the last of his strength to answer everyone’s laughter, their song of goodbyes, to peek out around the wing of the chair and smile at them, letting his fingers trail behind him in an airy, theatrical wave. “Stay,” he calls out as he is taken from them. “Please stay. Please stay and give Willem some decent conversation,” and they agree they will; it isn’t even seven, after all—they have hours and hours. “I love you,” he calls to them, and they shout it back at him, all of them at once, although even in their chorus, he can still distinguish each individual voice.

  At the doorway to their bedroom, Willem lifts him—he has lost so much weight, and without his prostheses is so less storklike a form, that now even Julia can lift him—and carries him to their bed, helps him undress, helps him remove his temporary prostheses, folds the covers back over him. He pours him a glass of water, hands him his pills: an antibiotic, a fistful of vitamins. He swallows them all as Willem watches, and then for a while Willem sits on the bed next to him, not touching him, but simply near.

  “Promise me you’ll go out there and stay up late,” he tells Willem, and Willem shrugs.

  “Maybe I’ll just stay here with you,” he says. “They seem to be having a fine time without me.” And sure enough, there is a burst of laughter from the dining room, and they look at each other and smile.

  “No,” he says, “promise me,” and finally, Willem does. “Thank you, Willem,” he says, inadequately, his eyes closing. “This was a good day.”

  “It was, wasn’t it?” he hears Willem say, and then he begins to say something else, but he doesn’t hear it because he has fallen asleep.

  That night his dreams wake him. It is one of the side effects of the particular antibiotic he is on, these dreams, and this time, they are worse than ever. Night after night, he dreams. He dreams that he is in the motel rooms, that he is in Dr. Traylor’s house. He dreams that he is still fifteen, that the previous thirty-three years haven’t even happened. He dreams of specific clients, specific incidents, of things he hadn’t even known he remembered. He dreams that he ha
s become Brother Luke himself. He dreams, again and again, that Harold is Dr. Traylor, and when he wakes, he feels ashamed for attributing such behavior to Harold, even in his subconscious, and at the same time fearful that the dream might be real after all, and he has to remind himself of Willem’s promise: Never, ever, Jude. He would never do that to you, not for anything.

  Sometimes the dreams are so vivid, so real, that it takes minutes, an hour for him to return to his life, for him to convince himself that the life of his consciousness is in fact real life, his real life. Sometimes he wakes so far from himself that he can’t even remember who he is. “Where am I?” he asks, desperate, and then, “Who am I? Who am I?”

  And then he hears, so close to his ear that it is as if the voice is originating inside his own head, Willem’s whispered incantation. “You’re Jude St. Francis. You are my oldest, dearest friend. You’re the son of Harold Stein and Julia Altman. You’re the friend of Malcolm Irvine, of Jean-Baptiste Marion, of Richard Goldfarb, of Andy Contractor, of Lucien Voigt, of Citizen van Straaten, of Rhodes Arrowsmith, of Elijah Kozma, of Phaedra de los Santos, of the Henry Youngs.

  “You’re a New Yorker. You live in SoHo. You volunteer for an arts organization; you volunteer for a food kitchen.

  “You’re a swimmer. You’re a baker. You’re a cook. You’re a reader. You have a beautiful voice, though you never sing anymore. You’re an excellent pianist. You’re an art collector. You write me lovely messages when I’m away. You’re patient. You’re generous. You’re the best listener I know. You’re the smartest person I know, in every way. You’re the bravest person I know, in every way.

  “You’re a lawyer. You’re the chair of the litigation department at Rosen Pritchard and Klein. You love your job; you work hard at it.