by Albom, Mitch
The Audiovisual, Part Two
The "Nightline" show had done a follow-up story on Morrie partly becau°e the reception for the first show had been so strong. This time, when the cameramen and producers came through the door, they already felt like family. And Koppel himself was noticeably warmer. There was no feeling-out process, no interview before the interview. As warm-up, Koppel and Morrie exchanged stories about their childhood backgrounds: Koppel spoke of growing up in England, and Morrie spoke of growing up in the Bronx. Morrie wore a longsleeved blue shirt-he was almost always chilly, even when it was ninety degrees outside-but Koppel removed his jacket and did the interview in shirt and tie. It was as if Morrie were breaking him down, one layer at a time.
"You look fine," Koppel said when the tape began to roll.
"That's what everybody tells me," Morrie said. "You sound fine."
"That's what everybody tells me."
"So how do you know things are going downhill?"
Morrie sighed.. "Nobody can know it but me, Ted. But I know it."
And as he spoke, it became obvious. He was not waving his hands to make a point as freely as he had in their first conversation. He had trouble pronouncing certain words-the l sound seemed to get caught in his throat. In a few more months, he might no longer speak at all.
"Here's how my emotions go," Morrie told Koppel. "When I have people and friends here, I'm very up. The loving relationships maintain me.
"But there are days when I am depressed. Let me not deceive you. I see certain things going and I feel a sense of dread. What am I going to do without my hands? What happens when I can't speak? Swallowing, I don't care so much about-so they feed me through a tube, so what? But my voice? My hands? They're such an essential part of me. I talk with my voice. I gesture with my hands. This is how I give to people."
"How will you give when you can no longer speak?" Koppel asked.
Morrie shrugged. "Maybe I'll have everyone ask me yes or no questions."
It was such a simple answer that Koppel had to smile. He asked Morrie about silence. He mentioned a dear friend Morrie had, Maurie Stein, who had first sent Morrie's aphorisms to the Boston Globe. They had been together at Brandeis since the early sixties. Now Stein was going deaf. Koppel imagined the two men together one day, one unable to speak, the other unable to hear. What would that be like?
"We will hold hands," Morrie said. "And there'll be a lot of love passing between us. Ted, we've had thirty-five years of friendship. You don't need speech or hearing to feel that."
Before the show ended, Morrie read Koppel one of the letters he'd received. Since the first "Nightline" program, there had been a great deal of mail. One particular letter came from a schoolteacher in Pennsylvania who taught a special class of nine children; every child in the class had suffered the death of a parent.
"Here's what I sent her back," Morrie told Koppel, perching his glasses gingerly on his nose and ears. " `Dear Barbara . . . I was very moved by your letter. I feel the work you have done with the children who have lost a parent is very important. I also lost a parent at an early age . . .' "
Suddenly, with the cameras still humming, Morrie adjusted the glasses. He stopped, bit his lip, and began to choke up. Tears fell down his nose. " `I lost my mother when I was a child . . . and it was quite a blow to me . . . I wish I'd had a group like yours where I would have been able to talk about my sorrows. I would have joined your group because . . . "
His voice cracked.
" `. . . because I was so lonely . . . "
"Morrie," Koppel said, "that was seventy years ago your mother died. The pain still goes on?"
"You bet," Morrie whispered.
The Professor
He was eight years old. A telegram came from the hospital, and since his father, a Russian immigrant, could not read English, Morrie had to break the news, reading his mother's death notice like a student in front of the class. "We regret to inform you . . ." he began.
On the morning of the funeral, Morrie's relatives came down the steps of his tenement building on the poor Lower East Side of Manhattan. The men wore dark suits, the women wore veils. The kids in the neighborhood were going off to school, and as they passed, Morrie looked down, ashamed that his classmates would see him this way. One of his aunts, a heavyset woman, grabbed Morrie and began to wail: "What will you do without your mother? What will become of you?"
Morrie burst into tears. His classmates ran away.
At the cemetery, Morrie watched as they shoveled dirt into his mother's grave. He tried to recall the tender moments they had shared when she was alive. She had operated a candy store until she got sick, after which she mostly slept or sat by the window, looking frail and weak. Sometimes she would yell out for her son to get her some medicine, and young Morrie, playing stickball in the street, would pretend he did not hear her. In his mind he believed he could make the illness go away by ignoring it.
How else can a child confront death?
Morrie's father, whom everyone called Charlie, had come to America to escape the Russian Army. He worked in the fur business, but was constantly out of a job. Uneducated and barely able to speak English, he was terribly poor, and the family was on public assistance much of the time. Their apartment was a dark, cramped, depressing place behind the candy store. They had no luxuries. No car. Sometimes, to make money, Morrie and his younger brother, David, would wash porch steps together for a nickel.
After their mother's death, the two boys were sent off to a small hotel in the Connecticut woods where several families shared a large cabin and a communal kitchen. The fresh air might be good for the children, the relatives thought. Morrie and David had never seen so much greenery, and they ran and played in the fields. One night after dinner, they went for a walk and it began to rain. Rather than come inside, they splashed around for hours.
The next morning, when they awoke, Morrie hopped out of bed.
"Come on," he said to his brother. "Get up." "I can't."
"What do you mean?"
David's face was panicked. "I can't . . . move."
He had polio.
Of course, the rain did not cause this. But a child Morrie's age could not understand that. For a long time-as his brother was taken back and forth to a special medical home and was forced to wear braces on his legs, which left him limping-Morrie felt responsible.
So in the mornings, he went to synagogue-by himself, because his father was not a religious man-and he stood among the swaying men in their long black coats and he asked God to take care of his dead mother and his sick brother.
And in the afternoons, he stood at the bottom of the subway steps and hawked magazines, turning whatever money he made over to his family to buy food.
In the evenings, he watched his father eat in silence, hoping for-but never getting--a show of affection, communication, warmth.
At nine years old, he felt as if the weight of a mountain were on his shoulders.
But a saving embrace came into Morrie's life the following year: his new stepmother, Eva. She was a short Romanian immigrant with plain features, curly brown hair, and the energy of two women. She had a glow that warmed the otherwise murky atmosphere his father created. She talked when her new husband was silent, she sang songs to the children at night. Morrie took comfort in her soothing voice, her school lessons, her strong character. When his brother returned from the medical home, still wearing leg braces from the polio, the two of them shared a rollaway bed in the kitchen of their apartment, and Eva would kiss them good-night. Morrie waited on those kisses like a puppy waits on milk, and he felt, deep down, that he had a mother again.
There was no escaping their poverty, however. They lived now in the Bronx, in a one-bedroom apartment in a redbrick building on Tremont Avenue, next to an Italian beer garden where the old men played boccie on summer evenings. Because of the Depression, Morrie's father found even less work in the fur business. Sometimes when the family sat at the dinner table, all Eva could put
out was bread.
"What else is there?" David would ask.
"Nothing else," she would answer.
When she tucked Morrie and David into bed, she would sing to them in Yiddish. Even the songs were sad and poor. There was one about a girl trying to sell her cigarettes:
Please buy my cigarettes.
They are dry, not wet by rain.
Take pity on me, take pity on me.
Still, despite their circumstances, Morrie was taught to love and to care. And to learn. Eva would accept nothing less than excellence in school, because she saw education as the only antidote to their poverty. She herself went to night school to improve her English. Morrie's love for education was hatched in her arms.
He studied at night, by the lamp at the kitchen table. And in the mornings he would go to synagogue to say Yizkor-the memorial prayer for the dead-for his mother. He did this to keep her memory alive. Incredibly, Morrie had been told by his father never to talk about her. Charlie wanted young David to think Eva was his natural mother.
It was a terrible burden to Morrie. For years, the only evidence Morrie had of his mother was the telegram announcing her death. He had hidden it the day it arrived.
He would keep it the rest of his life.
When Morrie was a teenager, his father took him to a fur factory where he worked. This was during the Depression. The idea was to get Morrie a job.
He entered the factory, and immediately felt as if the walls had closed in around him. The room was dark and hot, the windows covered with filth, and the machines were packed tightly together, churning like train wheels. The fur hairs were flying, creating a thickened air, and the workers, sewing the pelts together, were bent over their needles as the boss marched up and down the rows, screaming for them to go faster. Morrie could barely breathe. He stood next to his father, frozen with fear, hoping the boss wouldn't scream at him, too.
During lunch break, his father took Morrie to the boss and pushed him in front of him, asking if there was any work for his son. But there was barely enough work for the adult laborers, and no one was giving it up.
This, for Morrie, was a blessing. He hated the place. He made another vow that he kept to the end of his life: he would never do any work that exploited someone else, and he would never allow himself to make money off the sweat of others.
"What will you do?" Eva would ask him.
"I don't know," he would say. He ruled out law, because he didn't like lawyers, and he ruled out medicine, because he couldn't take the sight of blood.
"What will you do?"
It was only through default that the best professor I ever had became a teacher.
"A teacher affects eternity; he can never tell where his influence stops. "
-HENRY ADAMS
The Fourth Tuesday We Talk About Death
"Let's begin with this idea," Morrie said. "Everyone knows they're going to die, but nobody believes it." He was in a businesslike mood this Tuesday. The subject was death, the first item on my list. Before I arrived, Morrie had scribbled a few notes on small white pieces of paper so that he wouldn't forget. His shaky handwriting was now indecipherable to everyone but him. It was almost Labor Day, and through the office window I could see the spinach-colored hedges of the backyard and hear the yells of children playing down the street, their last week of freedom before school began.
Back in Detroit, the newspaper strikers were gearing up for a huge holiday demonstration, to show the solidarity of unions against management. On the plane ride in, I had read about a woman who had shot her husband and two daughters as they lay sleeping, claiming she was protecting them from "the bad people." In California, the lawyers in the O. J. Simpson trial were becoming huge celebrities.
Here in Morrie's office, life went on one precious day at a time. Now we sat together, a few feet from the newest addition to the house: an oxygen machine. It was small and portable, about knee-high. On some nights, when he couldn't get enough air to swallow, Morrie attached the long plastic tubing to his nose, clamping on his nostrils like a leech. I hated the idea of Morrie connected to a machine of any kind, and I tried not to look at it as Morrie spoke.
"Everyone knows they're going to die," he said again, "but nobody believes it. If we did, we would do things differently."
So we kid ourselves about death, I said.
"Yes. But there's a better approach. To know you're going to die, and to be prepared for it at any time. That's better. That way you can actually be more involved in your life while you're living."
How can you ever be prepared to die?
"Do what the Buddhists do. Every day, have a little bird on your shoulder that asks, `Is today the day? Am I ready? Am I doing all I need to do? Am I being the person I want to be?' "
He turned his head to his shoulder as if the bird were there now.
"Is today the day I die?" he said.
Morrie borrowed freely from all religions. He was born Jewish, but became an agnostic when he was a teenager, partly because of all that had happened to him as a child. He enjoyed some of the philosophies of Buddhism and Christianity, and he still felt at home, culturally, in Judaism. He was a religious mutt, which made him even more open to the students he taught over the years. And the things he was saying in his final months on earth seemed to transcend all religious differences. Death has a way of doing that.
"The truth is, Mitch," he said, "once you learn how to die, you learn how to live."
I nodded.
"I'm going to say it again," he said. "Once you learn how to die, you learn how to live." He smiled, and I realized what he was doing. He was making sure I absorbed this point, without embarrassing me by asking. It was part of what made him a good teacher.
Did you think much about death before you got sick, I asked.
"No." Morrie smiled. "I was like everyone else. I once told a friend of mine, in a moment of exuberance, `I'm gonna be the healthiest old man you ever met!' " How old were you?
"In my sixties."
So you were optimistic.
"Why not? Like I said, no one really believes they're going to die."
But everyone knows someone who has died, I said. Why is it so hard to think about dying?
"Because," Morrie continued, "most of us all walk around as if we're sleepwalking. We really don't experience the world fully, because we're half-asleep, doing things we automatically think we have to do."
And facing death changes all that?
"Oh, yes. You strip away all that stuff and you focus on the essentials. When you realize you are going to die, you see everything much differently.
He sighed. "Learn how to die, and you learn how to live."
I noticed that he quivered now when he moved his hands. His glasses hung around his neck, and when he lifted them to his eyes, they slid around his temples, as if he were trying to put them on someone else in the dark. I reached over to help guide them onto his ears.
"Thank you," Morrie whispered. He smiled when my hand brushed up against his head. The slightest human contact was immediate joy.
"Mitch. Can I tell you something?" Of course, I said.
"You might not like it." Why not?
"Well, the truth is, if you really listen to that bird on your shoulder, if you accept that you can die at any timethen you might not be as ambitious as you are."
I forced a small grin.
"The things you spend so much time on-all this work you do-might not seem as important. You might have to make room for some more spiritual things."
Spiritual things?
"You hate that word, don't you? `Spiritual.' You think it's touchy-feely stuff."
Well, I said.
He tried to wink, a bad try, and I broke down and laughed.
"Mitch," he said, laughing along, "even I don't know what `spiritual development' really means. But I do know we're deficient in some way. We are too involved in materialistic things, and they don't satisfy us. The loving relationships we have, the universe
around us, we take these things for granted."
He nodded toward the window with the sunshine streaming in. "You see that? You can go out there, outside, anytime. You can run up and down the block and go crazy. I can't do that. I can't go out. I can't run. I can't be out there without fear of getting sick. But you know what? I appreciate that window more than you do." Appreciate it?
"Yes. I look out that window every day. I notice the change in the trees, how strong the wind is blowing. It's as if I can see time actually passing through that windowpane. Because I know my time is almost done, I am drawn to nature like I'm seeing it for the first time."
