Category: Death and Old Age

Writing Our Own Ending

I have read two books lately about old people, dementia sufferers, who make the decision to go to Switzerland for assisted suicide.  One was the memoir In Love by Amy Bloom about her last weeks with her husband, and the other was the novel Switzy by Emily Cline.

Bloom’s husband Brian Ameche was diagnosed with Alzheimer’s in his 60s and swiftly decided that this was not a situation he wanted to ride out to the end. “I’d rather die on my feet than live on my knees” states this former football player. He convinces his wife; they look for a way. But in this country, voluntary exit is not one of our freedoms.  The only viable alternative they found was self-starvation, and neither thought they had the patience or heart for that.  (For a memoir about a sane person (at 100) using the starvation method, please look at Helen Nearing’s Loving and Leaving the Good Life.)

Going to Switzerland is not a poor man’s solution.  Even this upper middle-class couple has to borrow money to pull it off, but they are resolute.  Bloom is so determined to do this for her husband that it is uncomfortable at times, she seems somewhat too forceful.  Then you remember that this is what he wants; she is giving him one last great gift.  Ameche is depicted mostly by his own words.  We feel his losses, his confusions, his determination, and his grief.  It all rings true.

Emily Cline has the disadvantage of being a young woman writing about an old man.  This old man, David Hastings, is alone, but privileged – someone has paid an escort to take him to Switzerland, on a trip where he will see a daughter and old friend along the way, while not divulging to them his real mission.  He gets confused, but then muses intellectually over his forgetfulness.  We are in his head, but it does not seem real.  He is too self-conscious.  When my mother was in the throes of dementia, she never questioned herself.  I know every experience varies, but his does not ring true. For example, David muses about communications satellites:

Interesting, to be here on Earth at a time when we had put the sky to work.  Pretty much what we’d want from God, wasn’t it – finally we’d roped the stars into our human affairs.  Pressed them into our service.  Thanks for everything, heaven – now tell me where the next turn is.

David can’t remember where his phone is, but addresses the heavens in this wise way?  There are surely moments of clarity within dementia, but Cline supplies them as constant intermissions in David’s struggle to remember where and who he is.  David’s mind drifts, points of view shift recklessly, and some of the sentiments are wise. But, in the end, this does not sound like the consciousness of a demented mind.

Suicide in old age is a hard topic.  My mother belonged to the Hemlock Society when she was young and cheered Dr. Kevorkian on, but when her brain started to close down in her eighties there was never any indication that she wanted to do anything but muster on.  Of course, there is a small window (think of Still Alice) between the point where we are rational enough to choose death and when we are beyond such choice, both legally (not of sane mind) and physically (can’t handle the logistics). Stoics saw suicide as the ever-present and comforting “open door.”  Camus said that “there was only one really serious philosophical problem, and that is suicide.”  But, even Camus concluded that – as absurd as life can be – we were probably better off making terms with it.

When I began writing this blog entry, “Writing Our Own Ending” was a provisional title, but as I progressed, I realized that “writing our own ending” is a good description for all the choices that we make in old age.  We didn’t get to write the chapter of our childhood – we were not in control.  Adolescence and young adulthood seemed to be in the control of our hormones.  And then life caught up with us – babies, jobs, marriage, divorce, illness – and only in retirement (and sometimes not even then – think of grandparents impelled to take custody of grandchildren) do we have a real shot at choosing how we live – assuming, of course, that we have at least a bare minimum to keep us fed and housed.  It is a wonderful opportunity.  Elders in India used to “go forth” to the forest for contemplation, some medieval aristocrats went to the monastery or convent.  In any case it should be a conscious choice.  And then, at the end of it, we should be able to decide how to die.  This does not necessarily mean suicide; it means a conscious choice if we are capable, and a pain-free death if we are not.

The best fictional depiction I have ever read of dementia was Out of Mind by the Dutch author J. Bernlef.  Hard to find, but worth it.

I have written about dementia many times.  As I get older and have more and more “senior moments,” I am getting a better sense of how it might feel.  How to live a diminished life.  But, mostly, I want to write my own ending as much as is possible.  We’ll see.

Late Style – Two Approaches to Aging

There are basically two approaches to aging.  The first seeks a deep acceptance of the changes wrought by decay and death; the other prizes fighting until the end.  I think you know which camp I am in, but I have had reason to examine this topic again recently, both in relation to myself and to the larger world.

In his posthumous book, On Late Style, Edward Said differentiates between two artistic approaches at the end of creative lives.  He proposes that one group of aging literary and musical artists reflects “a new spirit of reconciliation and serenity often expressed in terms of miraculous transformation of common reality;” he puts the Shakespeare of the late romances and the Sophocles of Oedipus at Colonus in this category.  However, Said is more interested in those creative minds that struggle with the “intransigence, difficulty, and unresolved contradiction” of “age and ill health.”  He references Beethoven (I disagree with him on this) and Ibsen as artists who “fight until the end.”  One might think of Dylan Thomas’s “Do Not Go Gentle into That Good Night.”  There is an article in last week’s NYTimes magazine written by a woman whose father rushed through his last months and last dime trying every new treatment, leaving no chance to say goodbye or to experience the end of his life.

In the same year (2006) that Said’s book was published, David Galenson published a classic account of old age and genius.  Old Masters and Young Geniuses divides artists into conceptual geniuses who do innovative work early, and experimentalists, whose best work is the product of the slow accretion of learning, experience, and reflection, and often occurs in the later years.

If we continue to struggle, when will we have time for the reflection and “the slow accretion of learning”?  Do we really want to heed Dylan Thomas in his exhortation to combat the inevitable?  Do we want the screaming and resistant death of Tolstoy’s Ivan Illich, the bitter death of Eliot’s Peter Featherstone – or the serene death of Alcott’s Beth March, Cather’s Archbishop?  I know which one I would choose.

But even if we choose a peaceful old age, it is not easy in our culture.  Capitalism sees no profit in a serene old age.  There is more money in sending old folks out on pilgrimages to the fountain of youth – hawking cosmetics, plastic surgery, cruises, lifestyle “enhancements.”  In theory, technology should be the best friend of elders, allowing them to shop, listen to music, order books from the library – even when driving is no longer possible.  However, the internet is a capitalist production these days and even what it is good in it (think Wikipedia) has been co-opted to feed the AI engines.

As usual, we can be our own worst enemy.  New retirees often feel the need to excel at something to get back the respect (situational though it might have been) that they had in the office.  They want to write their first book and they want it to be a bestseller.  They take up art and enter juried shows with their first watercolors.  That is all fine if you can step back and realize what is going on.  I had a friend who fell into this pit so often that she posted a reminder on the top of her computer screen: “You’ve already done that.”

I have recently been reading The Disappearance of Rituals by the philosopher Byung-Chul Han.  It is the first of his books that I have read, but it won’t be the last.  I recommend this slim volume.  I don’t always think that Han is right, but he definitely gets me thinking.  In any case, he talks about the old systems of narrative (religious stories, heroic sagas, legends) with endings.  Capitalism wants no closure – there is always another way to spend your money.  A sense of endings gives way to what Han calls the “endless conjunction [and].” Capitalism thinks we always need one more thing.  Rituals are stopping places:

Rituals give form to the essential transitions of life.  They are forms of closure.  Without them, we slip through.  Thus, we age without growing old, or we remain infantile consumers who never become adults.  The discontinuity of autonomous time gives way to the continuity of production and consumption.

I am not trying to tell anyone how to handle their own old age, but I am cautioning all of us to think about it consciously.  As one who plowed through her childhood and young adulthood with more energy than consciousness, I know that I want to carefully consider how to spend the time left to me.  It is hard to battle the latest cruise ad, bestseller list, fashion, or medical fad.  I have written both a story and a blog about someone who determined on “nothing new” in their old age.  No reading new books, no going new places, replacement purchases only.  It is not a prescription for life, but it is a worthwhile exercise.  (Ann Patchett tried it and wrote about the results here.)  But, again, there are at least two ways to spend our waning days.  Let’s at least choose somewhat deliberately.

Even if we believe in wringing the last drop out of life, we should consider how to do that.  I think of Thoreau:

…nor did I wish to practice resignation, unless it was quite necessary. I wanted to live deep and suck out all the marrow of life, to live so sturdily and Spartan-like as to put to rout all that was not life, to cut a broad swath and shave close, to drive life into a corner, and reduce it to its lowest terms, and, if it proved to be mean, why then to get the whole and genuine meanness of it, and publish its meanness to the world; or if it were sublime, to know it by experience, and be able to give a true account of it in my next excursion. (Walden)

Lastly, it often seems like our world, our culture, is in its old age, even in its death throes.  And it is fighting against it, although not in any logical way.  It is fighting for oil, for supreme intelligence, for control, for the way it used to be – and the fires rage, the coral dies, and there is constant action but no real progress, and surely no peace.  Just a thought.

 

 

 

 

Taking Secrets to the Grave?

I am still thinking about ways to achieve serenity in these elder years, to find a taste of heaven before I die.  One barrier to serenity, it seems to me, is secrets.  Things we don’t talk about, perhaps we don’t even want to think about.  I have them.  I would guess that you do too.

Several recent books [spoiler alert here]– The Things We Never Say by Elizabeth Strout, John of John by Douglas Stuart, and Whistler by Ann Patchett – are stories about such truths: facts that finally surface (or fail to surface) at the end of life.  In Strout’s book, the true paternity of the son is known by all but not admitted to each other, while in Stuart’s novel, the Bible-thumping father is gay, and he is living with a son who is also hiding his sexuality.  Patchett gives us the story of a father and his beloved stepdaughter, whom a divorce separated from him many years ago.  The reasons for the failure of the marriage are learned by the stepdaughter, who has pined for her missing stepfather for years.  All of these secrets involve sexuality in some ways – adultery, homosexuality – things that seem important when we are young, but when we get old – not so much.  I think.  But still hidden truths fester – and they are not all about sexuality.  Some are about much more important things.  You know the ones I mean.

In The Things We Never Say the main character, Artie Dam (A.Dam?), has found out he is not his son’s biological father.  He means to confront his wife about it, but he… can’t.  And he sees his false position in parallel with the world around him, with Trump newly re-elected, and doing things that… no one wants to talk about.

Artie watched all these things, and he slowly understood that what he had felt the day of the election was true:  His country was committing suicide.

He loses interest in all things that used to mean something to him.  The discovery of a hidden truth has pushed him off balance and politics is keeping him that way. His son leaves the country to work for the EU and cautions Artie to talk to him only on burner phones.  He has a breakdown in his classroom and finally, during a heatwave when they have lost their power, Artie goes to lie down.  “When Evie went upstairs she found Artie in his undershorts lying on the bed, his arms splayed out as though he was sunbathing, dead.”  The image of Christ on the cross.  Sacrificed on the altar of getting through life without making a scene.  An autopsy reveals that his heart failed, but we knew that.

The father in John of John has hidden his sexuality from almost everyone except his ex-wife.  Living on the Scottish Isle of Lewis, he is the psalmist for a conservative Christian congregation.  His son, who is also gay but knows nothing about his father’s orientation, comes home with the need and fear of telling some truths to his father.  In the end, it is the father who has the most trouble accepting the truth of his own life – but isn’t that often the case?

Anne Patchett slowly unveils the truths that her characters are hiding.  Those who were children at the time had no clue what was going on – and mistakenly felt responsible for the anguish of the adults around them.  Some people think children know more than they seem to, but there was a lot my childhood self didn’t know, and it seemed that the adults in my life were going to make sure I stayed confused.  Telling such truths to people who were once children in our lives is often a true gift to them.  But it is not easy.

I should mention here that keeping secrets is harder than it used to be.  Ubiquitous DNA testing and data “matching” means that if you tell a lie about a child’s paternity, the child is probably going to find out about it.  Similarly, databases of newspapers, government records, census information, and criminal activity mean that if someone wants to know about us, there are a lot of places to look.  A friend of mine never told her children about an early brief marriage; they discovered simultaneously about both the marriage and the fact that their mother was not always truthful with them.  Secrets need to be weighed carefully against issues of need to know, trust, and the cost of revelation.

Time is running out for we elders – pretty soon keeping mum will not be up to us; that decision will be pre-empted by the run-up to death, or Death itself which “seals up all in rest.” (Sonnet 73)  Some people push it off until after their death – leaving behind letters to explain their past actions and money as atonement – but that is not a solution.  And remember, secrets do not have to be something locked in a real or psychological safe; they might just be things we prefer not to talk about.

In a reading about the Tao this morning I came across this description of the only goal we all have in common: “A gracious death with no regrets.”  We might keep secrets for good reasons, and we should have no regrets there.  But if secrets are impinging on the serenity of late life, it would not hurt to consider exposing some of the truths we keep from others and from ourselves.

For a story about some good deathbed counsel, you might try my story, “The More Loving One.”  And hats off to Auden.

All three novels referenced above are recommended.

 

Constructive Forgetting

I’m still thinking about single-pointedness and the mass of things we need to “unlearn” in our old age.  As Philip Larkin said in a poem of his own old age, left unpublished at his death:

Most people know more as they get older:
I give all that the cold shoulder.

I spent my second quarter-century
Losing what I had learnt at university.

And refusing to take in what had happened since.
Now I know none of the names in the public prints… (“The Winter Palace”)

“Unlearning” sounds like something bad, a sin against progress – and yet it is probably the only way to comprehend and accept old age and death.  And one of the things we have to unlearn is both the ability and the desire to multitask.

Our generation learned to multitask with a vengeance.  Women (like me) were trying to figure out how to raise kids and have a career, while dealing with cascading technology – all at the same time.  Men were discovering that they weren’t married to their mothers and that they had no models for the new family life.  Frequent divorces amongst the baby boomers (the highest rate of any generation) meant that single parents had to figure out yet another set of staggering complexities.  Radios and televisions were constantly on – radios in the car and TVs at home – adding a level of input to already frenetic lives.  We were (at the same time) proud of our ability to talk to the babysitter on the phone while writing a report at work, yet increasingly frantic about coping.

When the kids left home (if they did), life got a little easier, but not much.  There was always a new computer system to learn at work, social media emerged as a distraction, and life was still messy.  And finally, we retired.  Time to meditate, concentrate on the important things – except we had forgotten how.

I don’t know about you, but my ability to be single-minded, one-pointed, to concentrate over long periods of time was shot.  I am fine doing Wordle, making supper, or doing other “short” tasks, but even with lots of quiet time on my hands, I have trouble sustaining “long” concentration. and I am not the only one.  Elizabeth Bishop bemoaned the “Art of Losing” as one grew older, but I put my hat in Larkin’s ring.  There are many things I would like to lose.

Many elders do continue to proudly multitask, as we keep ourselves busy juggling our pickleball, travel schedule, volunteer jobs, and Botox appointments.  Or we throw ourselves into the lives of our children and grandchildren. And remember that even having the TV on in the background puts you in multi-tasking mode! There is nothing intrinsically wrong with any of this, but I’m not sure that it really helps us to “know more as [we] get older.”

In his Convivio, Dante pictures the course of life as a parabola. We go up and we come down.  The “high point” of the parabola is around age thirty-five, a date Dante arrives at based on Christ’s death in this thirty-fourth year. “It was not fitting that his divinity should be present in something that was in decline.”  What, exactly, is “in decline” in the latter part of life?  What is “diminishing”?  I can give you a long list: teeth, endurance, bone density, strength – and you may add your own infirmities.  But, is there something waxing that compensates for that which is waning?  There is nothing very positive about losing your hair or teeth, but in losing reflexive multi-tasking, I think there is a gain.

My grandparents were wary of new technology; they finally bought a black and white TV, but it wasn’t on often and they spent hours just sitting on the back porch.  Papa often smoked his pipe and Nana picked at some knitting or embroidery, but for long periods of time the pipe and the needles just sat on their laps.  As a child, I couldn’t begin to imagine what they were thinking about.  Now I wish I could ask them.

Looking back over experience is one thing that time and concentration allow.  In Woolf’s To the Lighthouse, the “slow” review of experience is extolled:

The compensation of growing old…was simply this; that the passions remain as strong as ever, but one has gained – at last! – the power which adds the supreme flavour to existence, the power of taking hold of experience, of turning it round, slowly, in the light.

And in Sackville-West’s All Passion Spent, Lady Slane calls “looking back on the girl she had once been” as the “last, supreme luxury…. She could lie back against death and examine life.”

There is more than memory than one-pointedness allows, but it is hard to get there.  For reading, it is recommended that longer and more difficult books be tried in stages.  And so it is with concentration.  It is not a matter of fighting distractions.  It is a matter of acknowledging them and putting them away as no longer needed, I think.  But any suggestions are welcome.  I’ll leave you with this excerpt from “New Year’s Resolve” by May Sarton:

For it is now or not
As old age silts the stream,
To shove away the clutter,
To untie every knot,
To take the time to dream,
To come back to still water.

I am in constant search of “still water.”

For a story about remembering and forgetting, you might try my “Amnesia at the Airport.”

 

 

 

 

“No More Dying Then” – Resurrections of All Kinds

 

Spring is full of resurrections.  We watch trees come back to life and flowers peek through the dead leaves.  Spring brings Easter, of course, with its stories and promises of resurrection.  This Easter, I reread D.H. Lawrence’s novella, The Man Who Died, an alternate spin on the empty tomb, a lovely counter-tale about the missing body of Jesus.  In its way, it is as sacramental as the Biblical version.  Lawrence’s Jesus lies in a farmer’s yard, healing and thinking about his second chance at life, about the trap of language (“The Word is the midge that bites at evening”), and about the release of being reborn (“How good it is to have fulfilled my mission, and be beyond it.  Now I can be alone, and leave all things to themselves, and the fig-tree may be barren if it will, and the rich may be rich”).  As Jesus hides in the farmyard, he befriends a feisty cock (rooster) that throbs with life – and he heads out for his next chapter with the cock under his arm.  (A little symbolism there!)  Another kind of resurrection.

And there are resurrections closer to home.  After the close call of a cardiac arrest this winter, my husband has taken to calling this his “bonus time.”  Unlike many heart attack victims, he has not seemed to suffer depression, but rather seems to bask in this resurrection time with gratitude.  One more spring.  His appreciation of life has rubbed off on me.

Of course, resurrection does not always happen.  Our granddaughter had the hard experience this year of working over the body of a fellow choir member when he fell beside her as they processed down the aisle. She had been trained in CPR, and if he had survived it might have been a wonderful experience for her.  As it happened, he did not and the death was very hard to process.  But isn’t that why resurrections are so joyful – because they might not have happened?

There are many kinds of resurrections.  In his autobiography, G. K. Chesterton said that he became a Roman Catholic because he adored the rites of confession, penitence, and the washing away of sin, a weekly process for the resurrection of the soul:

Well, when a Catholic comes from Confession, he does truly, by definition, step out again into that dawn of his own beginning ….  He believes that in that dim corner, and in that brief ritual, God has really remade him in his own image.  He is now a new experiment of the Creator.  He is as much a new experiment as he was when he was really only five years old…. He may be grey and gouty; but he is only five minutes old.

That last bit is lovely with the vision of an oldster facing the world anew, feisty as a young lamb.

Shakespeare, as usual, has his own take on resurrection and immortality.  We think of his sonnets as love letters, but there are a very few that tackle other challenges of life.  I think most often in this regard of Sonnett 146, one of my favorites:

Poor soul, the centre of my sinful earth,
[Fooled by] these rebel powers that thee array,
Why dost thou pine within and suffer dearth,
Painting thy outward walls so costly gay?
Why so large cost, having so short a lease,
Dost thou upon thy fading mansion spend?
Shall worms, inheritors of this excess,
Eat up thy charge? Is this thy body’s end?
Then soul, live thou upon thy servant’s loss
And let that pine to aggravate thy store;
Buy terms divine in selling hours of dross;
Within be fed, without be rich no more.

So shalt thou feed on Death, that feeds on men,
And, Death once dead, there’s no more dying then.

I like Shakespeare’s form of “resurrection” because it is an awakening to a new way of life, that not only frees us from the hold of the body and other earthly possessions, but simultaneously frees us from fear of death.  The imperative, “Buy terms divine in selling hours of dross,” could be a touchstone for one’s entire life! I love the way the final couplet takes a sharp turn from fear of death (“that feeds on men”) to a kind of immortality where death has no sting (“no more dying then”).  I might note that there was an error in the second line of the original printing of this poem, so we are left to guess what the Bard meant to say.  You will see many versions out there, but I prefer this one.

So, may we all have a resurrection of sorts this spring.  May we value properly our “hours of dross” and wash away our sins and cares.  Do you remember, as Chesterton seems to, what it felt like to be five years old in a field full of daisies and dandelions?

For perhaps real resurrection – enlightenment, peace, whatever you want to call it – comes not from rising from the dead, but from escaping from the fear of death and all the death-like things – past mistakes, regrets, losses and future fears of all kinds.   Old age brings us both closer to the brink and possibly closer to acceptance. Once we get past our terror of the end, we are the (resurrected) fearless five-year-old again.  May it be so for you.

For other kinds of resurrection, you might try my tales, “Hallelujah, It’s a Mouse” or “A Balm in Gilead.”

 

 

 

 

 

 

 

 

 

Death Cleaning of the Soul

We have had a major medical challenge.  My husband had a bad fall, which turned out to have been precipitated by a heart attack.  We came home after surgery and a few days in the hospital, only to have to rush back a week later.  Things are better now (which is why I can post this blog), but they are not the same.  I am buffeted between my feelings of gratitude that the love of my life has survived, and my mourning for the way our life used to be.

In the midst of all this and during long hours in the hospital, I finally read the two books on my list by Margareta Magnusson, one about Swedish death cleaning and one about old age.  Both are worth reading, and both insist on the need to peel things away as we get older – tangible things (belongings) and intangible things (beliefs and rituals).  They were good books to turn to as I strove for a way to deal with the hard realities in front of me.  Downsizing of the household is almost impossible, as we all know.  In my case, further physical downsizing is for some later time. Downsizing the soul is harder yet, but necessary in the present moment.  Parting with roles, rituals, and habits is harder than parting with Grandma’s china.  I like to think, however, that it could also be more rewarding in the long run.

We are not used to thinking of losing things as good.  I recently read a book by James Clear about how to use our habits for big gains, how to accrete knowledge and success into our lives a little at a time.  Like most self-help books, it focuses on increases and ignores the possibility that loss could be a good thing. For the latter proposition, one has to look at wisdom literature of all kinds, where renunciation is often seen as a positive thing, a necessary step toward contentment, happiness, and peace.

For example, Joko Beck said that Zen was a process of “wearing away,” or erosion rather than accretion.  We have to let go what we think we know, habits of mind we have acquired. The Tao reminds us:  “Learning consists in adding to one’s stock day by day.  The practice of Tao consists in subtracting.”  Christianity has a similar message.  Jesus told the rich man that “if you would be perfect, go, sell what you possess and give to the poor.”  At other points in the Gospel, he tells his followers to give up their adult ways and become like children.

The poets have much to teach us in this regard too.  Elizabeth Bishop’s “One Art” purports to teach us how easy it is to lose things – homes, keys, people:

The art of losing isn’t hard to master;

so many things seem filled with the intent

to be lost that their loss is no disaster.

But Bishop ends up admitting that loss can also be catastrophic:

 

—Even losing you (the joking voice, a gesture

I love) I shan’t have lied. It’s evident

the art of losing’s not too hard to master

though it may look like (Write it!) like disaster.

 

Philip Larkin, in “The Winter Palace” says that he is done with learning:

Most people know more as they get older:

I give all that the cold shoulder.

Larkin’s tongue is firmly in his cheek, but he bounces off a truth about the value of discarding what we have, what we know, and what we think we know:

It will be worth it, if in the end I manage

To blank out whatever it is that is doing the damage.

Then there will be nothing I know.

My mind will fold into itself, like fields, like snow.

 

Both poems are worth reading frequently – one to remind us that loss is inevitable but not easy, and the other to affirm that loss is not all bad.

In reading Magnusson, it also occurred to me that our whole culture could use a Swedish death cleaning, that the Earth might have a chance if we stripped down and lived within limits.  In a recent article (“The Cross and the Machine”) about technology and religion, the wonderful Paul Kingsnorth puts it well:

Every culture that lasts, I suspect, understands that living within limits – limits set by natural law, by cultural tradition, by ecological boundaries – is a cultural necessity and a spiritual imperative.  There seems to be only one culture in history that has held none of this to be true, and it happens to be the one that we’re living in.

We’re human beings with limits in a culture that recognizes no limits.  No wonder it is so hard.

So these are just some musings about loss from a new caregiver and a rapidly aging person, who is coming up against the limits of her situation.  I know that limits can be good, less is often more, and worrying is almost useless, but I sometimes still succumb to despair.  I have to read poetry, write in my journal, contemplate Spinoza, talk to others, and take heart.  And I do these things, but – as Elizabeth Bishop says in the end – it is not always easy.  Slowly my husband is improving, and we are getting used to our new limits.

I have written elsewhere about paring life down.  You might look at my blog, “A Diminished Thing?” from several years ago, and my short story “Nothing New.”  Needless to say, any advice is welcome.

 

“Something Good” – Wendell Berry and Remembering When We Made a Difference

Nothing comes from nothing
Nothing ever could
So somewhere in my youth or childhood
I must have done something good. (from “Something Good,” The Sound of Music)

Last week, I wrote about the regrets that we all have about our pasts and wondered about the best way to handle them in our old age.  Reading Wendell Berry’s new book, Marce Catlett: The Force of a Story, made me think about the “good” things from the past.  If you’re like me, you spend much more time with your shames and regrets than you do with “worthy” acts.  What things in our lives have been for the good, what experiences have we had and stories have we told that made a positive difference, which resulted in “something good”?  The fortunate among us have had an old friend, student, or co-worker thank us years later for something we did not even remember doing for them or for kind words that we can’t even recall at all.  It would probably do us all good to dwell more often on the positive aspects of our lives and less often on our (numerous) regrets.

Berry’s book is narrated by Andy, the very elderly grandson of Marce Catlett.  Long ago, Marc stood up to the Duke Tobacco interests by sharing his experience with his neighbors.  His oft-repeated story of one day, told over and over, shaped the lives of all those around him in the wonderful world of Port William.  The day was devastating, but the main part of the story is about how Marce immediately picked up and carried on and worked with fellow farmers so that such a day would never happen to them again.

First, let me say that Wendell Berry just published this book at the age of 91, and it is a true gift for all of us.  Marce Catlett  is a spare book written with a sledgehammer, and not just a story about 1917.  Berry has a pretty good idea about not only what is wrong in Washington these days, but what is wrong with all of us.  And our children.    The novel can be read in a day, but it would take much longer than a day to forget it – and so it was with Marce Catlett’s story about coming home from a tobacco auction with less money in his pocket than it had taken him to grow the crop.

Wendell Berry is a wonderful writer about wonderful things; many of us know his poetry (think of “The Peace of Wild Things” or “How to be A Poet).   We also have read his essays, which go back to the 1960s and include gems like “Living in the Presence of Fear” and “Why I’m Not Going to Buy a Computer.”  But it is his fiction – the novels and stories of Port William – that future generations will look back on for a prophetic voice that was seldom heeded.  Marce Catlett is simply the culmination of this story.  You do not have to have read any of the others to appreciate this latest (but hopefully not last) work though; Berry fills us in.  I was greatly disappointed not to find it listed in this week’s NYTimes Book Review as among the best of 2025; they are wrong.  It is probably the very best of 2025.  And relevant to us elders – written by an elder, narrated by a very old man, and insistently recalling the valuable parts of a world gone by.

And I might add one more thing here.  In Wendell Berry and Marilynne Robinson we have two writers who give us alternative views (alternative to both evangelical and mainstream religion) of the place of Christianity in human life.  For those of us whose symbols, music, and history are steeped in the Christian faith, such alternatives are much needed and hard to come by.  I don’t know if this will be Berry’s last novel, but it is precious cargo, nevertheless.

Almost all of Berry’s fiction – like most of Faulkner’s – takes place in a well-defined place and gives priority to the work that is done in that place.  Like the descriptions of whaling in Moby-Dick, which ground us in the real and creates a community among the participants, in Berry’s latest book we get the details of raising a certain kind of tobacco.  We all spent much of our lives working – often in jobs that do not even exist anymore. Berry reminds us that the work was real. The lives were real.  At one point he catalogues the buildings and equipment on the old farms and says he is not writing a requiem for all that, but for “the way that once lived among them, the paths worn and wearing day by day, which connected them to one man’s effort and desire” (145).  This tribute to a careful kind of farming stands alongside a description of a careful kind of living that we don’t encounter very often these days.  It also reminds us that the memory of the old – for instance, about how to grow a crop or prepare a recipe – used to be greatly valued.  Now we are more likely to go to AI than Grandpa for such knowledge.

The book is also a diatribe against greed.  “Greed has passed to and fro over the whole earth, reducing life to matter and matter to price.  Though time and change bring sorrow, they belong to the seasons, to fecundity and health, and greed is a mortal disease” (150).  Indeed.  My guess is that was the reason Wendall Berry penned another book in his ninetieth year was to make precisely this point in a world that is sacrificing everything to… greed.

In the end, Andy comes “at last to see his grandfather Catlett, his father, and himself as three aged brothers.”  In his own old age, he now understands their old age.  I often think of my grandparents in this regard and wish I had appreciated them more.  They too had their stories of survival that come back to me – like the one about how, during the Depression, they rented out their house and lived in a neighbor’s garret in order to realize some desperately needed marginal income.  They laughed when they told the tale; they were proud that they had found a way to get through.  I see lessons there that I did not see when I was younger – including a lesson from the laughter.

I was very disappointed that Berry’s new book was not included in the NYTimes notable books for 2025, but there is a poem by Wendell Berry (“The Loved Ones”) in a recent New Yorker.  And, if you like Marce Catlett, there is reading for the rest of your lifetime in the stories of the people of Port William.  These books will change you.  They will inspire you.  And, hopefully, they will nudge you to recall the stories of your life that made a positive difference.  You “must have done something good.”  Yes.

In relation to old age, I would also particularly recommend Berry’s short stories “Fidelity” and “The Inheritors.”  The first is about the end of the life of one man and the effect on those who loved him.  It will get you thinking about technology and death and community.  The other is a portrait of an active man entering into the diminishments of old age and yet keeping his spirit whole.  Read them. 

Three Stories About Old People with Regrets

I read a couple of books and watched a movie lately about old people at the end of their lives who are trying to deal with a major regret.  I would recommend these stories highly – any of them are perfect for a cold winter’s evening.  The books are The Correspondent by Virginia Evans and What We Can Know by Ian McEwan, and the movie is The Great Escaper (on Amazon). I’ll try to talk about these stories without spoiling the endings – and, in these cases, the endings are true endings.  They are all about elders trying to deal with regrets, mistakes, and profound guilt.  It seems to me that this is a prevalent and profound problem of old age; in old age we have a lot of time to think and a tendency to look back.  If you are exempt from major regrets, you are privileged indeed.  I surely have moments in my past that I regret, that I am still trying to deal with, and which flare up from the embers of my memories.  What to do with them?

Religion or AA might tell us that we need to atone, or, at least, apologize.  But the older we are the more likely it is that the actions are long buried along with many of the participants.  How do we deal with those regrets, guilts?  Make a deathbed confession?  Ask a priest or someone else we trust to absolve us?  Must we realize, finally, that they were the product of where we were at the time and chalk it up to karma – and assume we will pay or have paid for our transgressions one way or another?  I was recently thinking of Dryden’s riff on Horace – “Happy the Man” – but that speaker is “secure within” and satisfied that he has “had his hour.”  What if we regret the hour?  And how do we adjust the scales so everything comes out alright?  As the clerk at the Marigold Hotel reiterates, “Everything will be alright in the end, so if it is not alright, it is not the end.”

Each of these three stories concern an older person who sincerely regrets something in their past.  And, in at least two of the cases, they surely have committed (or given tacit approval to) a grievous act.  The third case is situational, where a soldier does what he has to do, but there are dire consequences.  All of these incidents happened many years ago, but shadow the rest of the lives of these characters. What to do?  What can be done?

Let me tell you how the characters in these stories deal with it.  The protagonist in The Correspondent, Sybil, (unsurprisingly) writes letters, letters she sends and letters she does not send.  Besides having mortality breathing down her back, she is dealing with the imminent loss of her sight.  This is a woman who is deeply attached to the written word in all its forms, and it is the word that keeps her going.  Sybil writes to famous people (like Joan Didion), some of whom even write back.  She writes to her children, old friends, and herself.  She writes to living people and dead people and, in the process, she slowly seems to sort things out.  It will make you mourn the lost art of letter writing; it will make you want to write letters.  Or a journal.  Do it.

Ian McEwan waited until he was in his mid-seventies to write one of his finest books.  Earlier in his life, of course, he wrote the classic Atonement, about guilt and absolution.  In Atonement, a woman spends a lifetime trying, at least partially by writing, to make sense of a youthful mistake.  In What We Can Know, there is an academic mystery being researched in the far future.  Where is the lost poem, the renowned corona of which there was only one copy?  The book sets itself up as a literary mystery, which is resolved by the “last testament” of the poet’s elderly wife – she has produced one piece of writing and destroyed another, in revenge and atonement.  The novel asks questions about the words and deeds we leave behind; the title morphs from What We Can Know to “what can we know?” This story got me thinking (again) about what to do with all my old journals.

(Incidentally, the novel looks backward, but it is framed in a time period a hundred years hence, and we get this caution from our narrator:  “I’d like to shout down through a hole in the ceiling of time and advise the people of a hundred years ago: if you want your secrets kept, whisper them in the ear of your dearest, most trusted friend.  Do not trust the keyboard and screen.  If you do, we’ll know everything.” Fair warning.)

The Great Escaper stars the very old Michael Caine and Glenda Jackson.  Jackson died shortly after the film was made.  Both stars were closing in on ninety when the filming was done, which was only appropriate as the story is about a 90-year-old man.  I have to admit that at first it is very hard to watch those very old bodies – much older than we usually see on the screen – but the film soon sweeps you away with both the love between the two oldsters and the heroic effort that Bernie makes to understand and atone for his actions at the beach at Normandy seventy years before. When I was young, I would not have believed someone could be so tormented by things that they did seven decades ago; now I know better.   And when Bernie gets to the 70th commemoration of the Normandy invasion, he finds that he is not the only one who is abashed to be treated as a hero when he feels like a traitor.  But, back on the beach and at the military cemetery, he faces his demons.  Those demons might not be completely vanquished, but they are at least acknowledged and shared.

These stories do not display miraculous cures for our trespasses; even if our sins are forgiven, we still cannot ever forget them.  Sybil, the letter-writer in The Correspondent, has made a pen pal of Joan Didion, and she quotes her: “What I have made for myself is personal, but it is not exactly peace.”  Stephen Crane put it more crudely: “But I like it/Because it is bitter, /And because it is my heart.”  Our regrets are personal, they are bitter, but when we at least acknowledge them, we might be able to accept them as part of who we are.

I’ll end with one of my favorite poems, “The Ideal,” by James Fenton.

This is where I came from.
I passed this way.
This should not be shameful
Or hard to say.

A self is a self.
It is not a screen.
A person should respect
What he has been.

This is my past
Which I shall not discard.
This is the ideal.
This is hard.

For one of my stories about regret, you might try “Shrove Tuesday.“

“Remember, You Must Die”

In Muriel Spark’s comic/tragic novel Memento Mori, old folks keep getting strange phone calls telling them nothing more than “Remember, you must die!”  The elders, rich and poor, male and female, are alarmed by the unwanted reminder and even recruit a detective to try to track down the culprit.  But the voices on the phone vary, and one of the characters decides that it must be Death that is calling them.  One might wonder why old folks would find such “news” upsetting.

In much earlier times, death was so common that people needed few reminders.  Buddhism recommends meditating on one’s own death daily, and monks often went to charnel houses to do so.  In the West, memento mori were common.  Paintings often included skulls and household objects were crafted to look like coffins.  It was considered good to be reminded of how brief and miraculous our being was.  In his “Thoughts for the Times on War and Death,” Freud intimated that people lived more authentic lives in times of war when the specter of death was always present, hard to ignore.  These days, the specter and certainty of death have surely receded. Silicon Valley is not even convinced that it is inevitable – they are “solving death.”  If Freud is right that acceptance of death makes a more authentic life, one might worry.

Lately I was reminded that we ourselves, we elders, are a kind of unappreciated memento mori for younger folk.  I was at a wedding last weekend, and surely was one of the four or five oldest persons there.  I thought again of Larkin’s poem “The Old Fools,” which he wrote when he was about 50, and begins as the poet looks at some of the elders around him:

What do they think has happened, the old fools,

To make them like this? Do they somehow suppose

It’s more grown-up when your mouth hangs open and drools,

And you keep on pissing yourself, and can’t remember

Who called this morning? Or that, if they only chose,

They could alter things back to when they danced all night,

Or went to their wedding, or sloped arms some September?

Or do they fancy there’s really been no change,

And they’ve always behaved as if they were crippled or tight,

Or sat through days of thin continuous dreaming

Watching the light move? If they don’t (and they can’t), it’s strange;

Why aren’t they screaming?

We are the memento mori now.  But are the young folks more afraid of death or of getting old? When Gulliver meets, in his Travels, the Struldbruggs – who age and age but are immortal – he sees them as a way of reconciling himself to death.  Gulliver swears that “no Tyrant could invent a Death into which I would not run with Pleasure from such a life [that of a Struldbrugg].” Gulliver decides that this amelioration of the mortal fear of death (which is far preferable to aging) is the only possible use for the immortals, and he considers bringing some specimens home with him “to arm our People against the Fear of Death.”

And why aren’t we “screaming”?  Well, some of us are as we run around cramming in travel and surgeries and whatever it takes to stop the reminders of our aging, but most of us accept it.  Some of us even like it.  In a way, our own bodies remind us that we are not going to last forever as bits and pieces wither, are surgically removed, or metamorphose into something we hardly recognize.  So, most of us have death on our horizon. I keep the memorial cards from loved ones who have passed away around the house where I can see their pictures daily and remember those who have passed ahead of me.  There is an old cemetery on my regular walking route, and one of the common headstone inscriptions is: “As you are now so once was I, as I am now so shall you be. Remember me as you pass by, prepare for death and follow me.”  Indeed.

Additionally, we have learned something in the process of getting older.  “Do they fancy there’s really been no change?” asks Philip Larkin sarcastically.  No, we know about the physical changes, but we also know that there is something that does not change very much at all. Don’t ask me to define it, but it is still there.  We aren’t screaming – not because we are looking forward to death – but because many of us have reconciled ourselves to it.  And, as Freud posited, we are better off for it.

I would note that one of Larkin’s very last poems, “Aubade,” is about the fear of death:

And so it [death] stays just on the edge of vision,

A small unfocused blur, a standing chill

That slows each impulse down to indecision.

Most things may never happen: this one will,

And realisation of it rages out

In furnace-fear when we are caught without

People or drink. Courage is no good:

It means not scaring others. Being brave

Lets no one off the grave.

Death is no different whined at than withstood.

Poor Philip!  I would contrast his fear with Stevie Smith’s poem “Black March” about her welcoming relationship with death or Maya Angelou’s wonderful “On Aging.”

For one of my short stories about approaches to death, you might try “A Perfect Ending.”  Other blogs on this subject include “Memento Mori” and “The Purpose of Old Age.”  Jorge Borges wrote a story (“August 25, 1983”) imagining his own death, which I tried to emulate in my story “May 12, 2036.” It makes death very concrete when you pick a date!  Try it!

Or you might try Chapter 10 in Book III of Gulliver’s Travels.

Why Are We Avoiding Paradise?

This past weekend was full of endings and beginnings.  Friday was Halloween, which – of course – marks the end of my favorite month, but is also the Eve of All Saints Day, when we remember the saintly dead.  That is followed by All Souls Day, when we remember all the dead. And, of course, it was the beginning of a new month, and the time when we turned back the clocks.  A propitious time for self-reflection.  November is the time of year which corresponds (metaphorically) with my age.  I have a few challenges ahead of me in the next few weeks, but both the young trick-or-treating ghouls and the thoughts of lost souls remind me of how good it is to be alive.  We somehow left Paradise behind as we grew up; can we regain it in old age?

That we are already in Paradise is something that is hard to comprehend and easy to forget.  I think often of the words of Joko Beck in her wonderful Everyday Zen (where she seems to talk directly to John Milton!):

There is no paradise lost, none to be regained.  Why?  Because you cannot avoid this moment.  You may not be awake to it, but it is always here.  You cannot avoid paradise.  You can only avoid seeing it.

You cannot avoid paradise.  You can only avoid seeing it.   Can it be true that the pathetic work of our long lives has been to hold paradise at bay?

Did we have paradise once and lose it?  Or did we just push it into a corner and place a fierce angel to guard the gates?  James Baldwin is much taken with such thoughts of paradise.

Perhaps everybody has a garden of Eden.  I don’t know; but they have scarcely seen their garden before they see the flaming sword.  Then, perhaps, life only offers the choice of remembering the garden or forgetting it.  Either, or: it takes strength to remember, it takes another kind of strength to forget, it takes a hero to do both. (Giovanni’s Room)

Wordsworth is sure that, as infants, we brought paradise (trailing clouds of glory) into the world with us, but lost it, forgot it, along the way:

There was a time when meadow, grove, and stream,
The earth, and every common sight,
To me did seem
Apparelled in celestial light,
The glory and the freshness of a dream.
It is not now as it hath been of yore;—

But why should we forget?  From “The Old Fools” by Philip Larkin, one of the most miserable and cynical poems about old age there is, comes this remarkable passage:

At death you break up: the bits that were you
Start speeding away from each other for ever
With no one to see. It’s only oblivion, true:
We had it before, but then it was going to end,
And was all the time merging with a unique endeavour
To bring to bloom the million-petalled flower
Of being here.

“The million-petalled flower of being here.”  If that is not paradise, if just the possibilities and potentialities of “being here” is not paradise, I do not know what is. And yet, I forget.  We all forget.  As Frederick Buechner puts it, we allow “Too good not be true” to turn into “too good to be true.”  In other words, paradise is all around us; we ourselves have put up the barriers, the angels with their shining swords are hired by us and paid a monthly wage to stop us from going back to where we belong.  Is that it? 

Beck implies that being old, being closer to death, should help us along with this process, if we let it.

When people know their death is very close, what is the element that often disappears?  What disappears is the hope that life will turn out the way they want it to.  Then they can see that the strawberry is “so delicious” [even though there is a tiger below] – because that’s all there is, this very moment.

No one but we, ourselves, can dismiss the flaming swords. It is our paradise to take or to leave. No teacher needed, no secret key.  Here is some more advice from Joko Beck:

I’ll tell you how far I’d walk to see a new teacher: maybe across the room, no farther! It isn’t because I have no interest in this person; it’s just that there is no one who can tell me about my life except—who? There is no authority outside of my experience. There is only one teacher. What is that teacher? Life itself. And of course each one of us is a manifestation of life; we couldn’t be anything else. Now life happens to be both a severe and an endlessly kind teacher. It’s the only authority that you need to trust. And this teacher, this authority, is everywhere.

Old people have seen a lot of life.  If there is one thing that we have, it is experience.  We need to trust ourselves, dismiss the shining swords, and enter the paradise that is ours by right.  What are the odds that we would even exist?  That we should persist over all these decades?  We beat those odds; we should be glad to collect the prize.  Or, at least, that is what I keep telling myself. 

I’ll end on this bright November day with a quote from Emerson:

It is so wonderful to our neurologists that a man can see without his eyes, that it does not occur to them that it is just as wonderful that he should see with them; and that is ever the difference between the wise and the unwise; the latter wonders at what is unusual, the wise man wonders at the usual.  (from “New England Reformers”)

In our old age, let’s storm the gates of Paradise.   Jesus said that the kingdom of God is in your midst.  Beck and Emerson tell us all we have to do is to change our perspective.  Change is hard in old age, but perhaps we could at least try.  Time is short.

Several years ago, I wrote a story about a woman’s misguided attempts to create paradise on earth, rather than just opening her eyes to it.  You can find it here.  I also posted a strange story about one last trip “Back to the Garden,” about finding paradise at the very last minute.