Category: Death and Old Age

Build Your Own World, Create Your Own Day, Construct Your Own Life

When I was young, I thought I would have figured things out by the time I was old.  (Old then being about 50.)  Yet I seem to be fighting many of the same battles with myself that I have been fighting for seven decades.  I know I don’t need another book to tell me how to fulfill my purpose, stop procrastinating, live according to my values and priorities.  I have read a slew of those books and know what it is that I am supposed to do.  That is not the problem.  Actually doing what I know is the best thing is the problem.

Moving closer to my teenage grandchildren and hearing them interact with their parents has been somewhat enlightening in this regard.  The conversation goes like this.  Parent: “Do you think eating all that candy (or staying up late playing video games or spending your allowance on silly things) is a good choice?”  Child: “I know, I know – but I really wanted…” You get the picture.  Many days this same conversation is going on in my head, but both characters are… me.  I know what the good choices are, but as Saint Paul laments in Romans 7:19, “For the good that I would, I do not: but the evil which I would not, that I do”.  Or as Ado Annie says in Oklahoma, “I’m just a girl who can’t say no.”

I have won the battle in some cases.  I keep a serious journal and have an exercise routine of sorts.  I take my vitamins and see my dentists and doctors as required.  I make my bed and remember birthdays and get a blog posted a couple of times a month, yet my life is overshadowed by the things I want to do and do not do.

Friends have told me just to climb out from under the guilt.  Retired people don’t really need to do anything, do they?  And yet this is not an answer for me.  I want to end every waking day by being satisfied by what I have accomplished, but I also am looking more closely (than I would like) at the end of my life.  The big deadline looms.

Three pieces of advice have helped me lately, and I am glad to pass them along.  Two are quotes from the Transcendentalists, first from Emerson in “Nature:” “Every spirit builds itself a house; and beyond its house, a world; and beyond its world a heaven. Know then, that the world exists for you: build, therefore, your own world.”  Birds single-mindedly build their nests; we should do the same.  In old age, our nests are for nurturing ourselves and not our babies, they are for cradling us to the end.  No better reason for building your own world.

If Emerson seems to call for too much, Thoreau parses it into to smaller chunks for us to consider.  In Walden, he tries to whittle his life down to the marrow; he trims his expectations to the day in front of him.  “To affect the quality of the day, that is the highest of arts.”  Make this day a good one – and our days will add up to a life, a world.   Thoreau’s gentle exhortation has gotten me through some rough patches.

Lastly, I have been reading a wonderful novel, This is Happiness, by Niall Williams.  The book was recommended in a recent NYTimes piece by Ann Patchett and is narrated by a very old man who is recalling the coming of electricity to his Irish village.  Read it to find out if the residents are happier before or after technology catches up with them!  In any case, the seventy-eight-year-old man reflects on this very subject:

Not that you ever quite know what that is [the better version of ourselves], still there he is, that better man, who remains always just ahead of you.  I write this now. Having come to realise it’s a lifelong pursuit, that once begun will not end this side of the graveyard.  With this I have made an old man’s accommodation and am reconciled to the fruits of a fruitless endeavour.

And what are the fruits of this fruitless endeavour?  Perhaps that we affected the quality of our days with Thoreau and built our own (yet imperfect) world with Emerson.  I am happy to make an old lady’s accommodation with these truths.

What Abides (Into Old Age)?

What makes the 73-year-old me that I see in the mirror, that I identify as “me,” the same as the four-year-old in the picture on my desk?  No one would recognize me in the four-year-old.  Even I have trouble identifying what remains of her.  As we age, “what abides?” is a question worth pondering.  People try to answer it in different ways – some look up old friends, some write memoirs.  We all dread the loss of what we think of as our “selves;” I watched my mother turn into a different person in her late eighties, and yet she retained many early memories.  In fact, she seemed to live in her earliest memories.  What of her self was lost, and what remained?

These questions made me think of that old word: abide.  In old age, what abides?  What stays and makes us us until the very end?  Or is the concept of a constant being just fallacious?  In “Ulysses,” Tennyson posits that “much abides” in old age – that while the body fades and weakens, the will is strong:

Tho’ much is taken, much abides; and tho’
We are not now that strength which in old days
Moved earth and heaven, that which we are, we are;
One equal temper of heroic hearts,
Made weak by time and fate, but strong in will
To strive, to seek, to find, and not to yield.

Tennyson wrote “Ulysses” when he was a young man; I would posit that the admonition “not to yield” would not be the advice of an old man.

On the other hand, Thomas Hardy was around sixty when he addressed “abiding” into old age in “I Look Into My Glass:”

But Time, to make me grieve.
Part steals, lets part abide;
And shakes this fragile frame at eve
With throbbings of noontide.

While Tennyson wants to concentrate on the value of what abides, Hardy finds it a form of torture, as his spirit wants to do what his body cannot do.  And then there is Robert Graves and his poem about looking in the mirror, written when he was about 72:

I pause with razor poised, scowling derision
At the mirrored man whose beard needs my attention,
And once more ask him why
He still stands ready, with a boy’s presumption,
To court the queen in her high silk pavilion.

For Graves, what abides is “presumption.”  And more specifically, “a boy’s presumption.”

In its intransitive form (as used by Tennyson and Hardy above), abide means “to remain stable or fixed in a state;” this is the same as the meaning it takes in the great hymn, “Abide with Me.”  The tale is that the author of the hymn wrote it at the deathbed of a friend, a friend who asked him to abide with him until the end.  The Biblical reference is Luke 24:29. The disciples (after they had met the risen Christ) plead with Jesus: “Abide with us: for it is toward evening, and the day is far spent.”  This is from the lovely King James Version; I would note that some later versions use the word stay rather than abide.   I prefer abide, which is related to the word “abode.”

This is an old problem.  The ancient Greeks pondered the problem of the Ship of Theseus.  As told by Plutarch in the first century, Theseus’s original ship was used for a ceremony commemorating his defeat of the Minotaur; over the centuries, almost every part of the ship had to be replaced, as it rotted and rusted.  A thousand years later, was it still really the Ship of Theseus?  Sixty-nine years later am I still my four-year-old self?

So, the question still is: What abides?  What abides when we walk with a limp, when we can’t remember the librarian’s name or where we put the library book?  What abides that can reassure us of who we are?  Tennyson would leave us with the impetuosity of youth; Hardy would have us the prisoner of passions we can’t act on; Graves chides us for presumption.  I firmly believe that something of value abides, and I spend a bit of time trying to winnow out the chaff to find it.

Retirement, Death, and The Land of Cockaigne

Younger people dream of retirement – of that rosy day when they have reached the right age for social security or pension payments.  Or banked enough money in retirement accounts to cover their living expenses for the rest of their days.  Middle-agers discuss retirement with others in the office; they fantasize about where they will live and where they will travel; they try to imagine not having to wake up to an alarm every morning or having to turn out the light earlier than they would like.  I had such fantasies, but that was many, many years ago.  Now, I can’t imagine how I ever worked nine- or ten-hour days, put up with the constant aggravation of an office, or made a commute in rush hour traffic.  I don’t miss it, never missed it much.

Here is what I sometimes miss though – the hope for an event which is going to make life easier.  I sabotaged this wish lately by moving to be closer to family and taking on the logistics of a move (will I ever be able to get through the red tape at the DMV or find a primary care doctor?).  In the middle of the move, one of the family members that I was moving to be close to unexpectedly passed away.  He died while the movers were emptying my house in North Carolina, and his funeral was the day the movers arrived with our stuff in New England. 

And then there are the minor losses – routines, habits, a sense of where things are.  Finding further problems with an already imperfect new/old house.  Major and minor problems and aggravations are constant.   Locating a cooking utensil is suddenly a big deal.  Bills have to be carefully monitored during the address change so that payments are not missed.  New telephone numbers and wireless passwords must be noted and memorized.  The view out the windows has changed.  Being close to family means being physically and blessedly closer to their lives – which unfortunately also include their problems.

So, if we can no longer look forward to retirement, what does the elderly one look forward to?  Assisted living, the nursing home?  We decided when we moved that we were not ready for communal living of any kind, and – while it may be necessary someday – it is far from our ideal.  It is not something to hope for.

In medieval Europe, there was the peasant concept of Cockaigne, or pais de cocaigne, which translates to “the land of plenty.”  It was pictured as a kind of heaven with enough to eat, time to rest, the abolition of work, and – of course – free sex.  It was something for poor men and women to dream about, a heaven more to their taste than the Christian one.  As I was going through the trials of the last few weeks, I wondered what my equivalent was.  If I believe in any kind of afterlife, it surely is not the “pie in the sky when you die” sort.  And, yet, I found in the midst of seemingly irresolvable problems, that I was reminding myself over and over again, that I would soon find myself (or more accurately others would find me) dead and all my worries would go with me to the crematorium.  So, is this what old people look forward to – leaving their problems and their bodies (which often are one source of their problems) behind them?  Interesting thought.

Death as something to look forward to?  An alien concept in our culture but not without its believers.  The wonderful poet Stevie Smith wrote “I have a friend/At the end/Of the world.  /His name is a breath/Of fresh air.”  His name, of course, is death.  The poem is “Black March.”

I do not wish myself dead.  I just wish to get settled in and live a more routine existence.  But Jorge Borges found some comfort in imagining his own death – he even wrote a story about it, “August 25, 1983“, in which Borges conjures up an older version of himself on his deathbed.  I once made an exercise of doing the same for myself (see my blog entry “Fantasies to Reject in Old Age” from last May).  It was informative and scary.

I will get used to my new location.  I will unpack my ladle and find a dermatologist and get a new driver’s license.  But none of that happens quickly and all of it is harder than it used to be.  But there is really no alternative, no Cockaigne, without going through it.  I try to tell myself that it is useful to challenge myself in my old age, but it is not easy.  It is worse than I thought it would be; I hope that, when I come to it, I will be able to say the opposite about death.  At least that transition will not require a trip to the DMV.

The Nearings, the Yaloms, and Two Great Poets – When Death Comes to Good Marriages

Over the past month or so, I have read three memoirs about long, happy marriages which were visited by the death of one of the partners.  Close couples often joke about hoping that they will both expire at the same moment, but the partners know that this will not happen; one of them will watch and one will die.  How to cope? 

These narratives of death’s visitation are similar in format, while different in tone. All three books alternate the descriptions of the last days of the marriage with memories from earlier times, with tales of falling in love and creating a life.  The rituals of each marriage are carefully documented – rituals which mean so much and are so important and, at the same time, are so hard to cling to when illness and tragedy intercedes.

In A Matter of Death and Life, Irvin Yalom (The Schopenhauer Cure, When Nietzsche Wept) and Marilyn Yalom alternate chapters as they tell of the end of her cancer treatment, and her death surrounded by family and friends.  It is the relationships that are important to the Yaloms.  During her last days, Marilyn stopped treatment and chose death (and it seems like a good choice) – and while she can accept death, she has more trouble about leaving her loved ones:

Still, if I am not afraid of death itself, I feel the continued sadness of departing from my loved ones.  For all the philosophical treatises and for all the assurances of the medical profession, there is no cure for the simple fact that we must leave each other. 

It is these loved ones and their memories that Irvin thinks will be the “afterlife” of himself and Marilynne, but he knows that this too is ephemeral:

I know that I will exist in ethereal form in the minds of those who have known me or read my work but, in a generation or two, anyone who has ever known the flesh-and-blood me will have vanished.

Donald Hall and Jane Kenyon are also separated by cancer.  Donald had just recovered from his own grappling with this disease when his much younger wife is diagnosed with leukemia. For years, the couple assumed Donald would predecease Jane and planned accordingly, but such are the plans of men and women.   The couple follow up on every possible chance of recovery, including spending some miserable months in Seatle for a bone marrow transplant.  Nothing works.  The most moving moment in the book is when Donald and Jane finally are convinced that they must “give up” and accept.  There is a strange joyfulness as they throw out all the noxious medicines and look for a brief respite from treatment before the end comes.  They have only eleven days left.

But like Marilyn Yalom, it is the loss of relationships, of contact with loved ones, that bothers Jane.  “Dying is nothing, but…the separation!” she howls.  Jane and Donald prepare poems for her posthumous volume, compose her obituary, pick a Psalm for her funeral.  Unlike in the Yaloms’ book, there is some notion of a religious afterlife, at least on Jane’s part. 

The Nearings had a different kind of ending.  Scott Nearing is 100 years old and frail, but he decides that he has had enough and stops eating.  In Loving and Leaving the Good Life Helen Nearing, writes:

He would take no pills, no drugs, and hoped to avoid doctors.  He became less and less concerned with continuing to inhabit a weakening body.  When he could no longer carry his part of the load and take care of himself, he was ready to go on.  I was at one with him in this.  The way one dies, it seemed to me, should reflect the way one had lived, and I was glad to help him do it gracefully.

Scott dies peacefully by his wife’s side.  If you have read their earlier book (Living the Good Life – a hippie Bible) about how they consciously set out to live a good and meaningful life in Vermont, you will recognize the intention to do things consciously, and, as Helen puts it, gracefully.

These memoirs clearly served a therapeutic service for the writers.  The act of tracing the roots of the relationship is preparatory to trying to acknowledge what the last separation means.  Reading these books – all highly recommended – should be done long before we are in the position of facing such realities.  Planning for the unknown is impossible, but contemplating the possibilities can be a worthwhile exercise.

These were all good marriages, but we are reminded that even good marriages come to an end.  Irvin Yalom concludes his memoir thus:

I shall end our book with the unforgettable opening words of Nabokov’s Speak, Memory: “The cradle rocks above an abyss, and common sense tells us that our existence is but a brief crack of light between two eternities of darkness.”  That image both staggers and calms.  I lean back in my chair, close my eyes, and take comfort.

Good marriages intensify that “brief crack of light,” and while we cannot stop mortality, we can appreciate every good day we are granted.  There are other lessons in these books, but this is the wisdom that remains.

 

 

 

 

Fantasies to Reject in Old Age (or Sooner)

Youth is a time for fantasy, but it occurs to me that we may never outgrow some illusions.  The nature of our fantasies changes as we age (Santa Claus and Prince Charming may have been discarded), but our need for such magical thinking apparently does not.  I have been reading Swamplands of the Soul, by the Jungian James Hollis, which is a far more uplifting book than you might expect from the title.  Hollis and others whom I will discuss think that elderly fantasies are not entirely harmless.  And if you think you don’t have any such illusions, please read on.

Hollis is particularly interesting on the subject of aging and fantasy. He says that there are at least a couple of fantasies that we all need to reject as we grow old:

The two greatest fantasies we are obliged to relinquish in the second half of life are that we are immortal exceptions to the human condition, and that out there somewhere is some “Magical Other” who will rescue us from existential isolation.

My body has been working hard to convince me that it won’t last forever; so, I think I have probably come close to accepting my mortality (ask me on my deathbed).   But the “rescue” fantasy is harder – and it includes, according to Hollis, “Taking responsibility for choices, to cease blaming others or expecting rescue from them, …and to accept the pain of loneliness.”   I do have trouble with the blame thing – partly because my family of origin loved the blame game and partly because it is indeed an easy way of avoiding responsibility.  I have spent countless hours with therapists, siblings, and friends detailing the sins of the childhood that made me what I am.  But that’s over.  The older I get, the surer I am that those recalled injustices just don’t matter anymore.

As for the “Magical Other,” I think I have finally learned that no one can rescue me from myself.  I also realized over time that it was not simply a knight in shining armor I was looking for to redeem me. I often fell prey to the false belief that more money, another house, a new situation, a grand trip could do the job – never seeing that any remediation for “existential isolation” comes from acceptance within.

Much “magical thinking” is the product of conceiving our life as a story.  As James Carse says in his wonderful Infinite Games, “Because we know our lives to have the character of narrative, we also [think] we know what the narrative is…. [But] true story tellers do not know their own story.”

And of course, if we have a story, we want a happy ending.  This is another fantasy to reject in old age (related to Hollis’s second one).  My husband and I have recently lost the last of our parents, and it is clear that life’s end may be many things, but it is seldom happy and often it is quite the opposite.  The old have happy moments, happy memories – but to tell ourselves that everything will come out right in the end (think Best Exotic Marigold Hotel) is indulging in a fantasy.   Many of us delay making necessary changes to our lives because we picture a quiet deathbed scene in our own bed, with loving (and not burnt out from taking care of us) friends and relatives holding our hands and playing our favorite music.  May it be so for you, but I hope I know enough not to count on it.  But accepting this does not mean despair.  Joko Beck posited that it could mean something else entirely:

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 the want it to.  Then they can see the strawberry is “so delicious” [even though there is a tiger below – you may know the story] – because that is all there is, this very moment. (Everyday Zen)

It is easy for me to say that I accept Hollis’s imperatives to accept mortality and to reject optimistic fantasies and magical thinking.  It is not easy to do, and recidivism occurs frequently.  Young children often cannot tell fantasy from reality; dreams seem real, Santa’s reindeer can fly, and there really are monsters under the bed.  We are older, but are we wiser?  We justify telling lies to children to protect them, to make the world seem less threatening.  An argument might be made that elders need the same protections.  I will, however, keep trying to “put away childish things.”

Jorge Borges wrote a story, “August 25, 1983,” in which he imagines his own death.  Using his format, I did something similar and found it an interesting exercise.  I highly recommend both the story and the exercise.  What do you think you will have to say at the end of your life?  What was important, transformational, disappointing?  Look at it as practice in dealing with reality.

I would also recommend a wonderful book by Stephen Levine, “A Year to Live: How to Live This Year as If It Were Your Last.”  It inspired my story, “Encore.”

A Last Transitioning

I just returned from visiting a ninety-eight-year-old relative who, although she is weak and has been under hospice care for many months, has never spoken of her own death in my presence. She has never acknowledged her mortality in any way.  However, since the last time we were with her, she has learned a new word for what she feels she is going through: transitioning.  She affirmed quite emphatically that she was in the process of transitioning, that she would be transitioning soon.  There was never any discussion of what she would be transitioning to, but that didn’t seem to matter.  I guess transitioning seems less terminal, more transitive.  For whatever reason, it is a concept, a term, that she is comfortable with.

This terminology, however, made for some humorous conversations. I heard her, for instance, leave a phone message for a financial manager telling him that she wanted to talk to him because she would be “transitioning” soon.  In this day, when “transitioning” is usually used in a different context, it might make people who don’t know her well wonder if she is having a deathbed gender conversion.  But I don’t mean to make light of it; I am grateful that she has found a word to describe her experience, a word that she can be comfortable with.  And the end of life is surely an ongoing transition which must be borne, appreciated, accommodated.

Our culture has many euphemisms for death; Wikipedia can give you more than fifty.  Many have religious connotations: “going to heaven;” some are earthy: “kick the bucket;” some are transactional: “checking out.”  But we are loath to look at death directly.  Irvin Yalom, my favorite psychiatrist/author, wrote a book entitled Staring at the Sun: Overcoming the Fear of Death.  The title comes from a quote from La Rochefoucauld: “You cannot stare straight into the face of the sun, or death.”   Yes, and despite the optimistic title of Yalom’s book and the advice he provides, facing our mortality never seems to get much easier.

Literature gives us many images of death, with deathbed scenes ranging from the horror of Tolstoy’s Ivan Illich to the sweet demise of Dicken’s Little Nell.  But, today, I am more interested in poetry, and no one can confront the truth like Philip Larkin.  He wrote an aubade, a poem about early morning hours in bed, in which he talks about lying in the dark facing “the dread of dying, and being dead,” thoughts which “hold and horrify.”  Aubades are usually romantic poems, about lovers having to leave each other at sunrise after a blissful night.  Larkin fixates only on his fear of having to, inevitably, leave life.

In time the curtain-edges will grow light.

Till then I see what’s really always there:

Unresting death, a whole day nearer now,

Making all thought impossible but how

And where and when I shall myself die.

Arid interrogation: yet the dread

Of dying, and being dead,

Flashes afresh to hold and horrify.

I have known people who claimed they had no fear of death; I never believed them.  I know other people who say they are afraid of the process of dying, but not death itself.  I can almost believe them.  Clearly my skepticism is deeply colored by my own fear of annihilation.

There are other views of death in poetry.  Stevie Smith calls death “Black March” in her poem of that title; she thinks of death as an “old friend,” “a breath of fresh air,” “a change.”  She looks forward to thinking of a visit from her old friend; she seemingly cannot face life without knowing he is somewhere, cloaked in grey chiffon, waiting for her.  “I have a friend/ At the end of the world. / His name is a breath/ Of fresh air.”

And then there is Robert Louis Stevenson, who spent most of his life struggling gallantly with tuberculosis, but has no intention of resisting death when it comes:

Under the wide and starry sky,
Dig the grave and let me lie.
Glad did I live and gladly die,
And I laid me down with a will.

I may never have Stevenson’s openness to death, but I sincerely hope to have Stevie Smith’s confidence that, at some point in my life, death will be a friend.  And I will lose my fear about a final transition.

If you want to contemplate death through some of my fiction, you might try “And Now, A Word from Dead Barry,” or “Tale of Two Grannies.”

I Am What I Am

 

When I was a small child in Rhode Island, Salty Brine and his collie named Jeff hosted a children’s program which, among other entertainments, ran the black and white cartoons of an indomitable, spinach-eating sailor.  Popeye had made his own peace with life and sang out his philosophy: “I am what I am and that’s all that I am, I’m Popeye the sailor man.”  Of course, in Popeye’s seagoing dialect, it came out “I yam what I yam,” which is how Robin Williams sang it when he played Popeye in 1980.  As a child, I loved Popeye and hated Bluto.  Life was simpler then.

But the phrase, “I am what I am,” has been rattling around in my head again lately.  It is, of course, primarily Biblical.  When Moses beholds the burning bush and talks to his Maker, he is concerned about how to convey the reality of his theodicy to his fellow Hebrews. “If I come to the people of Israel and say to them, ‘The God of your fathers has sent me to you,’ and they ask me, ‘What is his name?’ what shall I say to them?”  God said to Moses, “I am who I am.”  Then, in case Moses is still confused, God adds: “Say this to the people of Israel, ‘I am has sent me to you.’”  Poor Moses took this strange message down to the people.

We get the phrase again in the New Testament – this time from Paul in his letter to the Corinthians.  “But by the grace of God I am what I am, and his grace toward me was not in vain.”  Paul is talking about the fact that Jesus appeared to him on the road to Damascus.  It seems a strange statement, for surely we all are what we are?  What does he mean?  One might wonder.  Ben Franklin seems to have his tongue firmly in his cheek when he asks: “I am what I am and that’s all that I am and if I’m supposed to be somebody else, why do I look like me?” 

But the speaker of this phrase that I have mostly been fixated on for the past week is that of Jonathan Swift.  As many of you know, I have spent much of my life pondering Swift; this blog is titled after his own resolutions about old age. But that list was compiled long before Swift entered his own raving and often very public senescence. Here is a story from the year before he died, recounted by his grandnephew, Deane Swift:

On Sunday the 17th of March [1744], as he [Jonathan Swift] sat in his chair, upon the housekeeper’s moving a knife from him as he was going to catch at it, he shrugged his shoulders, and rocking himself, said I am what I am, I am what I am: and, about six minutes afterwards, repeated the same words two or three times over.

Swift’s cry seems to erupt from someone who does not feel understood and yet wants to be accepted. It is the cry of someone who has changed beyond even his own recognition, but wants to find peace.   Swift raged in Biblical language because it is his language – he is the Rector of St. Patrick’s, after all, and well steeped in the King James Bible.  While God knows that Moses can never understand God’s nature but yet wants a relationship with him, Swift cries out in the same way to the people around him.

 Jorge Borges was also intrigued by Swift’s words.  Borges lists the following possibilities: “He may have felt, I will be miserable but I am, and I am a part of the universe, as inevitable and necessary as the others, and I am what God wants me to be, I am what the universal laws have made of me, and perhaps To be is to be all.” Borges combines these interpretations with the inclusive and; all possibilities are accepted (including that of being miserable) and all possibilities include acceptance of the inevitable.  One might take this existential statement to indicate that Swift has accepted his fate, the face in the mirror.  But he does not necessarily like it.  While God’s “I am” is presumably a statement of changelessness, Swift’s is perhaps the acceptance of change.  When Swift was a bit younger, he told a fellow writer that he was like some trees, in that he would “die from the top.”  One might wonder if he knew what was happening to him.

I think that “I am what I am” is a strong phrase, but it is painfully close to a phrase I hate: “It is what it is.”  When the latter slogan became ubiquitous at the turn of the twenty-first century, the word-czar William Safire coined the term “tautophrase” to describe such a self-evident statement.  “Facts are facts,” “what’s done is done,” and “it is what it is” are all inane tautophrases.  And so is, “I am what I am.”  And yet.  The phrase elicits some essence of our being that withstands age and circumstance.  It also calls for acceptance of all these things: our essence, our age, and our circumstances.  “I am what I am,” says the old lady.  “Obviously,” says William Safire.

 

Memento Mori

We all need to be reminded of things, and the older we get the more mnemonic aids are necessary.  We try to put everything on the calendar (and then try to remember to look at the calendar); we set up our computer to remind us of birthdays and anniversaries.  Doctors and dentists send us appointment reminders; Facebook sends us memories.  But, perhaps, what we really need help with are the more important things in life.

I recently re-read Muriel Spark’s wonderful Memento Mori. You probably know Spark from her Prime of Miss Jean Brodie; in Memento Mori she moves her observational skills to wonderful advantage from a Scottish boarding school to a set of oldsters. In the book, the very elderly characters keep getting solemn calls reminding them that they will die – no dates, no threats – just: Remember, you must die.  This, nevertheless, upsets the old people tremendously and they try all means (and suspect all kinds of people) to stop the reminders – the memento moris,  if you will.  Police are called, detectives are hired, snooping abounds.  But nothing can stop the calls.  And here’s the odd thing: the voices on the phone vary with each recipient.

There are rich and poor people in the book; the rich are having a lavish and catered old age, while their former servants live in geriatric wards run by the state.  They all get the calls.  Death is knocking at the door.  Why does it upset them so much?  Why do we know exactly how they feel?

Interestingly, I had just about finished drafting this blog when I read an interview in yesterday’s New York Times Book Review.  The “By the Book” subject was Tara Westover, a historian and the author of the bestseller Educated.  She was asked what classic novel she had only recently read, and answered with Spark’s Memento Mori and described the book:

A bizarre and dark little fable about aging and mortality – about economic abundance and emotional poverty.  I laughed out loud the whole way through.

“I laughed out loud the whole way through.”  This is the comment of a younger person (Westover is 36).  If you are old, you will empathize and perhaps grimace, but you will not laugh out loud.

Freud posited that the reason people felt most alive, most vital, in wartime, was because they were face to face with death all of the time.  Shouldn’t that also be true in very old age?  I wonder.

Memento mori has a long history.  You see skulls added to Dutch paintings to remind the viewer that the end is coming.  Cathedrals often had images of skeletons and the Last Judgement, cemeteries were put next to churches, and Buddhists often meditated in charnel houses – all to remind people that they are mortal.  It seems we have always needed that reminder.

When Longfellow was invited to his 50th class reunion at Bowdoin, he composed a long poem entitled, “Morituri Salutamus,” which means “We who are about to die salute you,” the salutation that the gladiators purportedly greeted their blood-thirsty audiences with.  It is a mediocre poem (for Longfellow at least), but he does exhort his elderly classmates not to forget their mortality and encourages them to look at the bright side:

For age is an opportunity no less

Than youth itself, though in another dress.

And as the evening twilight fades away

The sky is filled with stars, invisible by day.

Longfellow does not quite identify what the “stars” of old age are, leaving us something to meditate upon.

The Buddha recommended five daily recollections to keep us centered on the truth of our existence and prompted his monks to recite them daily.  They are:

  1. I am of the nature to grow old. There is no way to escape growing old.
  2. I am of the nature to have ill health. There is no way to escape having ill health.
  3. I am of the nature to die. There is no way to escape death.
  4. All that is dear to me and everyone I love are of the nature to change. There is no way to escape being separated from them.
  5. My actions are my only true belongings. I cannot escape the consequences of my actions. My actions are the ground upon which I stand.

Pretty negative, one might say.  And yet, doesn’t the transience of life make it more poignant?  Is the true suffering in recognizing that we will die or in spending our old age flailing against that reality?    Marx described religion as the “opiate of the masses” because it distracted people from improving the life in front of them.  Perhaps this is true for both civilizations and for individuals.  But as the mynah bird in Huxley’s utopian Island spent all day crying out “Attention” in order to pull listeners back to the present moment, so perhaps we should have something in our lives to remind us of our mortality.  You could do worse than to start with Muriel Spark’s Memento Mori.

Death as a Divine Messenger

A good slice of great literature (and even greater percentage of myth) concerns our relationship with death.  How can we cope with the inevitability of it?  Or, how can we trivialize it? Or, better yet, avoid it?

Sometimes, this literary grappling with death takes the form of a trip to the underworld, the land of the dead.  Some such ventures are heroic – Heracles goes as part of one of his labors, Orpheus visits  to rescue Persephone.  Some seek information  – Odysseus wants to know how to get back home, back to Ithaca; Aeneas wants to know his destiny.  Some represent a pilgrimage for wisdom – like Dante in the “middle of life’s journey.”  Virgil both gets to write about the underworld in the Aeneid and to accompany Dante on his perambulations through heaven and hell.  More recently we have Saunders’ Lincoln in the Bardo.  Each story is trying to make sense of life and death, trying to come to terms with mortality.

Many of such stories begin when a young person is scared by an encounter with death.  The Buddha was frightened into leaving his royal palace at the sight of a corpse.  For the young Siddhartha death was a “divine messenger.” Gilgamesh was completely undone by the death of his friend Enkidu, and ventures out to find the secret to immortality.  And, in the Katha Upanishad, the teenage Nachiketa is sent by his father to find out “the secret of life and death.”  In Chaucer’s Pardoner’s Tale, a trio of young men set out to find Death in a spirit of revenge after the demise of one of their companions.

Poetry too deals with how to conquer death in a metaphoric fashion.  Shakespeare’s Sonnet 146 is an admonition to elevate the soul above the body, and ends: “So shall thou feed on Death, that feeds on men, /And Death once dead, there’s no more dying then.”  John Donne also vanquishes death at the end of one of his Holy Sonnets: “Death, thou shalt die.”  Oh, that it were so easy.

Sometimes, the initial fear of death prompts the protagonist to explore methods of immortality.  This is where Gilgamesh starts, in search of the magic plant that will allow him to stay both young and immortal.  In legend (if not in fact), Ponce de León searched high and low for the fount of immortality.  In the 16th century, Cranach painted a wonderful representation of it – old naked bodies going into the fountain and young bodies coming out.  Silicon Valley is obsessed with immortality projects.  But most of literature and myth (with notable exceptions) does not ultimately deal with death by denying it will happen.  Most – like even the saga of Gilgamesh – end with a reconciliation with death rather than the annihilation of it.  Thomas Merton’s goal was “to face the real limitations of one’s own existence and knowledge and not try to manipulate or disguise them.”  And yet, the 21st century slogan seems to be “no limits.”

When we were waiting for the News Hour last night on PBS, our local channel was advertising two shows about aging – one was called “Aging Backwards” and the other was “The Longevity Paradox,” both apparently how-to shows about avoiding aging and prolonging life.   Those PBS folks know their News Hour audience.  Is there such a thing as reverse aging?  I admire those who try to keep us old folk limber with yoga, functional through diet, and positive with mindset suggestions, but where is the show on coming to grips with the fact that all is not going to end well?

I cannot remember when I first recognized the fact of death.  I vaguely remember when my great-grandmother (whom I hardly knew) died – the same year I found our canary Billy (whom I was very fond of) belly up in the bottom of the cage.  We lost pets, I heard adults discuss the demise of others, and I guess I slowly realized the animals and people die.  But when did I realize that this applied to me?  Freud would say that I probably never did.  There have been moments – just before surgery, just after having a close call in a car accident – when death has seemed real, when the fragility of life realigned my thinking, but these moments did not endure.

Jorge Borges wrote a story, “August 25, 1983,” in which he imagines his own death.  Using his format, I did something similar and found it an interesting exercise.  I highly recommend it.  What do you think you will have to say at the end of your life?  What was important, transformational, disappointing?  Borges drafted his story just a few years before he died, and it is amazing what we learn about him in just a few pages.

And what would it mean to you if you knew you were dying, that there was a determined date for your termination?  Of course, we are all headed toward death, but what difference would it make if you could actually see the end coming?  There is a wonderful book by Stephen Levine, “A Year to Live: How to Live This Year as If It Were Your Last.”  It inspired this week’s story, “Encore.”

Old Folks and Tales of Climate Catastrophe

We watched Don’t Look Up last night, which led to some interesting discussions and dreams (nightmares?) at our house.  The movie would seem to be an allegory for the way the world is (or mostly isn’t) dealing with climate change.  Old characters – other than a pathetic old general who runs an abortive mission to save the world – do not have much of a role, but the movie got me thinking about some recent novels about our future and climate change in which the old are integral to the plot.

The character of old Grandy in High House by Jessie Greengrass is a good example.  Grandy is raising his granddaughter in a summer community; Grandy takes care of everyone’s cottages while they are away, knowing how to do almost everything from repairs to gardening. The climate scientist in the book seeks him out because she has a “high house” nearby – a house presumably safe for a while from storms and ocean elevation – and is preparing the property to harbor her young son and teenage stepdaughter when the apocalypse comes.   The scientist knows the house will eventually be surrounded by water, so the huge stockpiles she has amassed will (hopefully) not be stolen or plundered.  The scientist herself intends to stay in the battle until the end; she does not foresee herself surviving to get to the high house.  Close to the beginning of the major devastation, she convinces Grandy, now in a wheelchair from a broken hip, to move into the high house with his granddaughter and help her children survive.  Grandy complies; his house will flood. He has no choice.

So we are left with a high house, two teenage girls, a very young boy, and Grandy – who cannot do much but knows everything about how to get the generator going, feed the chickens, harvest the garden, thresh the wheat.   Grandy is the fountain of both wisdom and knowledge.  He delivers instructions patiently from a chair in the kitchen, as the younger folks tend livestock, plant vegetables, and salt fish.   At first their isolation and wholesome lifestyle at the high house seems idyllic, and then the generator stops working, the storms get worse, and the full impact hits.  It ends with the thoughts of one of the young women.  Caro says “the high house isn’t an ark.  We aren’t really saved.  We are only the last ones, waiting.”  There is no doubt, though, that they would not have lived as long as they had without Grandy.  There is also no doubt that had the world had Grandy’s wisdom, the predicament might have been averted.  I highly recommend The High House.

I do not recommend Joy Williams’ Harrow.  First is a hard book to read – although this in itself is not a reason to avoid it.  Sometimes hard books are needed to address hard topics – but not in this case.  The Atlantic calls Williams “the great prophet of nothingness.” Harrow gives us no such redeeming characters or situations as we have with Grandy and his charges at the high house.  We sometimes empathize, but we do not identify with these people, nor do we admire them.  The main character (Christen, nicknamed Lamb), in a search for her lost mother in a time of civil dissolution and “conservative” politics (meaning in this case actually waging war on what remains of nature), stumbles on a dilapidated resort/conference center full of old people who are, by turns, giving up their lives in what seem to be futile acts of ecoterrorism.  They cannot bear to live without doing something, but there is almost nothing they can do but die with great futility.  They fail to even comfort each other, and their acts of self-immolation are often misdirected.  If Grandy tried to help with his old-fashioned knowledge about how to live a primitive life, these folks are just trying to figure out the best way to die.

These two novels are climate dystopias, but they somehow reminded me of Margaret Drabble’s much more conventional book of a few years ago about ways to be old, The Dark Flood Rises.  Drabble’s book (highly recommended) touches on climate change only incidentally, with the main character being an older woman, Fran, who works on housing issues for the elderly, cares for her ailing ex-husband, and tries to make some sense out of what remains of her life.  Most of the other characters are also old, and we get an array of ways people arrange the ends of their lives – physically (much discussion of old age homes and such) and psychologically.

“Prepare your ship of death” Fran tells herself over and over – which is a phrase from “The Ship of Death” by D.H. Lawrence from whence Drabble got the book’s title:

Piecemeal the body dies, and the timid soul

has her footing washed away, as the dark flood rises.

Lawrence is talking about the “dark flood” of death; these books enable us to also read it as the dark flood of global warming.

I have written about old folks and environmental issues before (see “Failing Bodies and the Failing Planet“).  Our role is an open question that these books address – do we have wisdom to offer?  Should we risk death (so close anyway) to help in some way?  What to do? 

This week’s story, “Three Women,” does not seek to answer these questions, but just to look at some ways we pattern our lives and see (or fail to see) ourselves.