6+The+Classroom


 * 6 Tuedays with Morrie **

= The Classroom =

The sun beamed in through the dining room window, lighting up the hardwood floor. We had been talking there for nearly two hours. The phone rang yet again and Morrie asked his helper, Connie, to get it. She had been jotting the callers' names in Morrie's small black appointment book. Friends. Meditation teachers. A discussion group. Someone who wanted to photograph him for a magazine. It was clear I was not the only one interested in visiting my old professor-the "Nightline" appearance had made him something of a celebrity-but I was impressed with, perhaps even a bit envious of, all the friends that Morrie seemed to have. I thought about the "buddies" that circled my orbit back in college. Where had they gone? "You know, Mitch, now that I'm dying, I've become much more interesting to people." You were always interesting. "Ho." Morrie smiled. "You're kind." No, I'm not, I thought. "Here's the thing," he said. "People see me as a bridge. I'm not as alive as I used to be, but I'm not yet dead. I'm sort of . . . in-between." He coughed, then regained his smile. "I'm on the last great journey here-and people want me to tell them what to pack." The phone rang again. "Morrie, can you talk?" Connie asked. "I'm visiting with my old pal now," he announced. "Let them call back." I cannot tell you why he received me so warmly. I was hardly the promising student who had left him sixteen years earlier. Had it not been for "Nightline," Morrie might have died without ever seeing me again. I had no good excuse for this, except the one that everyone these days seems to have. I had become too wrapped up in the siren song of my own life. I was busy. What happened to me? I asked myself. Morrie's high, smoky voice took me back to my university years, when I thought rich people were evil, a shirt and tie were prison clothes, and life without freedom to get up and go motorcycle beneath you, breeze in your face, down the streets of Paris, into the mountains of Tibet-was not a good life at all. What happened to me? The eighties happened. The nineties happened. Death and sickness and getting fat and going bald happened. I traded lots of dreams for a bigger paycheck, and I never even realized I was doing it. Yet here was Morrie talking with the wonder of our college years, as if I'd simply been on a long vacation. "Have you found someone to share your heart with?" he asked. "Are you giving to your community? "Are you at peace with yourself? "Are you trying to be as human as you can be?" I squirmed, wanting to show I had been grappling deeply with such questions. What happened to me? I once promised myself I would never work for money, that I would join the Peace Corps, that I would live in beautiful, inspirational places. Instead, I had been in Detroit for ten years now, at the same workplace, using the same bank, visiting the same barber. I was thirty-seven, more efficient than in college, tied to computers and modems and cell phones. I wrote articles about rich athletes who, for the most part, could not care less about people like me. I was no longer young for my peer group, nor did I walk around in gray sweatshirts with unlit cigarettes in my mouth. I did not have long discussions over egg salad sandwiches about the meaning of life. My days were full, yet I remained, much of the time, unsatisfied. What happened to me? "Coach," I said suddenly, remembering the nickname. Morrie beamed. "That's me. I'm still your coach." He laughed and resumed his eating, a meal he had started forty minutes earlier. I watched him now, his hands working gingerly, as if he were learning to use them for the very first time. He could not press down hard with a knife. His fingers shook. Each bite was a struggle; he chewed the food finely before swallowing, and sometimes it slid out the sides of his lips, so that he had to put down what he was holding to dab his face with a napkin. The skin from his wrist to his knuckles was dotted with age spots, and it was loose, like skin hanging from a chicken soup bone. For a while, we just ate like that, a sick old man, a healthy, younger man, both absorbing the quiet of the room. I would say it was an embarrassed silence, but I seemed to be the only one embarrassed. "Dying," Morrie suddenly said, "is only one thing to be sad over, Mitch. Living unhappily is something else. So many of the people who come to visit me are unhappy." Why? "Well, for one thing, the culture we have does not make people feel good about themselves. We're teaching the wrong things. And you have to be strong enough to say if the culture doesn't work, don't buy it. Create your own. Most people can't do it. They're more unhappy than me-even in my current condition. "I may be dying, but I am surrounded by loving, caring souls. How many people can say that?" I was astonished by his complete lack of self-pity. Morrie, who could no longer dance, swim, bathe, or walk; Morrie, who could no longer answer his own door, dry himself after a shower, or even roll over in bed. How could he be so accepting? I watched him struggle with his fork, picking at a piece of tomato, missing it the first two times-a pathetic scene, and yet I could not deny that sitting in his presence was almost magically serene, the same calm breeze that soothed me back in college. I shot a glance at my watch-force of habit-it was getting late, and I thought about changing my plane reservation home. Then Morrie did something that haunts me to this day. "You know how I'm going to die?" he said. I raised my eyebrows. "I'm going to suffocate. Yes. My lungs, because of my asthma, can't handle the disease. It's moving up my body, this ALS. It's already got my legs. Pretty soon it'll get my arms and hands. And when it hits my lungs. . . He shrugged his shoulders. ". . . I'm sunk." I had no idea what to say, so I said, "Well, you know, I mean . . . you never know." Morrie closed his eyes. "I know, Mitch. You mustn't be afraid of my dying. I've had a good life, and we all know it's going to happen. I maybe have four or five months." Come on, I said nervously. Nobody can say "I can," he said softly. "There's even a little test. A doctor showed me." A test? "Inhale a few times." I did as he said. "Now, once more, but this time, when you exhale, count as many numbers as you can before you take another breath." I quickly exhaled the numbers. "One-two-three-four-five-six-seven-eight . . ." I reached seventy before my breath was gone. "Good," Morrie said. "You have healthy lungs. Now. Watch what I do." He inhaled, then began his number count in a soft, wobbly voice. "One-two-three-four-five-six-seven-eight-nine-ten-eleven-twelve-thirteen-fourteen-fifteensixteen-seventeen-eighteen-" He stopped, gasping for air. "When the doctor first asked me to do this, I could reach twenty-three. Now it's eighteen." He closed his eyes, shook his head. "My tank is almost empty." I tapped my thighs nervously. That was enough for one afternoon. "Come back and see your old professor," Morrie said when I hugged him good-bye. I promised I would, and I tried not to think about the last time I promised this.

//In the campus bookstore, I shop for the items on Morrie's reading list. I purchase books that I never knew existed, titles such as Youth: Identity and Crisis, I and Thou, The Divided Self. Before college I did not know the study of human relations could be considered scholarly. Until I met Morrie, I did not believe it. But his passion for books is real and contagious. We begin to talk seriously sometimes, after class, when the room has emptied. He asks me questions about my life, then quotes lines from Erich Fromm, Martin Buber, Erik Erikson. Often he defers to their words, footnoting his own advice, even though he obviously thought the same things himself. It is at these times that I realize he is indeed a professor, not an uncle. One afternoon, I am complaining about the confusion of my age, what is expected of me versus what I want for myself. "Have I told you about the tension of opposites?" he says. The tension of opposites? "Life is a series of pulls back and forth. You want to do one thing, but you are bound to do something else. Something hurts you, yet you know it shouldn't. You take certain things for granted, even when you know you should never take anything for granted. "A tension of opposites, like a pull on a rubber band. And most of us live somewhere in the middle. " Sounds like a wrestling match, I say. "A wrestling match." He laughs. "Yes, you could describe life that way." So which side wins, I ask? " Which side wins?" He smiles at me, the crinkled eyes, the crooked teeth. "Love wins. Love always wins."// =Previous=