... we are only the rind and the leaf.
The great death, that each of us carries inside, is the fruit.Everything enfolds it.–Rainer Maria Rilke
To Elizabeth Hamilton,This letter, my very dear Eliza, will not be delivered to you, unless I shall first have terminated my earthly career; to begin, as I humbly hope from redeeming grace and divine mercy, a happy immortality.
New York, July 4, 1804
If it had been possible for me to have avoided the interview, my love for you and my precious children would have been alone a decisive motive. But it was not possible, without sacrifices which would have rendered me unworthy of your esteem. I need not tell you of the pangs I feel, from the idea of quitting you and exposing you to the anguish which I know you would feel. Nor could I dwell on the topic lest it should unman me.
The consolations of Religion, my beloved, can alone support you; and these you have a right to enjoy. Fly to the bosom of your God and be comforted. With my last idea I shall cherish the sweet hope of meeting you in a better world.
Adieu best of wives and best of Women. Embrace all my darling Children for me.
A HJuly 4. 1804
On July 11, 1804 Alexander Hamilton was mortally wounded in a duel with Aaron Burr, and would succumb to his wound the following day. This letter to his wife was written in the days prior, during which he noted his other reflections on the upcoming “interview."
Can death be sleep, when life is but a dream,
And scenes of bliss pass as a phantom by?
The transient pleasures as a vision seem,
And yet we think the greatest pain's to die.
How strange it is that man on earth should roam,
And lead a life of woe, but not forsake
His rugged path; nor dare he view alone
His future doom which is but to awake.
The Earth will be going on a long time
Before it finally freezes;
Men will be on it; they will take names,
Give their deeds reasons.
We will be here only
As chemical constituents-
A small franchise indeed.
Right now we have lives,
Corpuscles, Ambitions, Caresses,
Like everybody had once-
Here at the year's end, at the feast
Of birth, let us bring to each other
The gifts brought once west through deserts-
The precious metal of our mingled hair,
The frankincense of enraptured arms and legs,
The myrrh of desperate, invincible kisses-
Let us celebrate the daily
Recurrent nativity of love,
The endless epiphany of our fluent selves,
While the earth rolls away under us
Into unknown snows and summers,
Into untraveled spaces of the stars.
I even hear the mountains
the way they laugh
up and down their blue sides
and down in the water
the fish cry
and the water
is their tears.
I listen to the water
on nights I drink away
and the sadness becomes so great
I hear it in my clock
it becomes knobs upon my dresser
it becomes paper on the floor
it becomes a shoehorn
a laundry ticket
climbing a chapel of dark vines. . .
it matters little
very little love is not so bad
or very little life
is waiting on walls
I was born for this
I was born to hustle roses down the avenues of the dead.
We were filled with the strong wine
of mutual struggle, one joined loud
and sonorous voice. We carried
each other along revolting, chanting,
cursing, crafting, making all new.
First Muriel, then Audre and Flo,
now Adrienne. I feel like a lone
pine remnant of virgin forest
when my peers have met the ax
and I weep ashes.
Yes, young voices are stirring now
the wind is rising, the sea boils
again, yet I feel age sucking
the marrow from my bones,
the loneliness of memory.
Their voices murmur in my inner
ear but never will I hear them
speak new words and no matter
how I cherish what they gave us
I want more, I still want more.
Stay, I said to the spider,who fled.
Stay, leaf.It reddened,embarrassed for me and itself.
Stay, I said to my body.It sat as a dog does,obedient for a moment,soon starting to tremble.
Stay, to the earthof riverine valley meadows,of fossiled escarpments,of limestone and sandstone.It looked backwith a changing expression, in silence.
Stay, I said to my loves.Each answered,Always.
Knocking on Heaven’s Door (Scribner, 2013) by Katy Butler is a map through the labyrinth of a broken medical system based on her experiences between choosing between sustaining life with medical technology and assessing her father’s quality of life. It will inspire the difficult conversations we need to have with loved ones as it illuminates the path to a better way of death. The following excerpt is from the prologue.
On an autumn day in 2007, while I was visiting from California, my mother made a request I both dreaded and longed to fulfill. She’d just poured me a cup of tea from her Japanese teapot shaped like a little pumpkin; beyond the kitchen window, two cardinals splashed in her birdbath in the weak Connecticut sunlight. Her white hair was gathered at the nape of her neck, and her voice was low. She put a hand on my arm. “Please help me get your father’s pacemaker turned off,” she said. I met her eyes, and my heart knocked.
Directly above us, in what was once my parents’ shared bedroom, my eighty-five-year-old father, Jeffrey—a retired Wesleyan University professor, stroke-shattered, going blind, and suffering from dementia—lay sleeping. Sewn into a hump of skin and muscle below his right collarbone was the pacemaker that had helped his heart outlive his brain. As small and shiny as a pocket watch, it had kept his heart beating rhythmically for five years. It blocked one path to a natural death.
After tea, I knew, my mother would help my father up from his narrow bed with its mattress encased in waterproof plastic. After taking him to the toilet, she’d change his diaper and lead him tottering to the living room, where he’d pretend to read a book of short stories by Joyce Carol Oates until the book fell into his lap and he stared out the sliding glass window.
I don’t like describing what the thousand shocks of late old age were doing to my father—and indirectly to my mother—without telling you first that my parents loved each other and I loved them. That my mother could stain a deck, sew a silk blouse from a photo in Vogue, and make coq au vin with her own chicken stock. That her photographs of Wesleyan authors had been published on book jackets, and her paintings of South African fish in an ichthyologists’ handbook. That she thought of my father as her best friend.
And that my father never gave up easily on anything.
Born in South Africa’s Great Karoo Desert, he was a twenty-one-year-old soldier in the South African Army when he lost his left arm to a German shell in the Italian hills outside Siena. He went on to marry my mother, earn a PhD from Oxford, coach rugby, build floor-to-ceiling bookcases for our living room, and with my two younger brothers as crew, sail his beloved Rhodes 19 on Long Island Sound. When I was a teenager and often at odds with him, he would sometimes wake me chortling lines from The Rubaiyat of Omar Khayyam in a high falsetto: “Awake, my little one! Before life’s liquor in its cup be dry!” On weekend afternoons, he would put a record on the stereo and strut around the living room conducting invisible orchestras. At night he would stand in our bedroom doorways and say good night to my two brothers and me quoting Horatio’s farewell to the dying Hamlet: “May flights of angels sing thee to thy rest!”
Four decades later, in the house where he once chortled and strutted and sometimes thundered, I had to coach him to take off his slippers before he tried to put on his shoes.
My mother put down her teacup. She was eighty-three, as lucid and bright as a sword point, and more elegant in her black jeans and thin cashmere sweater than I could ever hope to be. She put her hand, hard, on my arm. “He is killing me,” she said. “He. Is. Ruining. My. Life.” Then she crossed her ankles and put her head between her knees, a remedy for near-fainting that she’d clipped from a newspaper column and pinned to the bulletin board behind her. She was taking care of my father for about a hundred hours a week.
I looked at her and thought of Anton Chekhov, the writer and physician who died of tuberculosis in 1904 when he was only forty-four. “Whenever there is someone in a family who has long been ill, and hopelessly ill,” he wrote, “there come painful moments when all, timidly, secretly, at the bottom of their hearts long for his death.” A century afterward, my mother and I had come to long for the machine in my father’s heart to fail.
Quality of Life
How we got there is a long story, but here are a few of the bones. On November 13, 2001, when my father was seventy-nine and apparently vigorous, he suffered a devastating stroke. A year later—gravely disabled yet clear-minded enough to know it—he was outfitted with a pacemaker in a moment of hurry and hope. The device kept his heart going while doing nothing to prevent his slide into dementia, incontinence, near-muteness, misery, and helplessness. The burden of his care crushed my mother. In January 2007, when my father no longer understood the purpose of a dinner napkin, I learned that his pacemaker could be turned off painlessly and without surgery, thus opening a door to a relatively peaceful death. It was a death I both feared and desired, as I sat at the kitchen table while my mother raised her head from her knees.
Her words thrummed inside me: Please help me get your father’s pacemaker turned off. I’d been hoping for months to hear her say something like this, but now that she’d spoken, I was the one with doubts. This was a moral choice for which neither the Anglicanism of my English childhood nor my adopted Buddhism had prepared me. I shook when I imagined watching someone disable his pacemaker—and shook even more when I contemplated trying to explain it to him.
At the same time, I feared that if I did nothing, his doctors would continue to prolong what was left of my father’s life until my mother went down with him. My fear was not unfounded: in the 1980s, while working as a reporter for the San Francisco Chronicle, I spent six weeks in the intensive care unit of San Francisco General Hospital, watching the erasure of the once-bright line between saving a life and prolonging a dying. I’d never forgotten what I saw.
If my father got pneumonia, once called “the old man’s friend” for its promise of an easy death, a doctor might well feel duty-bound to prescribe antibiotics. If he collapsed and my mother called 911, paramedics would do everything they could to revive him as they rushed his gurney toward the emergency room.
With just a little more bad luck, my father might be wheeled into an intensive care unit, where my mother and I—and even my dying father—would become bystanders in a battle, fought over the territory of his body, between the ancient reality of death and the technological imperatives of modern medicine. It was not how we wanted him to die, but our wishes might not mean much. Three-quarters of Americans want to die at home, as their ancestors did, but only a quarter of the elderly currently do. Two-fifths of deaths now take place in a hospital, an institution where only the destitute and the homeless died before the dawn of the twentieth century. Most of us say we don’t want to die “plugged into machines,” but a fifth of American deaths now take place in intensive care, where ten days of futile flailing can cost as much as $323,000. If my mother and I did not veer from the pathway my father was traveling, he might well draw his last breath in a room stripped of any reminder of home or of the sacred, among doctors and nurses who knew his blood counts and oxygen levels but barely knew his name.
Then again, the hospital might save his life and return him home to suffer yet another final illness. And that I feared almost as much.
I loved my father, even as he was: miserable, damaged, and nearly incommunicado. I loved my mother and wanted her to have at least a chance at a happy widowhood. I felt like my father’s executioner, and that I had no choice.
I met my mother’s eyes and said yes.
One of 25 video poems in Four Seasons Productions' Moving Poetry Series - RANT * RAVE * RIFF. This selection is from William Shakespeare's The Tempest, Act IV, written in 1612 and recited by Dr. Allen Dwight Callahan. All of those smiling faces, those spirits are gone -- melted into thin air -- we are such stuff as dreams are made of. But what is on the other side of our sleep? Learn more about this provocative series, featured poems, poets and readers at 4SeasonsProductions