The Fault in Our Stars

by John Green

Dear Mr. Waters,’” he answered. “‘I am writing to thank you for your electronic correspondence, received via Ms. Vliegenthart this sixth of April, from the United States of America, insofar as geography can be said to exist in our triumphantly digitized contemporaneity.’” “Augustus, what the hell?” “He has an assistant,” Augustus said. “Lidewij Vliegenthart. I found her. I emailed her. She gave him the email. He responded via her email account.” “Okay, okay. Keep reading.” “‘My response is being written with ink and paper in the glorious tradition of our ancestors and then transcribed by Ms. Vliegenthart into a series of 1s and 0s to travel through the insipid web which has lately ensnared our species, so I apologize for any errors or omissions that may result. “‘Given the entertainment bacchanalia at the disposal of young men and women of your generation, I am grateful to anyone anywhere who sets aside the hours

necessary to read my little book. But I am particularly indebted to you, sir, both for your kind words about An Imperial Affliction and for taking the time to tell me that the book, and here I quote you directly, “meant a great deal” to you. “‘This comment, however, leads me to wonder: What do you mean by meant? Given the final futility of our struggle, is the fleeting jolt of meaning that art gives us valuable? Or is the only value in passing the time as comfortably as possible? What should a story seek to emulate, Augustus? A ringing alarm? A call to arms? A morphine drip? Of course, like all interrogation of the universe, this line of inquiry inevitably reduces us to asking what it means to be human and whether—to borrow a phrase from the angst-encumbered sixteen-year-olds you no doubt revile—there is a point to it all. “‘I fear there is not, my friend, and that you would receive scant encouragement from further encounters with my writing. But to answer your question: No, I have not written anything else, nor will I. I do not feel that continuing to share my thoughts with readers would benefit either them or me. Thank you again for your generous email. “‘Yours most sincerely, Peter Van Houten, via Lidewij Vliegenthart.’”

Dear Mr. Waters, I am in receipt of your electronic mail dated the 14th of April and duly impressed by the Shakespearean complexity of your tragedy. Everyone in this tale has a rock-solid hamartia: hers, that she is so sick; yours, that you are so well. Were she better or you sicker, then the stars would

not be so terribly crossed, but it is the nature of stars to cross, and never was Shakespeare more wrong than when he had Cassius note, “The fault, dear Brutus, is not in our stars / But in ourselves.” Easy enough to say when you’re a Roman nobleman (or Shakespeare!), but there is no shortage of fault to be found amid our stars. While we’re on the topic of old Will’s insufficiencies, your writing about young Hazel reminds me of the Bard’s Fifty-fifth sonnet, which of course begins, “Not marble, nor the gilded monuments / Of princes, shall outlive this powerful rhyme; / But you shall shine more bright in these contents / Than unswept stone, besmear’d with sluttish time.” (Off topic, but: What a slut time is. She screws everybody.) It’s a fine poem but a deceitful one: We do indeed remember Shakespeare’s powerful rhyme, but what do we remember about the person it commemorates? Nothing. We’re pretty sure he was male; everything else is guesswork. Shakespeare told us precious little of the man whom he entombed in his linguistic sarcophagus. (Witness also that when we talk about literature, we do so in the present tense. When we speak of the dead, we are not so kind.) You do not immortalize the lost by writing about them. Language buries, but does not resurrect. (Full disclosure: I am not the first to make this observation. cf, the MacLeish poem “Not Marble, Nor the Gilded Monuments,” which contains the heroic line “I shall say you will die and none will remember you.”)

“That’s why I like you. Do you realize how rare it is to come across a hot girl who creates an adjectival version of the word pedophile? You are so busy being you that you have no idea how utterly unprecedented you are.” I took a deep breath through my nose. There was never enough air in the world, but the shortage was particularly acute in that moment.

“I want to have scrambled eggs for dinner without this ridiculous construction that a scrambled egg–inclusive meal is breakfast even when it occurs at dinnertime.” “You’ve gotta pick your battles in this world, Hazel,” my mom said. “But if this is the issue you want to champion, we will stand behind you.” “Quite a bit behind you,” my dad added, and Mom laughed. Anyway, I knew it was stupid, but I felt kind of bad for scrambled eggs.

The weird thing about houses is that they almost always look like nothing is happening inside of them, even though they contain most of our lives. I wondered if that was sort of the point of architecture.

That was the worst part about having cancer, sometimes: The physical evidence of disease separates you from other people. We were irreconcilably other, and never was it more obvious than when the three of us walked through the empty plane, the stewardess nodding sympathetically and gesturing us toward our row in the distant back.

“You couldn’t be more wrong,” I said. “You are buying into the cross-stitched sentiments of your parents’ throw pillows. You’re arguing that the fragile, rare thing is beautiful simply because it is fragile and rare. But that’s a lie, and you know it.” “You’re a hard person to comfort,” Augustus said. “Easy comfort isn’t comforting,” I said. “You were a rare and fragile flower once. You remember.”

“Contemporaneity,” to quote AIA, “specializes in the kind of battles wherein no one loses anything of any value, except arguably their lives.” And so it was with these titans clashing.

“Our city has a rich history, even though many tourists are only wanting to see the Red Light District.” He paused. “Some tourists think Amsterdam is a city of sin, but in truth it is a city of freedom. And in freedom, most people find sin.”

“Do you know,” he asked in a delicious accent, “what Dom Pérignon said after inventing champagne?” “No?” I said. “He called out to his fellow monks, ‘Come quickly: I am tasting the stars.’

“He specialized in the murder of dreams, Hazel Grace, let me tell you. You think volcanoes are awesome? Tell that to the ten thousand screaming corpses at Pompeii. You still secretly believe that there is an element of magic to this world? It’s all just soulless molecules bouncing against each other randomly. Do you worry about who will take care of you if your parents die? As well you should, because they will be worm food in the fullness of time.” “Ignorance is bliss,” I said.

I remember in college I was taking this math class, this really great math class taught by this tiny old woman. She was talking about fast Fourier transforms and she stopped midsentence and said, ‘Sometimes it seems the universe wants to be noticed.’ “That’s what I believe. I believe the universe wants to be noticed. I think the universe is improbably biased toward consciousness, that it rewards intelligence in part because the universe enjoys its elegance being observed. And who am I, living in the middle of history, to tell the universe that it—or my observation of it—is temporary?” “You are fairly smart,” I said after a while. “You are fairly good at compliments,” he answered.

Writing does not resurrect. It buries.

Gus told us that he feared oblivion, and I told him that he was fearing something universal and inevitable, and how really, the problem is not suffering itself or oblivion itself but the depraved meaninglessness of these things, the absolutely inhuman nihilism of suffering. I thought of my dad telling me that the universe wants to be noticed. But what we want is to be noticed by the universe, to have the universe give a shit what happens to us—not the collective idea of sentient life but each of us, as individuals.

Almost everyone is obsessed with leaving a mark upon the world. Bequeathing a legacy. Outlasting death. We all want to be remembered. I do, too. That’s what bothers me most, is being another unremembered casualty in the ancient and inglorious war against disease. I want to leave a mark. But Van Houten: The marks humans leave are too often scars. You build a hideous minimall or start a coup or try to become a rock star and you think, “They’ll remember me now,” but (a) they don’t remember you, and (b) all you leave behind are more scars. Your coup becomes a dictatorship. Your minimall becomes a lesion. (Okay, maybe I’m not such a shitty writer. But I can’t pull my ideas together, Van Houten. My thoughts are stars I can’t fathom into constellations.) We are like a bunch of dogs squirting on fire hydrants. We poison the groundwater with our toxic piss, marking everything MINE in a ridiculous attempt to survive our deaths. I can’t stop pissing on fire hydrants. I know it’s silly and useless—epically useless in my current state—but I am an animal like any other.

Hazel is different. She walks lightly, old man. She walks lightly upon the earth. Hazel knows the truth: We’re as likely to hurt the universe as we are to help it, and we’re not likely to do either. People will say it’s sad that she leaves a lesser scar, that fewer remember her, that she was loved deeply but not widely. But it’s not sad, Van Houten. It’s triumphant. It’s heroic. Isn’t that the real heroism? Like the doctors say: First, do no harm. The real heroes anyway aren’t the people doing things; the real heroes are the people NOTICING things, paying attention. The guy who invented the smallpox vaccine didn’t actually invent anything. He just noticed that people with cowpox didn’t get smallpox.