Mortality

by Christopher Hitchens

nothing prepared me for the early morning in June when I came to consciousness feeling as if I were actually shackled to my own corpse. The whole cave of my chest and thorax seemed to have been hollowed out and then refilled with slow-drying cement.

The alien had colonized a bit of my lung as well as quite a bit of my lymph node. And its original base of operations was located—had been located for quite some time—in my esophagus. My father had died, and very swiftly, too, of cancer of the esophagus. He was seventy-nine. I am sixty-one. In whatever kind of a “race” life may be, I have very abruptly become a finalist.

Of course my book hit the bestseller list on the day that I received the grimmest of news bulletins, and for that matter the last flight I took as a healthy-feeling person (to a fine, big audience at the Chicago Book Fair) was the one that made me a million-miler on United Airlines, with a lifetime of free upgrades to look forward to. But irony is my business and I just can’t see any ironies here:

Myself, I love the imagery of struggle. I sometimes wish I were suffering in a good cause, or risking my life for the good of others, instead of just being a gravely endangered patient. Allow me to inform you, though, that when you sit in a room with a set of other finalists, and kindly people bring a huge transparent bag of poison and plug it into your arm, and you either read or don’t read a book while the venom sack gradually empties itself into your system, the image of the ardent soldier or revolutionary is the very last one that will occur to you. You feel swamped with passivity and impotence: dissolving in powerlessness like a sugar lump in water.

To exist, a cancer needs a living organism, but it cannot ever become a living organism. Its whole malice—there I go again—lies in the fact that the “best” it can do is to die with its host. Either that or its host will find the measures with which to extirpate and outlive it.

I sympathize afresh with the mighty Voltaire, who, when badgered on his deathbed and urged to renounce the devil, murmured that this was no time to be making enemies.

The dread with which it is discussed—“the big C”—is still almost superstitious. So is the ever whispered hope of a new treatment or cure. In her famous essay on Hollywood, Pauline Kael described it as a place where you could die of encouragement.

I did get a kind note from a Cheyenne-Arapaho friend of mine, saying that everyone she knew who had resorted to tribal remedies had died almost immediately, and suggesting that if I was offered any Native American medicines I should “move as fast as possible in the opposite direction.” Some advice can actually be taken.

One way of trying to put them at their ease is to be as candid as possible and not to adopt any sort of euphemism or denial. The swiftest way of doing this is to note that the thing about Stage Four is that there is no such thing as Stage Five.

I have seen the moment of my greatness flicker, And I have seen the eternal Footman hold my coat, and snicker, And in short, I was afraid. —T. S. Eliot, “The Love Song of J. Alfred Prufrock”

The most satisfying compliment a reader can pay is to tell me that he or she feels personally addressed. Think of your own favorite authors and see if that isn’t precisely one of the things that engages you, often at first without your noticing it. A good conversation is the only human equivalent: the realizing that decent points are being made and understood, that irony is in play, and elaboration, and that a dull or obvious remark would be almost physically hurtful.

Death has this much to be said for it: You don’t have to get out of bed for it. Wherever you happen to be They bring it to you—free. —Kingsley Amis

I often grandly say that writing is not just my living and my livelihood but my very life, and it’s true. Almost like the threatened loss of my voice, which is currently being alleviated by some temporary injections into my vocal folds, I feel my personality and identity dissolving as I contemplate dead hands and the loss of the transmission belts that connect me to writing and thinking.

From this time on, it seemed absurd to affect the idea that this bluffing on my part was making me stronger, or making other people perform more strongly or cheerfully either. Whatever view one takes of the outcome being affected by morale, it seems certain that the realm of illusion must be escaped before anything else.

Saul Bellow: Death is the dark backing that a mirror needs if we are able to see anything.