It was that day that Julie fell asleep in session for the first time. She dozed off for a few minutes, and when she woke up and realized what had happened, she made a joke, out of embarrassment, about how I must have been time-traveling while she was sleeping, wishing I were someplace else.
I told her I wasn’t. I was remembering hearing what must have been the same show she’d heard on the radio, and I was thinking about an observation made at the end of that segment—that we’re all time-traveling into the future and at exactly the same rate: sixty minutes per hour.
“Then I guess we’re fellow time travelers in here,” Julie said.
“We are,” I said. “Even when you’re resting.”
Another time Julie broke our silence to tell me that Matt thought she was being a Deathzilla—going crazy with the death-party planning, the way some brides become over-the-top Bridezillas with their weddings. She’d even hired a party planner to help carry out her funeral-party vision (“It’s my day, after all!”), and despite his initial discomfort, Matt was now fully onboard.
“We planned a wedding together and now we’re planning a funeral together,” Julie said, and it has been, she told me, one of the most intimate experiences of their lives, full of deep love and deep pain and gallows humor. When I asked what she wanted that day to be like, first she said, “Well, I’d rather not be dead that day,” but failing that, she didn’t want it to be all “sugarcoated” and “cheery.” She liked the idea of a “celebration of life,” which the party planner told her was all the rage nowadays, but she didn’t like the message that came with it.
“It’s a funeral, for God’s sake,” she said. “All these people in my cancer group say, ‘I want people to celebrate! I don’t want people to be sad at my funeral.’ And I’m like, ‘Why the fuck not? You died!’”
“You want to have touched people and for them to be affected by your death,” I said. “And for those people to remember you, to keep you in mind.”
Julie told me that she wanted people to keep her in mind the way she keeps me in mind between sessions.
“I’ll be driving, and I’ll panic about something, but then I’ll hear your voice,” she explained. “I’ll remember something you said.”
I thought about how I did this with Wendell—how I’d internalized his lines of questioning, his way of reframing situations, his voice. This is such a universal experience that one litmus test of whether a patient is ready for termination is whether she carries around the therapist’s voice in her head, applying it to situations and essentially eliminating the need for the therapy. “I started to get depressed,” a patient might report near the end of treatment, “but then I thought of what you said last month.” I’ve had entire conversations in my head with Wendell, and Julie has done the same with me.
“This might sound crazy,” Julie said, “but I know that I’ll hear your voice after I die—that I’ll hear you wherever I am.”
Julie had told me that she’d begun thinking about the afterlife, a concept she insisted that she didn’t completely believe in but nonetheless contemplated, “just in case.” Would she be alone? Afraid? Everyone she loved was still alive—her husband, her parents, her grandparents, her sister, her nephew and niece. Who would keep her company there? And then she realized two things: first, that her babies from her miscarriages might be there, wherever “there” was, and second, that she was coming to believe that she would hear, in some unknowable spiritual way, the voices of those she loved.
“I would never say this if I weren’t dying,” she said shyly, “but I include you in those I love. I know you’re my therapist, so I hope you don’t think it’s creepy, but when I tell people that I love my therapist, I really mean I love my therapist.”
Though I’d come to love many patients over the years, I’d never used those words with any of them. In training, we’re taught to be careful with our words to avoid misinterpretations. There are many ways to convey to patients how deeply we’ve come to care about them without getting into dicey territory. Saying “I love you” isn’t one of those ways. But Julie had said she loved me, and I wasn’t going to stand on professional ceremony and reply with a watered-down response.
“I love you too, Julie,” I said to her that day. She smiled, then closed her eyes and dozed off again.
Now, as I stand in the kitchen waiting for Julie, I think about that conversation and about the ways I know that I’ll hear her voice too, long after she’s gone, especially at certain times, like while shopping at Trader Joe’s or folding laundry and seeing that pajama top with NAMAST’AY IN BED in the pile. I’m saving that top not to remember Boyfriend anymore, but to remember Julie.
I’m still munching on pretzels when my green light goes on. I pop one more into my mouth, rinse my hands, and breathe a sigh of relief.
Julie’s early today. She’s alive.
51
Dear Myron
Rita is carrying an artist’s portfolio, a large black case with nylon handles that’s at least three feet long. She’s begun teaching art at the local university, the one from which she would have graduated had she not dropped out to get married, and today she brought in her own work to share with her students.
Her portfolio holds sketches for the prints that she’s selling on her website, a series based on her own life. The images are visually comical and even cartoonish, but their themes—regret, humiliation, time, eighty-year-old sex—reveal their darkness and depth. She’s shown me these before, but now when Rita reaches into her portfolio, she takes out something else: a yellow legal pad.
She hasn’t spoken to Myron since the kiss more than two months ago—has avoided him, in fact, going to a different class at the Y, ignoring his knocks on her door (she uses the peephole for screening purposes now, not for spying on the hello-family), going into stealth mode when moving about the building. She’s been taking time to craft a letter, obsessing over every line. She tells me she has no idea if her words make sense anymore, and after reading it again this morning, she’s not convinced she should send it at all.
“Can I read it to you before I make an absolute fool of myself?” she asks.
“Of course,” I say, and she places the yellow pad on her lap.
I can see her handwriting from where I’m sitting—not the specific letters, but the shapes. An artist’s handwriting, I think. Gorgeous cursive, the loops perfectly formed but with an added flair. It takes her a minute to start. She breathes in, sighs, almost begins, breathes in, and sighs again. Finally, she speaks.
“‘Dear Myron,’” she reads off the page, then looks up at me. “Is that too formal—or too intimate, perhaps? Do you think I should start with ‘Hi’? Or just the more neutral ‘Myron’?”
“I think if you worry too much about the details, you might miss the big picture,” I say, and Rita makes a face. She knows that I’m talking about more than her salutation.
“All right, then,” she says, looking back at the lined pad. Still, she grabs a pen, crosses out the word dear, then takes a breath and begins again.