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however. They lived now in the Bronx, in a one-bedroom apartment in a redbrick building on Tremont Avenue, next to an Italian beer garden where the old men played boccie on summer evenings. Because of the Depression, Morrie's father found even less work in the fur business. Sometimes when the family sat at the dinner table, all Eva could put out was bread.
"What else is there?" David would ask.
"Nothing else," she would answer.
When she tucked Morrie and David into bed, she would sing to them in Yiddish. Even the songs were sad and poor. There was one about a girl trying to sell her cigarettes:
Please buy my cigarettes.
They are dry, not wet by rain.
Take pity on me, take pity on me.
Still, despite their circumstances, Morrie was taught to love and to care. And to learn. Eva would accept nothing less than excellence in school, because she saw education as the only antidote to their poverty. She herself went to night school to improve her English. Morrie's love for education was hatched in her arms.
He studied at night, by the lamp at the kitchen table. And in the mornings he would go to synagogue to say Yizkor-the memorial prayer for the dead-for his mother. He did this to keep her memory alive. Incredibly, Morrie had been told by his father never to talk about her. Charlie wanted young David to think Eva was his natural mother.
It was a terrible burden to Morrie. For years, the only evidence Morrie had of his mother was the telegram announcing her death. He had hidden it the day it arrived.
He would keep it the rest of his life.
When Morrie was a teenager, his father took him to a fur factory where he worked. This was during the Depression. The idea was to get Morrie a job.
He entered the factory, and immediately felt as if the walls had closed in around him. The room was dark and hot, the windows covered with filth, and the machines were packed tightly together, churning like train wheels. The fur hairs were flying, creating a thickened air, and the workers, sewing the pelts together, were bent over their needles as the boss marched up and down the rows, screaming for them to go faster. Morrie could barely breathe. He stood next to his father, frozen with fear, hoping the boss wouldn't scream at him, too.
During lunch break, his father took Morrie to the boss and pushed him in front of him, asking if there was any work for his son. But there was barely enough work for the adult laborers, and no one was giving it up.
This, for Morrie, was a blessing. He hated the place. He made another vow that he kept to the end of his life: he would never do any work that exploited someone else, and he would never allow himself to make money off the sweat of others.
"What will you do?" Eva would ask him.
"I don't know," he would say. He ruled out law, because he didn't like lawyers, and he ruled out medicine, because he couldn't take the sight of blood.
"What will you do?"
It was only through default that the best professor I ever had became a teacher.
"A teacher affects eternity; he can never tell where his influence stops. "
-HENRY ADAMS
The Fourth Tuesday We Talk About Death
"Let's begin with this idea," Morrie said. "Everyone knows they're going to die, but nobody believes it." He was in a businesslike mood this Tuesday. The subject was death, the first item on my list. Before I arrived, Morrie had scribbled a few notes on small white pieces of paper so that he wouldn't forget. His shaky handwriting was now indecipherable to everyone but him. It was almost Labor Day, and through the office window I could see the spinach-colored hedges of the backyard and hear the yells of children playing down the street, their last week of freedom before school began.
Back in Detroit, the newspaper strikers were gearing up for a huge holiday demonstration, to show the solidarity of unions against management. On the plane ride in, I had read about a woman who had shot her husband and two daughters as they
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