She couldn’t, but she said something that changed my life. "Watch her carefully right now," she said, "because she’s teaching you how to live."

I remind myself of this when I cannot get any work done: to live as if I am dying, because the truth is we are all terminal on this bus. To live as if we are dying gives us a chance to experience some real presence. Time is so full for people who are dying in a conscious way, full in the way that life is for children. They spend big round hours. So instead of staring miserably at the computer screen trying to will my way into having a breakthrough, I say to myself, "Okay, hmmm, let’s see. Dying tomorrow. What should I do today?" Then I can decide to read Wallace Stevens for the rest of the morning or go to the beach or just really participate in ordinary life. Any of these will begin the process of filling me back up with observations, flavors, ideas, visions, memories. I might want to write on my last day on earth, but I’d also be aware of other options that would feel at least as pressing. I would want to keep whatever I did simple, I think. And I would want to be present.

sixty-six

“I told him that I had tried to write a suicide note, but I could not write one. Nor could I plagiarise the ones I found online, written by people more eloquent than I. ‘Writer’s block,’ I told him. ‘So far, it’s kept me alive.’ I laughed at my joke, but he did not. He looked at me over slender steepled fingers and said, ‘It’s what’s alive in you – your writing, your creativity – that won’t let you finish.’ That was not something I had considered, and it gave me pause.

I am twenty-eight years old, 5ft 4in tall, 112lbs. I am handsome at exactly three angles and deadly from everywhere else. I am writing you from inside a body that used to be yours. Which is to say, I am writing as a son.

If we are lucky, the end of the sentence is where we might begin. If we are lucky, something is passed on, another alphabet written in the blood, sinew, and neuron; ancestors charging their kin with the silent propulsion to fly south, to turn toward the place in the narrative no one was meant to outlast.

Jandel Benjamin: Auntie, I write because you were the first in our family to write. I saw your poems and it made me know that writing didn’t have to be an intangible dream. It didn’t have to be a hobby. It could be real. Thank you for that gift.

For a while I read Katherine Mansfield’s notebooks to distract myself. “Dear friend, from my life I write to you in your life,” she wrote in an entry. I cried when I read the line. It reminds me of the boy from years ago who could not stop sending the designs of his dreams in his letters. It reminds me too why I do not want to stop writing. The books one writes—past and present and future—are they not trying to say the same thing: Dear friend, from my life I write to you in your life? What a long way it is from one life to another, yet why write if not for that distance, if things can be let go, every before replaced by an after.