Hitch-22: A Memoir Read online

  Hitch-22

  A MEMOIR

  Christopher Hitchens

  NEW YORK BOSTON

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  Table of Contents

  Photo Insert

  Copyright Page

  For James Fenton

  Caute

  I can claim copyright only in myself, and occasionally in those who are either dead or have written about the same events, or who have a decent expectation of anonymity, or who are such appalling public shits that they have forfeited their right to bitch.

  For those I have loved, or who have been so lenient and gracious as to have loved me, I have not words enough here, and I remember with gratitude how they have made me speechless in return.

  The desires of the heart are as crooked as corkscrews

  Not to be born is the best for man

  The second best is a formal order

  The dance’s pattern, dance while you can.

  Dance, dance, for the figure is easy

  The tune is catching and will not stop

  Dance till the stars come down with the rafters

  Dance, dance, dance till you drop.

  W.H. Auden, “Death’s Echo”

  We are going to die, and that makes us the lucky ones. Most people are never going to die because they are never going to be born. The potential people who could have been here in my place but who will in fact never see the light of day outnumber the sand grains of the Sahara. Certainly those unborn ghosts include greater poets than Keats, scientists greater than Newton. We know this because the set of possible people allowed by our DNA so massively outnumbers the set of actual people. In the teeth of these stupefying odds it is you and I, in our ordinariness, that are here.

  Richard Dawkins, Unweaving the Rainbow

  Ah, words are poor receipts for what time hath stole away…

  John Clare, “Remembrances”

  Preface

  “Do not aspire to immortal life but exhaust the limits of the possible.”

  Pindar: Pythian iii

  I HOPE IT WILL not seem presumptuous to assume that anybody likely to have got as far as acquiring this paperback re-edition of my memoir will know that it was written by someone who, without appreciating it at the time, had become seriously and perhaps mortally ill.

  In any case, I believe that it might strike some readers (as it now very forcibly strikes the author) that the first three chapters, as well as many of the ensuing passages, show a strong preoccupation with impending death, or with deaths in my family. To some extent this is natural and proper in any work of autobiography. I took on the job of writing it when I was approaching and crossing the small but noticeable frontier of my sixth decade: a time when one has begun to notice the names of contemporaries on the obituary pages. When the book was published, I had just turned sixty-one. I am writing this at a moment when, according to my doctors, I cannot be certain of celebrating another birthday.

  On the other hand, so to say, and thanks to the brilliance and skill of these same physicians, I could hope to live for several more years and even to find them enjoyable and profitable. How different is this, in the last analysis, from the life I was living before? One always knows that there is a term-limit to the lifespan, just as one always knows that illness or accident or incapacity, physical and mental, are never more than a single breath away.

  To take this up in narrative form, and to resume the story regardless, I had been becoming aware, as the book neared completion, that I was becoming increasingly easily tired. Once or twice, people who had seen me on television wrote to express concern about my appearance. But I invariably recuperated from exhaustion without much trouble, and all my routine medical examinations found me in exceptional health for someone of my age. In any case my life is my work, and vice versa, and I have always arranged it so as to be deliberately over-stretched. I positively enjoyed traveling to writing assignments or speaking engagements, on the average of about once a week, while meeting a series of columnar deadlines. And I never lacked for friends or company, and continued to seek out both voraciously. Like the man in the old story, I sometimes laughed that if I’d known I was going to live this long I would have taken better care of myself. Stories about my Bohemian “lifestyle” have been exaggerated, as I go on to discuss in these pages, but perhaps not by all that much. I had evolved a very productive and, to me, satisfying regime. If some of it depended a bit on cocktails and late nights of reading or argument or even (in the course of writing this book) a lapse back into the smoking habit, I thought the wager was worth it.

  Thus my state of relative insouciance until the spring of 2010, when I received the advance schedule of the upcoming publicity tour for this book. It was to be a brilliant and lavish thing, extending from Australia to Britain to the United States and Canada. I take no stock in pre-cognition (it’s very obvious to me now that my body was trying to tell me something) but merely set down the fact that I read through the schedule and quite calmly thought: “I shall never get to the end of it.” Mentally, I was preparing myself to take several months “off” (something I have never wanted before) and book a serious appointment with a doctor. The tour began well but my system soon asserted itself: I was felled first in New York, where I learned that I should seek a cancer biopsy, and then—having had the biopsy and deciding to keep as many engagements as possible while I waited for the result—in Boston. My dear friend Cary Goldstein, who was with me on both occasions, is the reason why these paragraphs can be written. Ever since, I have lived from one chemotherapy application to another and, in some periods, from one painkiller to the next, while awaiting the possibility of a treatment that is specific to my own genes and my own malignancy. (I suffer from Stage Four esophageal cancer. There is no Stage Five.)

  A continuous theme in Hitch-22 is the requirement, exacted by a life of repeated contradictions, to keep two sets of books. My present condition intensifies this rather than otherwise. I am forced to make simultaneous preparations to die, and to go on living. Lawyers in the morning, as I once put it, and doctors in the afternoon. One of the happier dimensions of my life, that of travel, has been foreclosed to me: a great misery. But I have found that I still possess the will to write, as well as the indispensable thing for any writer, the avid need to read. Even when attenuated by the shorter amount of time that I am conscious during each day, and circumscribed by the thought of an eventual loss of consciousness altogether, this is only a little less than I used to be quietly grateful for: the ability to earn a living by doing the two things that mean most to me.

  Another element of my memoir—the stupendous importance of love, friendship, and solidarity—has been made immensely more vivid to me by recent experience. I can’t hope to convey the full effect of the embraces and avowals, but I can perhaps offer a crumb of counsel. If there is anybody known to you who might benefit from a letter or a visit, do not on any account postpone the writing or the making of it. The difference made will almost certainly be more than you have calculated.

  The cause of my life has been that of combating superstition, which among other things means confronting the dreads upon which it feeds. For some inexplicable reason, our culture regards it as normal, even creditable, for the godly to admonish those who they believe to be expiring. A whole tawdry edifice—of fabricated “deathbed conversions” and moist devotional literature—has arisen on this highly questionable assumption. Though I could have chosen to take offense (at being silkily invited to jettison my convictions when in extremis: what an insult and what a non-sequitur too) I was actually grateful for the heavy attention I received from the faithful. It gave my atheism, if you like, a new lease on life. It also helped me keep open a long debate to which I am proud to have contrib
uted a little. To say that this debate will outlast me would have been true at any time.

  Instead of attending “prayer breakfasts” in my own honor on what was actually designated on the Web as “Pray for Hitchens Day,” I have spent much of the past year registering myself as an experimental subject for various clinical trials and “protocols,” mainly genome-based and aimed at enlarging human knowledge and at shrinking the area of darkness and terror where cancer holds dominion. My aim here is obviously not quite disinterested, but many of the experiments are at a stage where any result will be too far in the future to be of help to me. In this book I cite Horace Mann’s injunction: “Until you have done something for humanity you should be ashamed to die.” So this is a modest and slight response to his challenge, to be sure, but my own. The irruption of death into my life has enabled me to express a trifle more concretely my contempt for the false consolation of religion, and belief in the centrality of science and reason.

  Not all my views have been vindicated, even to me. I see that I write that “I personally want to ‘do’ death in the active and not the passive, and to be there to look it in the eye and be doing something when it comes for me.” I cannot quite sustain this jauntiness in the light of what I now know. Should the best efforts of my physician friends be unavailing, I possess a fairly clear idea of how Stage Four esophageal cancer harvests its victims. The terminal process doesn’t allow for much in the way of “activity,” or even of composed farewells, let alone Stoic or Socratic departures. This is why I am so grateful to have had, already, a lucid interval of some length, and to have filled it with the same elements, of friendship and love, and literature and the dialectic, with which I hope some of this book is also animated. I wasn’t born to do any of the things I set down here, but I was born to die and this coda must be my attempt to assimilate the narrative to its conclusion.

  Christopher Hitchens

  Washington, D.C.,

  January 20, 2011

  Prologue with Premonitions

  What can the England of 1940 have in common with the England of 1840? But then, what have you in common with the child of five whose photograph your mother keeps on the mantelpiece? Nothing, except that you happen to be the same person.

  —George Orwell: “England Your England: Socialism and the English Genius” [1941]

  Read your own obituary notice; they say you live longer. Gives you second wind. New lease of life.

  —Leopold Bloom in Ulysses

  BEFORE ME IS a handsome edition of Face to Face, the smart magazine that goes out to the supporters of London’s National Portrait Gallery. It contains the usual notices of future events and exhibitions. The page that has caught and held my eye is the one which calls attention to a show that starts on 10 January 2009, titled “Martin Amis and Friends.” The event is to feature the work of a gifted photographer named Angela Gorgas, who was Martin’s lover between 1977 and 1979. On the page is a photograph taken in Paris in 1979. It shows, from left to right, myself and James Fenton and Martin, ranged along a balustrade that overlooks the city of Paris. I remember the occasion well: it was after a decent lunch somewhere in Montmartre and we would have been looking over Angela’s shapely shoulders at the horrible wedding-cake architecture of Sacre Coeur. (Perhaps this explains the faintly dyspeptic expression on my features.) In the accompanying prose, apparently written by Angela, is the following sentence about the time she first met the bewitching young Amis:

  Martin was literary editor of the New Statesman, working with the late Christopher Hitchens and Julian Barnes, who was married to Pat Kavanagh, Martin’s then literary agent.

  So there it is in cold print, the plain unadorned phrase that will one day become unarguably true. It is not given to everyone to read of his own death, let alone when announced in passing in such a matter-of-fact way. As I write, in the dying months of the year 2008, having just received this reminder-note from the future, that future still contains the opening of the exhibition and the publication of this memoir. But the exhibition, and its catalogue references, also exemplify still-vital elements of my past. And now, rather abruptly:

  Between the idea

  And the reality

  Between the motion

  And the act

  Falls the Shadow.

  T.S. Eliot’s “Hollow Men” do not constitute my cohort, or so I hope, even though one might sometimes wish to be among the stoics “who have crossed, with direct eyes, to death’s other Kingdom.” The fact is that all attempts to imagine one’s own extinction are futile by definition. One can only picture the banal aspects of this event: not in my case the mourners at the funeral (again excluded by the very rules of the game itself) but the steady thunk of emails into my inbox on the day of my demise, and the way in which my terrestrial mailbox will also become congested, until somebody does something to arrest the robotic electronic stupidity, or until failure to pay up leads to an abrupt cancellation of the bills and checks and solicitations, none of them ever in my lifetime arriving in the right proportions on the right day. (May it be that I gain a lifetime subscription to Face to Face, and that this goes on forever, or do I mean to say for all eternity?)

  The director of the National Portrait Gallery, the excellent Sandy Nairne, has written me an anguished letter in which he not only apologizes for having me killed off but tries to offer both explanation and restitution. “The display,” he writes, “also includes a photograph of Pat Kavanagh with Kingsley Amis. A last minute change was made to the text, and instead of it reading ‘the late Pat Kavanagh’ it refers to yourself.”

  This kindly meant missive makes things more poignant and more eerie rather than less. I have just opened a letter from Pat Kavanagh’s husband, Julian Barnes, in which he thanks me for my note of condolence on her sudden death from cancer of the brain. I had also congratulated him on the vast critical success of his recent meditation on death, sardonically titled Nothing to Be Frightened Of, which constituted an extended reflection on that “undiscover’d country.” In my letter to Julian, I praised his balance of contrast between Lucretius, who said that since you won’t know you are dead you need not fear the condition of death, and Philip Larkin, who observes in his imperishable “Aubade” that this is exactly the thing about the postmortem condition that actually does, and must, make one afraid (emphasis mine):

  The sure extinction that we travel to

  And shall be lost in always. Not to be here,

  Not to be anywhere,

  And soon; nothing more terrible, nothing more true…

  And specious stuff that says no rational being

  Can fear a thing it will not feel, not seeing

  That this is what we fear…

  So it is at once a small thing and a big thing that I should have earned those transposed words “the late,” which had belonged editorially to Julian’s adored wife and then became accidentally adhered to myself. When I first formed the idea of writing some memoirs, I had the customary reservations about the whole conception being perhaps “too soon.” Nothing dissolves this fusion of false modesty and natural reticence more swiftly than the blunt realization that the project could become, at any moment, ruled out of the question as having been undertaken too “late.”

  But we are all “dead men on leave,” as Eugene Levine said at his trial in Munich for being a revolutionary after the counter-revolution of 1919. There are still those, often in India for some reason, who make a living claiming land-rents from the deceased. From Gogol to Google; if one now looks up the sodality of those who have lived to read of their own demise, one strikes across the relatively good cheer of Mark Twain, who famously declared the report to be an exaggeration, to Ernest Hemingway, whose biographer tells us that he read the obituaries every morning with a glass of champagne (eventually wearing out the cheery novelty of this and unshipping his shotgun), to the black nationalist Marcus Garvey who, according to some reports, was felled by a stroke while reading his own death-notice. Robert Graves lived robustly
for almost seven decades after being declared dead on the Somme. Bob Hope was twice pronounced deceased by the news media: on the second occasion I was called by some network to confirm or deny the report and now wish I had not so jauntily said, having just glimpsed him at the British embassy in Washington, that the last time I saw him he had certainly seemed dead enough. Paul McCartney, Pope John Paul, Harold Pinter, Gabriel García Márquez… the roll of honor and embarrassment persists but there is one striking instance that is more than whimsical. Alfred Nobel, celebrated manufacturer of explosives, is alleged to have been so upset by the “merchant of death” emphasis that followed mistaken reports of his own extinction that he decided to overcompensate and to endow an award for peace and for services to humanity (that, I would add, has been a huge bore and fraud ever since). “Until you have done something for humanity,” said the great American educator Horace Mann, “you should be ashamed to die.” Well, how is one to stand that test?

  In some ways, the photograph of me with Martin and James is of “the late Christopher Hitchens.” At any rate, it is of someone else, or someone who doesn’t really exist in the same corporeal form. The cells and molecules of my body and brain have replaced themselves and diminished (respectively). The relatively slender young man with an eye to the future has metamorphosed into a rather stout person who is ruefully but resignedly aware that every day represents more and more subtracted from less and less. As I write these words, I am exactly twice the age of the boy in the frame. The occasional pleasure of advancing years—that of looking back and reflecting upon how far one has come—is swiftly modified by the immediately succeeding thought of how relatively little time there is left to run. I always knew I was born into a losing struggle but I now “know” this in a more objective and more subjective way than I did then. When that shutter clicked in Paris I was working and hoping for the overthrow of capitalism. As I sat down to set this down, having done somewhat better out of capitalism than I had ever expected to do, the financial markets had just crashed on almost the precise day on which I became fifty-nine and one-half years of age, and thus eligible to make use of my Wall Street–managed “retirement fund.” My old Marxism came back to me as I contemplated the “dead labor” that had been hoarded in that account, saw it being squandered in a victory for finance capital over industrial capital, noticed the ancient dichotomy between use value and exchange value, and saw again the victory of those monopolists who “make” money over those who only have the power to earn it. It was decidedly interesting to have become actuarially extinct in the last quarter of the very same year that saw me “written off” in the more aesthetic and literary sense as well.