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“When Bill died, I was for the first time faced with the loss of a friend, and what I initially felt when I read the news of his death in the New York Times—he had died suddenly of a heart attack—was numbness and shock. I kept thinking I should have felt more pain or sadness or grief or something. I kept trying to figure out how to grieve properly. While I was trying to sort out my response to Bill’s death, I had a conversation over lunch with my ex-boyfriend Keith, who had remained a good friend after we’d split up. He’d always been a great sounding board and an uncommonly clearheaded source of wisdom and advice.
“I don’t know what to do about all this,” I told him. “I don’t know how to process it.”
“Well,” he said, leaning forward intensely, as he always did when he talked, his right hand chopping the air, his boyish face bobbing up and down, “the thing is, the thing is, when you have someone you know who’s died, you have to grieve, of course, but really, there are different things you have to grieve.”
“What do you mean?”
“Well, you know, you have to grieve the loss of the person, you know, the fact that the actual person won’t be there anymore to talk to, to laugh with, to share memories with, that sort of thing.”
“Right.”
“And then you have to, you have to mourn the loss of who that person held you to be. Because that dies with them. Their vision of you no longer exists. And a whole world of who you are is gone. So you have to mourn that, too.”
I sat there and took that in, an electric current of recognition coursing through my body.
“That…makes sense,” I said.
Keith nodded vigorously. “Yeah, it does. It does.”
I shook my head. “How do you know all this stuff?” It was a question I often asked Keith; he and I were the same age, but his insight into profound human matters often outshined my own.
He laughed a high-pitched giggle. “I don’t know.” That was always his answer.”
― Without You: A Memoir of Love, Loss and the Musical 'Rent'
“I don’t know what to do about all this,” I told him. “I don’t know how to process it.”
“Well,” he said, leaning forward intensely, as he always did when he talked, his right hand chopping the air, his boyish face bobbing up and down, “the thing is, the thing is, when you have someone you know who’s died, you have to grieve, of course, but really, there are different things you have to grieve.”
“What do you mean?”
“Well, you know, you have to grieve the loss of the person, you know, the fact that the actual person won’t be there anymore to talk to, to laugh with, to share memories with, that sort of thing.”
“Right.”
“And then you have to, you have to mourn the loss of who that person held you to be. Because that dies with them. Their vision of you no longer exists. And a whole world of who you are is gone. So you have to mourn that, too.”
I sat there and took that in, an electric current of recognition coursing through my body.
“That…makes sense,” I said.
Keith nodded vigorously. “Yeah, it does. It does.”
I shook my head. “How do you know all this stuff?” It was a question I often asked Keith; he and I were the same age, but his insight into profound human matters often outshined my own.
He laughed a high-pitched giggle. “I don’t know.” That was always his answer.”
― Without You: A Memoir of Love, Loss and the Musical 'Rent'
“It won't work
I look before I leap
I love margins and discipline
I make lists in my sleep
Baby what's my sin?
Never quit-I follow through
I hate mess-but I love you
What to do with my impromptu baby”
―
I look before I leap
I love margins and discipline
I make lists in my sleep
Baby what's my sin?
Never quit-I follow through
I hate mess-but I love you
What to do with my impromptu baby”
―
“The tick-tick-booms are softer now. I can barely hear them, and I think if I play loud enough, I can drown them out completely.”
―
―
“And when you're living in America
At the end of the millennium
You're what you own
So I own not a notion
I escape and ape content
I don't own an emotion -
I rent”
― Rent: The Pulitzer Prize-Winning Musical―Complete Libretto and Oral History
At the end of the millennium
You're what you own
So I own not a notion
I escape and ape content
I don't own an emotion -
I rent”
― Rent: The Pulitzer Prize-Winning Musical―Complete Libretto and Oral History
“Academy Award-winning song “Let It Go,” performed by Idina Menzel, inspired countless”
―
―
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Montague’s 2025 Year in Books
Take a look at Montague’s Year in Books, including some fun facts about their reading.
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