As a Detroit Free consider sportswriter, Albom says, he had many enviable assignments, such as showing Wimbeldon tennis in England. However, after making contact with the end Morrie, Albom found himself increasingly struck by the emptiness that so much filled the lives of people in the mid-1990s, from the O.J. Simpson trial wildness to the tabloidization of popular culture. The text cites Morrie's caution about meaningfulness in animateness: "The way you get meaning into your animateness is to devote yourself to loving others . . . to your community around you, and . . . to creating something that gives you purpose and meaning" (Albom, 1997, p. 43). Albom, who was and remains something of a sports celebrity, writes that he knew Morrie was right.
His agreement with Morrie's view of life amounts to an admission that he had cluttered his life with activity rather than meaning. In a sense, then, Albom's later-life encounter with Morrie can be interpreted as a rite of passage into what Berger describes as adult thinking, which involves becoming " more adaptive, practical, and dialectical to take into account the inconsistencies and complexities encountered in daily experiences" (Berger, 2001, p. 541).
The strength of intimate relationships on the development of a single life is vividly and movingly portrayed in Tuesdays With Morrie. Morrie's unfailing uncoercedness to act as a pedagogue, whether to Ted Koppel on Nightline or to Albom the beloved student, mean that he realizes (= makes real) that life lessons can be the content and jubilate of life, even in anticipation of the final transition to death. Tuesdays With Morrie suggests that the search for meaning in life is not, or anyway pick up not, be reified into a continual exercise in angst precisely is continually available from the wash of unfolding experience. All virtuoso need do is notice the fact and be willing to embrace its reality. That is in the background of the sentence that closes the text: "The pedagogics goes on" (Albom, 1997, p. 192).
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