I just finished reading “Everything Changes Everything: Love, Loss and a Really Long Walk.” An odd title, at first glance. But it turns out to be exactly right.
The “really long walk” that Kessler documents is her journey along the Camino Francés, the ancient 500-mile pilgrimage that begins in the south of France, crosses northern Spain, and concludes at Santiago de Compostela, a famed Roman Catholic cathedral. The “love and loss” in the title refer to the twin deaths of her husband Tom, to cancer, and eight months later, her daughter Lizzie, to a drug overdose.
After these earth-shaking tragedies, she writes that she desired “a solitary, immersive adventure, a physical, logistical, emotional challenge that would catapult me out of my life.” Prior to this, she had little familiarity with the Camino. She did almost no research about its history or even about how to navigate it. She notes, somewhat wryly, that she had not seen Martin Sheen’s 2010 film “The Way,” a story about this very journey that nearly everyone she met along the path seemed to know well.
The book is organized in a way that draws the reader in completely, or at least that is how it worked for me. Alternating chapters follow the chronological progress of her walk, interspersed with non-time-linear accounts of the lives and deaths of her husband and daughter. Early on we learn that her husband’s torturous path through cancer led him to make use of Oregon’s Death with Dignity Act.
Kessler frames this work as a memoir, and it is that. But as I read, I could not help but experience it as something akin to a form of ethnography, an inquiry not only into a journey across a physical landscape, but into the social and emotional terrain of grief. What emerges is a set of richly detailed first-person narratives, both of the walk itself and of the intimate, difficult terrain of illness, addiction, dying and loss. She observes not only the world around her but also her own responses, often with a level of candor that does not always place her in the most favorable light.
One passage in particular stayed with me. She describes her reactions to those around her who attempted to express sympathy and support. She found herself recoiling from what she calls the performative nature of phrases like “sorry for your loss.” The observation is drawn from an earlier blog post of hers titled “Performative Condolence.”
I found myself sitting with that idea for a while. Not because I agreed with it entirely, but because I recognized something in it. Grief unsettles not only the person who carries it, but also those who try to approach it. We reach for familiar words, knowing even as we speak them that they will fall short. Yet we say them anyway, because silence feels worse.
Kessler does not offer a tidy resolution to that discomfort. What she offers instead is something more useful: a sustained, honest account of what it is like to keep moving forward when the life you knew has been irrevocably altered. The walk becomes less a quest for answers than a way of continuing.
In that sense, the title is not strange at all. Everything changes. And then, somehow, of course, everything continues.