The Observer is Always in the Story

On Memoir, Memory, and the Limits of Objectivity

Not long ago, I reviewed Lauren Kessler’s Everything Changes Everything, her memoir of walking the Camino Francés, the ancient 500-mile pilgrimage that begins in the south of France, crosses northern Spain, and concludes at Santiago de Compostela. Kessler undertook the journey after losing both her husband and her daughter within the span of eight months. My review was later published in the Eugene Weekly, still in existence after 44 years as an actual print newspaper.

Now, about four months after the book’s publication, Kessler has posted an essay on her Substack titled “The Facts of Memory.” In it, she reflects on the challenges of writing a memoir, a genre that differs from the nonfiction books that established her reputation. As a journalist and nonfiction writer, she has spent her career pursuing facts, verifying accounts, and trying to get the story right. Memoir, however, asks something different of a writer.

The essay explores the uneasy relationship between memory and accuracy. Kessler describes the steps she took to check her recollections against documents, conversations, and other sources, while also acknowledging the unavoidable role of memory in shaping any personal narrative. Reading it, I was struck by her wrestling with questions that have occupied researchers, historians, and writers for a very long time. She invited readers to respond, and I found myself wanting to join the conversation. Here is what I wrote…

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Hi Lauren,

This essay resonated with me, though perhaps not in exactly the way you intended.

My academic training was in qualitative and interpretive research. For my doctoral dissertation, I spent several years studying the social world of a college fraternity, conducting interviews, reviewing documents, attending events, and attempting to understand how members made meaning of their experiences. Early in that work, I abandoned the idea that I could somehow stand outside the story as a detached observer. I brought my own history, assumptions, and experiences to the project, and the best I could do was acknowledge them and make them visible to readers.

Because of that background, I really loved reading this discussion of memoir and nonfiction. We both seem to agree that all accounts of human experience are filtered through the observer. Where you see a tension between memoir and nonfiction, though, I tend to see a continuum. Even the most conscientious reporter or researcher makes choices about what to notice, what to include, what to emphasize, and what meaning to draw from the material. Those choices are never entirely objective.

In fact, one of the things I noted in my review of Everything Changes Everything was that I experienced it not only as a memoir but almost as a form of ethnography. You were documenting a journey, certainly, but you were also observing and interpreting a social and emotional world. The subject happened to be grief rather than a culture or community, but the process, and result, felt surprisingly familiar.

Where I think your essay raises an important point is in distinguishing between subjectivity and memory. Subjectivity does not trouble me very much. Memory, well, is an entirely more complicated matter. Human beings reconstruct the past rather than retrieve it intact, and I understand why that creates discomfort for anyone whose professional life has been grounded in nonfiction reporting.

Still, as a reader, what I ultimately trusted in your book was not the impossibility of perfect recall but the honesty and integrity of the effort. Without even much caring, I imagined that you were doing exactly what you describe in your author’s note: consulting documents, checking memories, talking with others, and rendering events as faithfully as possible.

Perhaps that is why I was struck by this essay as sounding almost apologetic. To me, the power of your memoir lies not in overcoming subjectivity but in embracing it. The book succeeds because it offers a deeply observed and thoughtfully interpreted account of lived experience. I don’t see that as a weakness of memoir. I see it as one of its greatest strengths.

Thanks for giving us all something to think about!

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Everything Continues

I just finished reading Everything Changes Everything: Love, Loss and a Really Long Walk. At first, I thought this to be sort of a rather odd title. But it turns out to be spot on.

The author is Lauren Kessler, who lives here in Eugene, Oregon, or at least somewhere in the countryside around our city. I have known of her, heard her name now and again over the years. She has written several books and is considered a local literary presence. I had not read any of her earlier works, but last fall I came across her three-part series on food insecurity in our new, local online newspaper. I was struck by the depth of her reporting and the vividness of her writing. She placed herself in the story, not as a distant observer but as a participant, and what emerged were word pictures that stayed with me.

At the time, I learned that she would be publishing a new book in February, so I reserved a Kindle copy to be delivered on the publication date.

So that is how I came to know of the book. But I admit that I was also drawn to it, and ordered it, because of its promised discussions of love and loss. If you know anything about my writing, you know that I return to those topics with some regularity here in Musings. As it turns out, those themes are inseparable from the journey she undertakes.

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 back-to-back 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 even 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.

I came to the book with some prior familiarity. I had seen the film, read Shirley MacLaine’s earlier account, The Camino, and at one point in my life had even considered making the journey myself. That background did not diminish the experience of reading Kessler’s account. If anything, it sharpened my awareness of what she chose to notice, and what she chose to leave unexplained.

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 that it is. 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 domains 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, death and loss. She observes not only the world around her but also her own responses, occasionally with a level of candor that does not place her in the most favorable light.

One passage in particular stayed with me. She describes her reactions to friends and acquaintances who attempted to express sympathy and support. She found herself recoiling from the superficial, hollow-sounding sentiments such as “sorry for your loss.” The observation follows from an earlier, critical blog post of hers entitled Performative Condolence.

I found myself sitting with her perspective for a while. Not because I agreed with it entirely, but because I recognized it contained some element of truth. 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 painfully short. Yet we offer them anyway because, for most of us, silence feels worse.

Kessler does not provide 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.

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Soundtrack Suggestion

As I walk this land with broken dreams
I have visions of many things
But happiness is just an illusion
Filled with sadness and confusion
What becomes of the broken-hearted
Who had love that’s now departed?
I know I’ve got to find
Some kind of peace of mind

(“What Becomes of the Brokenhearted” — Jimmy Ruffin)

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Update on May 21, 2026:

This essay/review was published as a Guest Viewpoint in the Eugene Weekly today.

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