“I’m sorry you have to walk a thousand miles just to …” Cheryl Strayed’s ex-husband, Paul, tells her. But “just to” what? Early in Wild, Strayed finishes the sentence for her ex-husband: “Why do I have to walk a thousand miles?”

At mile one, Strayed is not sure why. She’s not even sure at mile eight, twenty-eight, or thirty-six. She lumbers around sharp curves and up and down rugged terrain in order to find the answer, or answers. Strayed’s father was an abusive alcoholic. Her mother, whom she calls “the love of my life,” died of cancer at forty-five. Strayed sought refuge in heroin, and sex with multiple partners, which is what led to the demise of her marriage. She finds the answers to the why part of her hike only at mile one thousand. Strayed hikes toward an understanding of her tumultuous life that seduced her into the woods. Much like how the memoir is structured, the movie depicts both her physical and emotional journeys, the present and past paralleling one another the entire one thousand miles. Of course, we can’t help but lumber along with her.

Wild is not only about Strayed’s yen to find the answers as to why she chose to venture into “wild” territory. It’s about identity, the body, forgiveness. Several tropes represent these themes: the heavy weight of her backpack on her shoulders and back calls to mind the burden of her guilt for past wrongs. The bruises she is left with remind us of the pain of her present, and past, life. Lifting herself up under the weight of the pack, then again when she slips in a river signifies perseverance. The pruning of the pack partway through her trek can be likened to the shedding of her guilt.

The sex scenes reveal Strayed’s confusion: she conflates sex, her body, with worthiness. When a reporter pulls his car over to the side of the road – Strayed is hoping to catch a ride – he interviews her for an article and calls her a hobo. Strayed is quick to clarify that she is not a hobo, that she’s simply hiking the PCT. But she has no place to call home, no anchor, no words to describe who she is. Strayed is not a mother or a wife, labels her mother once assigned to herself.

A series of metaphorical purges (guilt purges) take place: when strayed vomits after a night of drinking with other hikers, when she erases her ex-husband’s name from the sand, and when she finally breaks down sobbing, and says, “I miss you Mom.”

I could share more, but if you have yet to see Wild, or read the book, I don’t want to spoil the ninety-four day hike for you – the one hundred degree afternoons, the sweaty silences, the blue nights and sun-bleached mornings.

So, lace up your hiking boots, strap on your backpack, and join Cheryl Strayed at the head of the PCT.

Wild Director: Jean-Marc Vallee. Staring Reese Witherspoon, Laura Dern, and Gabby Hoffman.

How do individuals who are unable to walk refer to themselves on the page? Why do some choose handicapped while others choose disabled, or even crippled?

At age nineteen, Joshua Prager suffered a broken neck when a truck driver rammed into the mini bus he was riding in while  traveling through Jerusalem. He spent four years in a wheelchair. Now, he walks with the aide of a cane. Prager has written a memoir, Half-Life, in which he tells of his tragic yet hopeful story of self-awareness, identity, and the loss of physical potency.

Throughout the book, Prager employs a varied lexicon when referring to himself post-crash:

1) “I took comfort … in the thought that my body spent fewer days disabled than not (106).

2) “I was a hemiplegic and wanted to be whole again (156).”

3) “Let the doctor glimpse what it is like to be nineteen and paralyzed (146).”

4) “I wished to sit there forever and never get up and never remind Sheri that I was disabled (172-173).”

5) “If I was finally at peace with my disability, I had fallen for a girl who wasn’t (183).”

6) “And then I became a quadriplegic (189).”

7) “I … allowed myself mention of … a divided body (280).”

Why does Prager not settle on a single descriptor for his changed body? Depending on the circumstance, his preferred label (labeling is really what this post is about) changes. For instance, in number 2 above, he chooses “hemiplegic” when he talks about his need to be “whole again.” The contrast of hemi- and whole in the same sentence is stark. When we see the prefix “hemi,” we might think of the word hemisphere: half of the brain, or half of the earth. We can visualize the fissure dividing the brain in half, or the equator separating the northern and southern hemispheres. When we see the word “whole,” we might envision something intact, like a circle.

In example 3, Prager says “paralyzed” in the context of the scene in which his doctor tells him he cannot leave the hospital to attend a baseball game. Understandably, Prager is angry. “Paralyzed” might evoke the image of an individual in a wheelchair, but it also evokes emotional and spiritual paralysis. Prager looked forward to the baseball game, but the doctor’s decision slashes any promise of “openness and freedom” for his patient (145).

In example 4, Prager employs the word “quadriplegic” when he’s wondering how his family will get him home from Jerusalem after the crash. Quadriplegia affects the entire body below the neck. In a sense, the entire body is weighted down, and the burden is on others to help care for the individual. Such is the case when Prager’s family must figure out how to get him home, physically and financially. The burden is on them.

But why does Prager choose “divided body” in the last example, rather than hemiplegia? Just prior to this sentence, Prager is listening to the solipsistic soliloquy of the truck driver who ran into the mini-bus: financial troubles, loss of land, loss of work, etc. When the driver finally asks Prager about his hospitalization, Prager refers to his body as “divided.” Though his intention is not to forgive the driver, but to hear him apologize, perhaps Prager is now wondering if it was a good idea after all to meet the man who nearly killed him. Is Prager “divided” about what he actually wants? Does he really want to be sitting, face-to-face, with this self-absorbed man?

I saved examples 1, 4, and 5 for last for a reason: acceptance. Even though the girl Prager fell for does not accept his “disability,” as he claims to, and he wants to hide that he is “disabled” from Sheri, the overall tone of the three sentences come across as softer than the others listed. The C, P, and G in hemiplegic, the Q, D, G, and C in quadriplegic, and the P, Z, and D in paralyzed are all abrupt, harsh consonants. And, though the L in these words creates a liquid-like, more flexible sound, because they end in harsh consonants, there’s lingering turbulence, as there are turbulent moments in Prager’s post-accident life. The D and B in “disabled” are abrupt sounds, the T in “disability” is an angry sound, and the S is a hissing sound. But the emphatic sound of the two D’s that bookend “disabled” give the impression of certainty – certainty that Prager has accepted his changed body. And the Y at the end of “disability” resonates with a long E, creating an airy quality to the word, which carries the liquid-like sound of the L a long way.

Or maybe Prager inserts “disabled” and “disability” throughout the narrative because eventually walks again, albeit with a cane – his wheelchair days are temporary. Perhaps if he called himself “crippled,” the caustic C, the in your face tone would sound more permanent. It’s worth noting that Prager refers to himself as “crippled” one time throughout the narrative. He becomes angry and says, “A cripple rebuffed at the Jewish equivalent of the Lourdes” while he’s praying at the Western Wall for his left hand to heal. He had reason to be angry – a bird had just shit on his head.

Prager, Joshua. Half-Life. Byliner. 2014. Amazon Digital Services.

In Lucy Grealy’s memoir, Autobiography of a Face, the focus remains on the author’s identity struggle as she faces years of cancer treatment in which one third of her jaw is removed. How does she take us on her conflicted journey of needing to be accepted for who she is versus succumbing to society’s notion of acceptance?

She implants particular objects that carry the story forward: the hat she almost never takes off, and the turtleneck her mother encourages her to wear to hide her balding head and disfigured jaw. The mirror, her reflection, is Grealy’s nemesis: she says she is an “imposter” when she looks in the mirror (220). And she avoids looking at the details of her face: “Though I had looked at the scar running down the side of my still swollen face, it hadn’t occurred to me to scrutinize how I looked. I was missing a section of my jaw, but the extreme swelling, which stayed with me for two months, hid the defect (62).”

By employing phrases – “I tried to camouflage myself by sitting in the middle of the group,” and “I felt as if my illness were a blanket the world had thrown over me” – Grealy evinces her identity struggle. She does the same through metaphor: “Our house was falling apart,” and “Our home’s drastic state of disrepair” (35, 80). Her house is in disarray like that of her body and emotional state.

By narrowing in on the transformative events – surgeries, hair loss from chemotherapy, becoming a teenager and growing into a woman, interactions with men – Grealy maintains an integrated story of identity. In doing so, the reader is brought into her world, a world colliding with emotions: fear and anger, longing and loneliness, humiliation, denial, sadness.

But ultimately Grealy moves toward self-recognition: she matures from a 9-year old, unaware of what it means to have cancer and naïve as to how to cope with significant deformities, to an adult where she becomes mired in the conflict between acceptance of herself as she exists versus the desire to appear pretty in order to be accepted. She does not achieve complete resolution on, and off, the page – complete resolution is asking a lot of the writer who has suffered any kind of illness, or trauma. But, while at a café with a new lover, Grealy “experiences a moment of freedom,” and arrives at understanding (222):

As a child, I had expected my liberation to come from getting a new face to put on, but now I saw it came from shedding, shedding my image. Society … tells us again and again that we can most be ourselves by acting and looking like someone else, only to leave our original faces behind to turn into ghosts that will inevitably resent and haunt us (222).

And so, as Grealy says, “I looked with curiosity at the window … to see if I could recognize myself (223).”

Grealy, Lucy. Autobiography of a Face. New York: Harper Perennial, 1995. Print.