And I love that, for Tori's escape is mine as well. When others can link their bodies to mine through the bonds of a shared identity, they loosen another knot in the constraints of the flesh. We are not separated from the body, but we are granted an opportunity to breathe more easily having found a little play in the rope that tethers body and identity together. There are a thousand of ways to read that personal ad, but I choose to see it as an illustration that none of us are constrained quite so much as we imagine. I see it as an affirmation that all of us, whenever we discover an inch of slippage here, a centimeter of slack there, can, by dint of will and imagination, raise miniature empires in the little bit of space we've managed to acquire.
Like many adaptations found with book to film projects; you do lose a vast number of really important events. Such that, the scenes where we follow Harvey are well thought out in just how they show his life and his way of thinking in the film very vaguely. His apparent odd psychological state of mind, expressed with his need for an alarm to prompt him to open his window shades, does not translate as well in the movie (The Lovely Bones). His odd psychological state and inability to follow social norms are described in detail within the chapters as he devices ways to appear normal to the outside world (Sebold 130). In the book you get more in depth descriptions which develops the characters of not just Harvey and Susie but, her sister, her father and, especially, her mother. You learn a lot about her mother which is important however, in the film you learn very little.