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travel far now

a sporadic archive of rants & revelations from life on the road

substack essays

On leaving and returning, digital disarray, and why I still have a Florida number

5/20/2026

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I DIPPED IN AND OUT of the United States somewhat irregularly for about a decade in the years between 2008 and 2018, when my mother called me from Sarasota to tell me that this was it—that she was dying—that I should come home now to say goodbye.

I stared out at the sea a few weeks before I bought my ticket, wondering if I had it in me to make the trip back to a country that was becoming less and less recognizable to me. A friend urged me to go despite my reservations. “Do it for yourself,” he urged, “You might regret it if you don’t.”

So I booked a ticket to Miami and instead got stuck in Doha, with time to check out a calligraphy exhibit and walk through the old market, due to a wild blizzard in New York. My fellow passengers were pissed and swarmed the staff counter, pressing for answers and food vouchers. But I was content with the delay—I wasn’t sure where I belonged.

These were the years when my body was still cooperating with my whims to pick myself up and leave at a moment’s notice. I didn’t have to think much before a flight, though I’d developed a pretty intense prayer habit by then. Whenever a plane took off I had to stop what I was doing and name the people I loved like I was counting sheep.

In Doha, I determined to make the best of it, distracting myself with trips to the oil and oud shops, marveling at the most expensive wood chips in tiny glass jars lined up along the walls. I preferred the yellow resin nuggets of frankincense that wafted from the counters—the whole reason why I’d even stopped at these shops, I was following a scent.

Eventually, I would make it to the hospital where my mom had commanded a presence with impossible requests made to unassuming young men in food service who were inexplicably forced to wear black ties as part of their uniform. At some point, it was I who took to the streets of Sarasota to source my mother’s last food wishes—burgers and turkey clubs, for the most part, though they never seemed to get it right, no matter who was making it.

I missed out on a lot, I realized, while living in Zanzibar—cultural stuff, I mean. I contemplated this a lot while sitting bedside with my sleeping mother—the TV blaring her favorite show, “Wheel of Fortune.”

The United States had changed and so had I. I returned without a valid passport or license, I was living what felt like a fugitive’s life, in between legalities and identities. It’s why I still have a Florida number—I had to get a new SIM when I was there to even begin to find my way around, and eventually, the weird number grew on me and I have yet to change it, though I have nothing to do with Florida anymore—it was just a blip, really—a vortex.

For most of the years I spent in Zanzibar, I felt a sense of political security in the brackets of Obama. I spoke with pride to my Swahili colleagues about gay marriage, the dawn of a new era. I typed out furious me-too monologues from my laptop with shitty WiFi thousands of miles away from the nexus of this particular revolution. I thought I could live over there and still participate the wider conversation—and I did, or at least tried.

But it wasn’t until much later when I realized how much an entire generation had been sucked down the drain of a digital spiral that left us all bereft of any assured connection or coherence. It’s still sinking in how much we lost in the meme years, how much we gave up to the machines who now own much of what we shared and have positioned themselves to sell it all back to us, one soulful nugget at a time!

Those months in Sarasota with my mom made me think hard about where I was going next but Zanzibar kept calling me back. I would return several more times before the pandemic ejected me and spit me back out in Skokie, in the childhood home where I grew up.

For a while, I still texted in Swahili with old lovers and a few friends, even a taxi driver or two. But the self who spoke on those terms receded as this present self stepped forward and took the wheel. I think now about how that decade in Zanzibar shielded and protected me from the dismal disconnect of the digital age—how we were still sticking our toes in the sand and collecting shells while Facebook became a new kind of hell.

Everyone I knew there stayed curious about social media but didn’t throw themselves into it the way it was happening in the US. Farmers and fishermen still woke with the rhythms of the sun and the sea to keep each other company and bring home the goods.

At the guest lodge where I often stayed because I was smitten with the owner who became my love for a short time, I chatted with the young women who came sauntering into the compound midday carrying blue plastic buckets full of fresh fish still flapping in the fury of their fate. They’d come to hawk these treasures and usually sold out by the end of the afternoon.

I remember hearing "consultants" tell fisherfolk about special apps that could help them maximize on their profits and better predict the weather. But a lot of the ones I knew fished the way they’d always done it—in collaboration with god and waves—and I hope it stays that way.

It’s hard to believe that I haven’t been back to Zanzibar now in nearly six years. My mind-body-spirit no longer turns in its direction. I am more drawn to the chair in my backyard where I read books and drink coffee sometimes in the early morning, before the lawn-mower terror begins.

When I close my eyes and think of that place, I think of the generous sunlight on my skin, the way the day unfolded according to the heat, the way I didn’t—couldn’t—check my phone for anything, because all I wanted was right there in front of me.
​

Every once in a while I consider changing my Florida number to a local one. But keeping it holds me to an enduring truth I can't deny—that every detail of our lives is circumstantial—linked and woven into a reality we're tasked to make sense of, one strange circumstance at a time! 
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On remembering Raisy and learning to read words and people

5/19/2026

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I LEARNED TO READ on my grandmother’s lap with TIME magazine spread out before us. I’d follow her bony, arthritic finger from one cluster of words to the next until the meaning of a sentence emerged like a mirage in the distance of my tiny mind. I must have been around three years old. I don’t think I even understood what we were doing as “reading,” but more like a game we played with printed words.

We called her Raisy but her given name was Isabelle and she was a beauty who sprayed her hair into a hard helmet of glamor that felt crispy to the touch. I loved her silk embroidered gowns and the beaded bags with bling for clasps and her fancy shoes in the closet of the high-rise apartment along the lake shore. She kept spider plants on the sill and I remember spending what felt like hours there zoning out, pressing my little nails into the chunky pellet leaves, watching them bleed out a clear liquid that looked like tears.

Whenever I slept over at her house, we’d share a bed and fall asleep to the sound of WBBM radio blaring news all night long and I couldn’t really sleep with the sound of mens’ voices grumbling facts I couldn’t care less about but it was her lullaby of sorts if I recall correctly, though it’s been so many years since I was that small person sleeping with her grandma that I can not trust the memory of us together, only the imprint.

In her tiled bathroom, T-Gel shampoo by Neutrogena. On the sills, a jungle of plants blooming wild by the frosted windows. At her desk, a green typewriter, in those drawers, stationery painted by folks with disabilities who had learned to sketch dogs with their toes! In her living room, grand paintings of Italian harbor scenes.

I’m learning to remember these small preferences and choices as a kind of love—the act of knowing them at all, what the people around us want to touch and see all around them.

Certain stories have been solidified over the years when it comes to my sweet grandmother, the mother of my father, who raised us as sweetly with nudges of tenderness and interest in the smallest of details. Like how she liked to carry a snack with her at all times to keep her blood-sugar levels from dipping too low and going mad—”my emergency french fries,” she told me once while clinging to a greasy bag in her lap.

I’ve had dreams about her—wrote a long essay about how I lost her green typewriter, the one she used to write countless love letters to my grandfather when he was stitching up soldiers in Italy during the second war—I’ve never forgiven myself for this! I also swear to the heavens that I saw my grandmother once at a gas station. I could feel her as she put her hand on my shoulder and said hello, but before I could turn around to face her—she vanished. 

Well I suppose she visits every time I read a passage from a book—my first teacher—my guide into the imagination—who taught me how to visualize what I read on the page. She made sure I saw what I read in my mind and like I said, I didn’t call this reading at the time, it felt more like a magic trick—like a game we played when we were back at her place and had all the time in the world to lounge around and flip through the pages of her many magazines.
​

I love this photo of me in my red bikini with my belly sticking out, my grandmother next to me with a hand on my arm, always looking glam in her white dress and stylish shoes, even though it looks like it’s a hot day. I have no idea where we were or what happened before or after this photo was taken, but I keep this one on my mirror so that sometimes I can still hear and feel her presence.
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On working with the rain in the morning office

5/18/2026

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MY MORNING OFFICE is full of rain. The way the whole world goes dark when the sky unleashes feels like getting under a blanket and though I’m awake and at my desk, I’m asleep in the rumbling folds of this rain. I could rest all day in the Eden of an early summer storm, to borrow Merton’s words.

Time passes, memory fades, says Didion, but I’m back in my childhood home, excused from the task of remembering. All I have to do is look around and remember where the enormous round metal tank once sat rusted out in the backyard from years of exposure to cruel midwestern winters. For a summer or two I remember swimming in that tank—and then it just stank of sitting water and layer upon layer of rotting leaves.

Why remember a useless pool used once by pigs in Michigan?

This is what the rain asked me to remember this morning, and I told myself I’d get out of my own way to convey that which appears on the surface of my consciousness, asking for time with an audience. If I think about the tank pool, I also think about the garage with windows that looked like two sad eyes, the peeling paint, like fat white tears. And the rhubarb plants nearby, how once upon a time, my mom liked to boil the rhubarb to make tart pies.

The night office has been closed for a while now. I used to stay up all night and dip into those silent pools to see what words might come out to play. But I’m too tired these days to stay up that long and have essentially surrendered my nights to light tasks like washing dishes and sweeping.

My daddy used to work long hours in the night office—practicing chords on the electric piano that sounded like bubbles floating up the stairs to our bedroom with the purple carpet. He stayed up all night for many nights until his last, shuffling from room to room to organize his notes and play his songs. I still hear him sometimes in the hallways.

This morning, I turn on my white glass mushroom light at my desk, listen to the swoosh of cars passing by, try to make peace with another Monday. On my desk, a vintage measuring tape, a stamp with my home address on it, made when sending out hundreds of bat mitzvah invites in the 1980s, and we still have it, and I’m still a Lichtenstein, and I’m still at this address.

This is not exactly where I imagined I might find myself at fifty, but it’s a fascinating perch from which to lurch toward my future, clocking in the morning hours in my morning office with the morning rain as my trusted colleague.
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On monasteries as schools and learning to listen to silence

5/17/2026

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MONKS CURL UP with their cats in caves they carved into cliffs surrounding the ancient rock-hewn churches of Lalibela. When I peeked inside of one while walking the path from one church to the next, I caught a glimpse of a sleeping ascetic next to her white cat and an open prayer book, its pages flapping in the wind. The green metal door to her dwelling stood ajar in the mid-afternoon light. A single red rose bloomed by the door.

Alone in Lalibela for four days, I found my way there to these cliff dwellings while walking around the churches. At first, I explored this holy place by myself, which I would have preferred. But later, I reluctantly accepted the help of two persistent guides who wouldn’t leave my side until I eventually surrendered to their assistance. All I remember now about the cliffside monks were their mustard yellow scarves and the many cats that paraded back and forth on the narrow paths in the mountains.

“A monastery is a school” in which one “learns from God how to be happy,” writes Thomas Merton about his decision to enter beyond the gates of Gethsemane. He’d been so drawn to the silence, relieved to have his final conversations with the peopled world, that even entering its folds in the depths of Kentucky winter seemed to please him, gardens barren and ready for new seeds come spring.

There’s monastic intention and then there’s joining a monastery. The master of the novices asks him, “Does the silence scare you?” to which he replies no, he’s entranced by it, and feels that he’s entered heaven. I don’t know why I’ve been so drawn lately to writings by and about mystical Catholics, but I suppose it has something to do with this lifelong tug to know what’s beyond the here and now—and record my observations about what I experience—however fraught or foiled by illusion. 

I admire those who can dip into pools of silence and stay there long enough to tell us what they hear.

When I was teaching poetry in public schools, I led a writing exercise in which I asked fourth graders to “go inside the silence,” and see if any images, words, or sounds appear. They always came back to the room with delightful ideas—one kid said that being in the ocean while it’s raining is like “double-swimming” and I loved that then and I still love it now.

I may not be a thousand percent comfortable with silence but I still work with it—not perhaps in the monastic sense but in a contemplative one. I notice a squirrel dead on the sidewalk that’s so silent in its deadness while the wind still blows through its delicate fur. I notice the single wasp trapped in the window panes in the upstairs bedroom and I think about how I wish I could save it and I also fear that if I tried, it’d sting me.

Noticing is a bit pretentious when you announce it, I suppose. The way memorizing a poem might get perceived as pretentious, or thinking your familiarity with silence is any more precious than anyone else’s date with infinity—but the difference is that saying it might inform one’s relationship with silence for years to come—with poetry—with wasps—and so why not say so if there’s one tiny ripple you’ve made in the silent waves?
​

All I’m saying is, say it.
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On life as a spinning record, accepting rejection and finding one's groove

5/16/2026

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A MAN IN A COMA lived out a whole entire life in utter darkness but then he had twins within the dark dream and it made him happy. When his consciousness returned, he asked his wife,

“How are the babies?” to which she replied,
“What babies?”

He told her about the twins he’d been raising in his other life on the other side of the coma. The reason I even know about this is because BBC did a story about how he actually did end up having twins, leaving many to wonder what might be happening when we’re not conscious of this life but live out others in such vividness as to feel real. He claims he predicted his twins while living another life in the coma. 

A woman in the comments talked about time using the record metaphor. That each life we live lines up with that exact point where the needle touches the groove of that one song. We live out that song—but there are many other songs spinning on the same record. And if you lift up the needle and place it on another groove, the song may be just as good if not better—or at the very least different. I’ve had visions of time as a record spinning when I’m high and the big question I ask myself is about god. Is god the one playing all these songs, lifting the needle up and placing it down again on a different groove, as some kind of whim?

Sometimes we wish we could lift our own selves out of one groove and place ourselves in yet another, hoping the song is sweeter, the mood lighter, the friendships, easier, the love, deeper. Moving can give us the approximate feeling of another life—I picked myself up out of the Chicago groove and lived in the Zanzibar groove for a decade. But I was still me spinning my inner song on a record that kept playing regardless of place. So I’m not quite sure how far to stretch this metaphor or where it lands in terms of “selfing the self.”

I just finished reading a short story called “Pic,” a biting tale of a young woman who eats herself alive with envy and longing for love. The story is part of a collection called Rejection, by Tony Tulathimutte, and he holds up a mirror to contemporary interpersonal chaos by tracing the inner contours of self-doubt. We think we have to choose between self-respect and peace of mind, as if that’s some choice that doesn’t depend on the other. Our earliest relationships with friends and lovers seem to test this choice—until perhaps we realize that self-respect is the peace of mind, period. That takes a while—and several leaps to different grooves to hear different songs—to realize.

Any time I’ve felt rejection—the piercing provocation of it—I’m glad to say it’s been fleeting. I’ve submitted myself to countless requests for consideration, poetic or romantic, financial or circumstantial, and each time the answer has been no, I’ve found a way to translate that no into a yes in the present tense. Unlike the young woman in the story, I haven’t let myself wallow for too long, or adopt a vicious bird that smells like shit, but I have let myself wonder what part of me inspired the no—and then found ways to make contact with her. In this way I’ve found momentum to keep doing my things, whether they’re photographed for public consumption or not.
​

Find me braiding bread, walking in the woods, writing new words, calling old friends, listening to dad’s old jazz records, sorting and sifting through the archives, beginning again and again and again. That’s all there is to it, really: to keep on playing my song.
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On saint interference, spontaneous rebellion, pity spirals and other fragments

5/15/2026

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SAINT INTERFERENCE—how they march when the stars fall from the sky and the moon turns red with blood and the sun refuses to shine, the saints go marching in, so the song goes! You know where I learned the most about saints—at the thrift store. I met Saint Theresa, patron saint of flowers, there. I also met Saint Dymphna, patron saint of mental illness, via billboard transference on a highway in Indiana. And wouldn’t you know that today, May 15, is her feast day. There must be some reason why I’m thinking of her today.

SPONTANEOUS REBELLION—of mind and spirit and it comes swift, this sudden awareness to pivot, this turning of directions, a subtle yet firm shift in regard, a reckoning, a way back, a forceful no, a distinct demarcation of borders and boundaries otherwise lacking until the moment you discover the road you thought would go on forever ends. To rebel quells doubt. To rebel fells fatigue. To rebel smells like springtime with the saints—a turning inward for the first time or the last is a secret you share with the sky.

VIVID CONVICTION—where indecision once stalked me I could now walk with the clarity in each step toward the grand doors and down the generous hallways that would lead to an ease in my posture and stance toward the future. The message to keep moving comes from the bird with a worm in its mouth this morning on my windowsill. I told the bird the memo has been received by me, the perceiver of all things taking shape in the world right in the center of my mind’s eye! Good morning, bird, I see you.

BAD ATTENTION—comes from wanting to avoid rejection and so therefore walking straight into the garbage heap, we think we’ll find nuggets of gold there but it’s dipped in disease and when I say I wanted to stay up all night with the man who wrapped his long dreads around my neck like a scarf I mean it but the arrangement didn’t come with eyes or kindness, it came with a long night on a mattress on the floor, the night before. And in the morning, I pushed him out the door and said please don’t come back because I won’t live here anymore, come tomorrow.

RECKLESS REDIRECT—when friends who texted daily cease their pings and friends who sent you invitations for a home-cooked meal quietly disappear from the window of a shared view, and lovers who pulled you from the deck of tarot cards tried to find meaning in your body as a symbol, and lovers who carried you to the clinic to check on your queasy stomach and solar plexus spasms and then left you there, there’s a kind of reckless redirect in their kind regards and the terms have changed but the contract still drips with drops from an earlier ink.

PITY SPIRAL—I try not to go there these days but when I feel it coming on I get down low on the ground and press my forehead to the wooly carpet and marvel at the stitching and wish I knew a thing or two about a heritage craft I could carry with me to the end of my days. I can’t do the high-highs or the low-lows anymore but my panic attacks have taught me that no amount of stress could take me down the road of self-loathing at this point. Once I realized that stress made me sick, I learned to escape the labyrinths we get dropped into with despairing dynamics and at this point, the only time I encounter a pity spiral is when I’m reading about a woman in her early twenties trying to find love.
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(note to self: when I find, after reading several books this morning, two-words phrases that feel like doors I need to push open and see what’s in there, I get to sit with thoughts like this, and let them go).
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On horror and hope and a book that shook me to the core

5/14/2026

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WHAT PROMPTS YOU to make decisions when you’re utterly alone? That’s a question I read recently in “I Who Have Never Known Men,” by Jacqueline Harpman, about the last surviving woman in a dead world, trekking the desolate landscape.

The disquieting book asks a lot of questions like these that continue to haunt me. What can the mind make happen in the misery of infinite aloneness? Well, hopefully we won’t ever have to find out—but we can still imagine what we might need to keep ourselves alive in an increasingly absurd world, marching through our “eternal procession of despair.”

The book tells the story of a group of forty women who find themselves imprisoned underground but don't quite remember why or how they got there. In a moment of fate, the women escape and set off to search for civilization as they trek across a stark landscape for decades, finding nothing but the same bunkers from which they escaped, full of corpses and abandoned supplies. The youngest in this group, the narrator of the story, finds herself the last remaining woman on the planet, as far as she knows, as the other women eventually die. 


The “child” talks a lot in one passage about the lies we tell ourselves in order to live—being the last remaining human at the end of the world, she finds it surprising that even with no one else with whom to lie, she finds she can still lie to herself. And it made me think about how the path to peace is to tell the truth and watch ourselves fold back into alignment with god, though god does not make an appearance in the child’s world. And I don’t mean to sound like a new-age-wonder woman, I have no idea sometimes how to align outer with inner selves. Feeling finds form in delayed waves of awareness, for me at least!

But adding just one new question to the growing layers of many others we ask in a lifetime is its own kind of happiness, the child discovers. Thinking is a game we play with ourselves and anyone else willing to play along in the connecting of dots. When I’m utterly alone—as in not tied to the whims and preferences of any other—I tend to move much slower and with more self-talk to spend the hours. I tend to reach for pens and sheets of blank paper, to hear my words talk back to me. I tend not to follow my own itinerary, if I’ve made one, preferring to wander and feel lost (a feeling most people work hard to avoid).

I am not alone, however, and I’m grateful. Unless I take a solo trip or walk in the woods, I am not alone, and even if I’m alone, I know I’m connected to an invisible web of regards—hopefully all of them, kind. That’s how we sign off on a letter sometimes, “kind regards, “warm regards, “and I hope that with each of my strands of connections, there is someone on the other end regarding me with kindness and warmth as I make my way alone through the woods (or wherever).

This book locked me into that apocalyptic gaze toward the future and I’d rather return to the cozy chaos of the present tense than the horror of a world with zero hope. Yet, these kinds of stories tend to have an inoculating effect—to guard against despair by describing it in the fullest, most foul detail. I’m living my days with a more gentle intention, treading more lightly around the hard edges, and hoping to keep moving along with some kind of joy in tow.

The book reminds me of a painting I saw once at an exhibit in Copenhagen, titled "Desert" by Ukrainian artist Polina Kuznetsova, who created it in direct response to the ongoing horrors of war in Ukraine. The images in the painting remind me of the “bunkers” and “cabins” that dot the landscape in Harpman's story. The woman who wanders continues to discover these abandoned places filled with corpses and supplies that she pillages and plunders for her own survival. The emptiness is overflowing.

PLEASURE—EXPECTATION—DECISION: they’re all predicated on freedom, some sense of personal authority, the fact of one’s capacity to change. The woman in this story declares that she's “better off dead than desperate." 

It matters to me knowing that the author Jacqueline Harpman was a Jewish woman whose family fled from Nazi terror during World War II, how all the images of bunkers full of dead corpses and unused supplies are echoes of the cruelty of confinement enacted by the Hitler regime. It matters to me because I am Jewish and I am a woman and I am watching the world fall sick again with the fever of hatred toward Jews and it’s nearly impossible to look away.

Perhaps at this very moment, as I type these thoughts about a book that holds such philosophical weight, another human is reading it for different reasons and feeling quite the opposite about its purpose. I won’t know. But what’s beautiful to me are the writer’s thoughts on the power of the imagination in such desolate circumstances—its potential as the last uncolonized place—to survive the current moment.

“What does having lived mean once you are no longer alive?” That question and so many others in this book unnerved me. If she wasn’t dead, the woman would still be walking, she said, and time is a question of being human—without the other to measure it against conversational exchange and the turning of the season, time vanishes.

“I shall leave the door open and my story on the table,” the woman writes, never mentioning god or faith until the very end, when she admits to speaking to the sky and expecting a response, but never getting one. She may not find god, but she discovers her capacity to read, write, and shape her story, and that comes close.

God is an act of the imagination and the imagination is a skill we practice and if we forget to imagine, we forget god (one possible equation). At the very least we must want to still have the capacity to imagine our own deaths! Though in the age of AI, perhaps we’ll outsource every minute detail to the robots, who knows?

And who are we without our imaginations?

If there’s futility in wandering, there’s also futility in settling, and either adventure requires hope. When one decides to stop searching and settle into routines is a matter of mind-body-spirit, the convergence of will to want to keep trying—to want to know what’s just beyond the hill and go toward it, regardless of how exhausting or futile it may seem in the moment.
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Do you expect a reply when you gaze at the sky?

5/12/2026

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TO GAZE AT THE SKY expecting a reply may lead to disappointment. We reach and yearn and track the stars for clues but may not ever hear the voice coming from out there—beyond the reach of our imaginations.

My friend Francois told me once, when we were both living in Zanzibar, to get a grip on my expectations. I’d been reeling over the wayward direction of a failed romance with a local man who had morphed from lover to stalker and it was all becoming a bit too much. Francois warned me that expectations of any kind would only lead to further disappointment. I knew he was right and I eventually gave up and licked my wounds.

But then I met a new man with a lot of the same problems—a heavy drinking problem, a rebellious relationship with religion, a wild disdain toward foreigners who looked like me—and yet, the early days of this new romance filled my heart with new expectations of belonging and connection. Francois reminded me that expectations would lead me down the same dark path and to surrender them at the door to my future self.

I knew my friend was right but I kept falling deeper into the dream of a future with this man until that relationship crashed out in strange and unpredictable ways. One minute I’m holding him after a drunken night of threats and he feels like a baby in my arms, wearing a soft red t-shirt and sarong, the two of us resting like sardines on a sofa tucked away in the corner of the upstairs patio looking out at the Indian Ocean. The next minute, I’m shouting at him to give me the keys to the car to save our lives.

Then the pandemic punctured any expectations about my life in Zanzibar and I left a pile of long, light dresses in my lover’s tiny bedroom and asked him to keep an eye on my belongings but I think we both knew in some deep down way that I wasn’t coming back to collect them. A few years later he sent me a photograph of my pile of dresses in a simple Whatsapp message, inquiring about my overall well-being, and did I even want them anymore? Of course, I told him no, and to please gift them to anyone who needed a dress.

I’ve learned to loosen expectations but I do think it’s important to our survival to have them—however much they veer from their intended shape or sequence. Expectations are thorns but they’re also seeds, aren’t they? I don’t know. Are expectations forms of craving and clinging or are they prayers for what’s to come? I suppose it’s been useful to let people truly be who they are—the expectation that we could change anyone is absurd, I know that now. But living with no expectations is the kind of advice I shuddered to receive.

I expect with the time I have to keep writing if my mind allows it and my body agrees. I expect to find a way forward and squeeze whatever joy out of the days I have as long as I have the will and spark to try. I expect to deepen my connection to the invisible—within and out there—to gaze at the sky and listen for an answer—a voice—a question echoed back to me from the great void.

​Nothing more, nothing more. Nothing less.

Note: The idea of gazing at the sky and expecting a reply comes from a particular passage in the book "I Who Have Never Known Men," a horror story about a group of wandering women—former prisoners—who have to learn to survive in a desolate, absurd world. 
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On fate, indecision and the making of a coherent self

5/11/2026

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INDECISION NEARLY DESTROYED me in my twenties. I could not make a decision to save my life—would rather dwell in a state of constant contemplation until the very last moment—and when the decision was in motion, I was still riddled with doubt.

I’d show up at the doors of potential lovers thinking the gesture romantic, a total refusal to read the signs. “He’s really hard to get a hold of,” I wrote in one journal entry I wrote right after college, about a trip to see a guy I liked who’d enrolled in a publishing course in Boston. The guy was so busy and completely uninterested in me but I still needed to show up at his doorstep to truly receive the message.

Indecision haunted me everywhere—choosing meals on menus, arrival and departure times, the precise shoes to pack for a trip, where to go on said trip. On the one hand, I recognize this as a problem of the privileged, to have choices in the first place, and let them stress us out. On the other, I learned over time that even if the choices were few, my brain probably still would have played these games with me.

Some of it has to do with the way I grew up, the way I understood scarcity and the weight of each choice as a result, but I also just think it’s how I’m wired. It’s one of the biggest challenges I worked through in therapy. “You only have to be sixty percent certain of anything to make a decision,” one therapist named Nancy told me. She wasn’t the greatest therapist—she often answered the phone for her whiny children mid-session—but I carried around this nugget of wisdom and it helped dislodge some of the doubt.

We don’t have to know where we’re going to get somewhere else. We make sense with our senses, after all. We learn by doing. In some places, they talk about decisions as something you “take,” not “make,” which I find interesting, as the decision gets objectified as something you hold and carry instead of construct. I’ve also come to believe that decisions will happen whether we’re making them or taking them—and that old adage is useful—even a non-decision is a decision.

Though preference is also a factor—we all have them—and that is love, to recognize them in ourselves and in one another.

Even ants have a preference when given the choice between CheezeIt crackers and Goldfish—the only reason why I know this is because I saw a TikTok where a guy placed a pile of each kind of cracker near an anthill and watched the ants work harder for the more savory cracker. It wasn’t really a choice—they all just knew what they wanted and went for it.

Fate would have me live in another country for ten years and then move back just in time to take care of my parents when they needed me most. Fate would take my daddy in September and my mama in March under the most glorious of skies, eight years apart. My daddy said goodbye to my mama over the phone, left her the longest message in the world whispering to her all the sweetest things he’d probably said a million times but never with such reverence, urgency or clarity.

Fate would also have me learn a language for half of my life with long stretches without it. Language is like water—not land. You can try to “conquer” it or you can try to swim in it and either way you’ll learn that language has rules but no borders, language has waves but not hard edges or fences that can’t be torn down for the sake of an “I love you.”

Sometimes we know just enough to make it to the next decision and that is enough. In past lives, I didn’t bother much with god or prayers but I find myself talking to the invisible through the poem as a prayer and this has helped immensely when it comes to wobbly friendships and relating in general with people in such states of despair. “It is impossible to predict what might happen in a world where you don’t know the rules,” writes Jacqueline Harpman, in the horror story “I Who Have Never Known Men.”

A coherent self walks the bridge between inner and outer worlds, acts and behaves in the world in ways that match our feelings and beliefs. Most of us are splitting in two half the time when we talk and explain ourselves, and I hope fate will have me finally align and recline into a peace that sustains me. Skin heals when it seals. Most people who say they’re not the praying type have probably still prayed—they just never called it that.

When plunged into the absurdity, as Harpman writes, we get to surprise ourselves with inventions predicated on our survival, and learn to proceed through the impossible, to “take possession of the void.”
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On writing as mind-weaving, shared reality and learning to tie a scarf

5/10/2026

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WRITING AS MIND WEAVING: I love this idea shared in an essay by Yoko Tawada, who writes so beautifully about language and translation. She lives between German and Japanese worlds and writes within both. I’m always astonished by writers who can move fluently between languages.

I tried with Swahili, I really did. I started learning the language when I was in my early twenties, young enough to weave its words into consciousness and work with it. But I always felt like I was standing on the porch outside the big Swahili house, waiting to be let inside and never knowing the right password. Maybe that’s too convenient a feeling to explain how far away I feel from the language now, even though I long to hear it woven into my day with the call to prayer.

These days, my breakfast contains smart choices like nonfat yogurt cups with real fruit on the bottom and a sprinkle of toasted almonds for indulgent crunch. During my Swahili days, it was all fried fish and potato cutlets, buttery chapati rolled up in flaky layers of hot goodness, perhaps a deep fried egg or two stuffed with spicy meat. I wrote a whole essay about Mama Jamila’s curbside breakfasts of sweet and salty porridge with fresh sesame bread that felt like a warm pillow. The best part about eating with her was the wild array of company kept on the curb.

To write is to weave with strands of the everyday. Before we know it, the page is a full loom of new understanding. It’s nearly impossible NOT to discover some previously unknown part of yourself if you write long enough without getting in the way and asking why—or worse—criticizing the why. Once our thoughts are out there or on the page, they take on a life of their own—attitude—sense—feeling—and they’re suddenly in full-on relationships with readers that have nothing to do with us, anyway!

The stranger often notices what the locals tend to ignore, whether we like it or not. The stranger can be told not to write what they see or make any comment on it, but when the stranger does those things, the local then sees what the stranger saw and perhaps writes a thing or two about it, in defense or explanation. In this way we are always holding up mirrors for one another and if we allow it, we look. Sometimes the stranger does not like what she sees. Sometimes the local resents what they’ve been shown.

I will never forget learning about how local Swahili women learned to trick the researchers who came from faraway universities to “mine” the minds of rural Africans for their wisdom on all things related to raising children, making money, health and wellness, love and sex.

The women agreed to sit with these earnest young-folk for hours answering their questions with a smile on their faces and a twinkle in their eye—with one secret fueling their response: never tell them the truth. Yes, the women confided in me more than once that they’d learned to tell the researchers what they wanted to hear—and wove them tales fit for their dissertations.

To wear a scarf in these villages was a sign of respect. Who would let their long silver hair fly in the salty wind like that anyway, what was I thinking, they asked me with a look of disdain and wonder all at once. Let me show you how to wear a scarf, more than one offered. So I sat in dark rooms with these women as the bright sun beat down on the scorched sand at midday, and they taught me how to tie the scarf around my head and neck for full coverage, tucking in the tail-ends underneath my chin.

One once handed me a mirror on such an occasion—ideally to admire her work—but when I looked at myself I felt like crying. I didn’t recognize myself, the scarf had been wrapped too tightly around my freckled, sunburnt face and all I saw were chin rolls and lies—this wasn’t me and I wanted to unravel her work and let my hair down. Instead, I thanked her and told her I loved it, weaving a temporary truth the two of us could share.

I took the scarf off as soon as I was back home and though I can’t remember if any part of this story is true, I probably did write about this feeling, as it’s coming up for me now as I type. What matters is not exactly what happened, but how memory reshapes what could have happened through the feelings we attach to it. I continued to wear scarves nearly every day during my Swahili years, but they got looser and looser as the years went on and I learned to tie them in a way that made me feel a bit more like myself.
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    Essays by Amanda Leigh Lichtenstein is licensed under a Creative Commons Attribution-NonCommercial 4.0 International License.

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    Amanda Leigh Lichtenstein is a writer, poet, editor and vintage collector based in Skokie, Illinois. 

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