travel far now
  • About Me
    • Newsletter
    • Image Gallery
    • Contact Me | C.V.
  • Writing
    • Journalism & Essays
    • Poetry
    • Travel Far Now: Blog
    • Public Poetics
    • Digital Writing Projects
    • Residencies & Awards
    • Writing Philosophy
  • Editing
    • Books
    • Editorial Services
    • Editing Philosophy
  • Consulting
    • USA
    • East Africa
    • Consulting Services
  • Teaching & Learning
    • Slow Savor 2026
    • Past Workshops >
      • Creative Writing: Zanzibar
    • Inquiry & Scholarship >
      • Kanga Research
    • Break Arts
    • Teaching Philosophy

travel far now

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

substack essays

On fire and rain and the essence of a Jewish midwest existence

5/28/2026

0 Comments

 
Picture
ON LONG TRIPS, I’d fall asleep in the car only to wake up and realize we’d only driven thirty minutes to stop first at Bill Knapps. What I remember about the now-shuttered restaurant chain is their famous potatoes au gratin and coloring with crayons while I waited for my mom to signal she was ready to head back on the road.

I haven’t thought about this place in years but it was referenced in Rachel Goldberg-Polin’s writing about her Jewish childhood in the midwest, and I can’t help but notice the many points of overlap that feel quintessential in some way: camp memories, learning to play the guitar, the smell of deep fresh pine in the woods of Michigan, where the air just smells like cool heaven.

My mother was born in Watervliet, so the story goes. Grew up in Benton Harbor, married my dad at a gorgeous synagogue within walking distance of her childhood home. I visited a few years ago with my boyfriend, walking around the block a few times in the summer heat, a melted iced coffee in my hand, imagining the limits and possibilities of her life. I sometimes scroll through Zillow looking for summer cottages nearby, thinking that would be a place I could also call home.

Who knows.

I haven’t picked up my guitar in a long time but every once in a while, strumming a song or two on it also makes me feel like I’m home again—not in some place—in my soul’s home. My mom noticed how I obsessed over learning certain songs in eighth grade so she purchased a really nice guitar for me that year, but because I spent a lot of time hating her, I also had ambivalent feelings toward that guitar.

It’s stuck with me though after all these years. It’s in my closet, along with the stash of sheet music I lugged around with me, hoping I’d one day master “Angel of Montgomery” or “Father and Son” or “You’ve Got a Friend.” Just yesterday morning, they let me know you were gone...and the tears well up just like that. I think it all points to my summers at Jewish overnight camp in Wisconsin.

There’s no greater peace than sitting around a campfire and yet I’ve yet to learn how to build one on my own. I keep telling myself that at some point I’ll return to my aspirations as a nature girly and get to work on learning the skills that would make it make sense to sleep in the woods and build a fire and cook over it and wake up at dawn. One day, I keep telling myself. I’ll bring my guitar! We can sing around the fire forever.

What I once thought was our story — my family’s story, my mom’s story — is in some way a Jewish diaspora story I couldn’t see as clearly as I do now when I was growing up. I’m sure I was told at some point that Michiana wasn’t always a welcoming place for Jewish people but it also didn’t stick because I didn’t want to believe that such a world existed. I know better now, sadly.

And still, Jewish people found their way in the pine woods and dune towns of Indiana and Michigan, and I still trek northward in that direction, hoping to feel the essence of this collective presence in the region. We’re here, tucked into the American story, getting loud and writing books when we’re called to, but otherwise trying to figure out how to strike a match and light a peaceful fire, so it seems.
0 Comments

On the world as a waiting room and acting as a form of becoming

5/27/2026

0 Comments

 
Picture
DUNIA MAPITO—the world is a portal—a Swahili phrase I carried with me back home and placed on the ledge of language with reverence. This idea—that we’re all just passing through—helped explain so much about the way my neighbors expressed grief and loss, disappointment and rage—as if to say, this world is a waiting room.

Recently, I realized that this same idea appears in Jewish mystical thought, like Rabbi Jacob who describes this world as a hallway “before the world to come; prepare yourself in this hallway, so that you may enter the banquet hall,” or Rashi, who says that this world is a Friday and the world to come is a Saturday (shabbat).

Wherever it’s coming from—Islamic or Judaic roots—the message pierces me into the wider-awake state of a traveler. If we’re all just passing through this corridor, if we live with the notion of this world as a temporary space to rest under god’s tree, then we also come closer to accepting that all of this is temporary. The idea used to sadden me but now I see it as an invitation to set ourselves free. Risk gets reshuffled as love.

Which reminds me of another Swahili phrase I carried home with me: wache waseme (watachoka, watalala). Loosely translated, it means “let them talk (they’ll get tired, they’ll sleep).” In Zanzibar, where individuality is largely an illusion—where the collective rules and keeps all eyes on you—it could sometimes feel oppressive to me make any move without reverberations of judgement.

Living on an island is like performing in perpetual play in which you are at once the actor and the audience at all times—a quantum kind of play: I say thank you to the guy selling me a pack of a cigarettes, and half-way across town, someone whispers to another that I’ve started smoking again. I arrive at the port in Zanzibar after a three-hour ferry ride back from the mainland and my neighbor is already texting me to tell me she knows I’m back.

“Let them talk” is a kind of social insurance—a form of linguistic armor to shield oneself from the clang and clatter of the collective. So many people whispered when I broke up with the man who had been violent with me. Let them talk. So many people whispered when I was having issues with my visa. Let them talk. So many people made assumptions when they saw me walking down the street with any man (that wasn’t my ex). Let them talk.

If we listened to everyone else all the time, we’d stop listening to ourselves, and in this world—this world of becoming and preparing—we learn to take chances by hearing ourselves think—allowing ourselves to become vessels for messages beyond us, too.

Have you ever arrived in Dar es Salaam by ferry from Zanzibar?

Picture this—an insane calamity of chaos and clamor as passengers disembark from the enormous ship and enter a throbbing throng of people blocking the gates. Most are men with car keys in their fists and ill-fitting sandals on their feet, hawking unofficial taxi rides and tour guide packages.

Through this sea of sweat and panic I learned to take on a steely, stone-cold stance—stiffening my posture against the nudging, tugging, and pulling—as I made my way to the other side of the street in the shade of the old church. I had to act as if I knew exactly where I was going and why I was there.

I had to walk with a purpose and seek out my people even when I often arrived alone and walked by myself or with a friend to our hotel. I had to learn to see through and beyond the current scene. I had to keep going—to block all the incoming distractions and bids for my attention.

On an epic walk around town last weekend with an old friend, we stopped into a theater and ended up talking about whether or not we’d ever had any interest in acting. I used to love acting in plays when I was a kid—I auditioned for roles in community theater and also tried out for parts in high school plays—and had a lot of fun memorizing lines and staying late after school for rehearsals. I even directed a few theater projects as a teaching artist.

But at some point I lost all interest in acting. I think it’s because I remember feeling distinctly self-conscious of myself on stage in various roles I played—I remember thinking to myself as I delivered my lines, “you’re acting and the audience can tell.” I found it very hard to step fully into the experience—to surrender myself—even temporarily—to the role’s demands. It’s a skill I greatly admire in talented actors who can fully embody the character.
​

I’ve been thinking lately about all of this—how we are at once passing through and playing various parts—Shakespeare said it himself—all the world’s a stage, men and women merely players. But even when we’re just playing ourselves we’re also acting—to the best of our ability—as our most current selves, letting (sometimes willing) past roles fade to black.
0 Comments
    Creative Commons License
    Essays by Amanda Leigh Lichtenstein is licensed under a Creative Commons Attribution-NonCommercial 4.0 International License.

    Field Notes

    June 2026
    May 2026
    April 2026
    March 2026
    February 2026
    October 2017
    July 2017
    December 2016
    March 2015
    July 2014
    June 2014
    April 2014
    March 2014
    November 2013
    October 2013
    September 2013

    Shelves

    All
    Acting
    Addis Ababa
    Aging
    Aloe Plant
    Ambitions
    Anthropology
    Antigua
    Art
    Astrology
    Awareness
    Bat Mitzvah
    Beauty
    Belief
    Belonging
    Blessings
    Book
    Book Review
    Books
    Buenos Aires
    Bwejuu
    Camp
    Cat
    Change
    Chaos
    Chicago
    Childhood
    Christian Wiman
    Cities
    Clock
    Coexistence
    Coffee
    Collapse
    College
    Connection
    Consciousness
    Conversation
    Creative Nonfiction
    Creative Practice
    Creative Writing
    Creativity
    Cycles
    Daddy
    Deadlines
    Death
    Decisions
    Desire
    Dream
    Dreams
    Dying
    Dystopia
    Dystopian Novel
    Economics
    Elders
    Emdr
    Encounter
    Entropy
    Estate Sales
    Exile
    Experience
    Faith
    Familiar
    Family
    Fate
    Father
    Fiction
    Financial
    Forgetting
    Friendship
    Friendships
    Future
    God
    Grandmother
    Guitar
    Harar
    Healing
    Heatwave
    High School
    Holy
    Home
    Hope
    Hypnosis
    Identity
    Imagination
    India
    Interview
    Iran
    Islam
    Islands
    Italy
    Jewish
    Jewish Literature
    Jewish Thought
    Journalism
    Judaism
    Language
    Learning
    Letters
    Library
    Life
    Liminality
    Literary
    Literature
    Longing
    Love
    Malaria
    Marjane Satrapi
    Martin Buber
    Medicine
    Meditation
    Memories
    Memory
    Metaphor
    Mexico City
    Michigan
    Midwest
    Mind
    Monasteries
    Monks
    Moon
    Mother
    Mothers
    Mwera
    Mysticism
    Myth
    Naples
    Neighbors
    Pain
    Palestin
    Palestine
    Paradise
    Paradox
    Parents
    Past
    Past Lives
    Patience
    Patron Saint
    Pemba
    Personal Essay
    Personal Narrative
    Place
    Poetics
    Poetry
    Presence
    Prison Island
    Project Venus
    Proximity
    Quantum Physics
    Questions
    Reader
    Reading
    Reality
    Rebecca Solnit
    Recall
    Reciprocity
    Reflect
    Relationships
    Religion
    Retreat
    Road Trips
    Ruins
    Saint Gennaro
    Saints
    Sarasota
    Saudade
    Sauti Za Busara
    Scar
    Secrets
    Self
    Senses
    Silence
    Simone Weil
    Situation
    Smoking
    Social Media
    Spirituality
    Stone Town
    Story
    Strange
    Strangers
    Superimposition
    Surrealism
    Swahili
    Swahili Proverbs
    Takaungu
    Tanzania
    Teaching
    Theater
    Therapy
    Time
    Time Travel
    Time Traveler
    Transit Slips
    Translation
    Travel
    Traveler
    Trip
    Truth
    Trying
    Waiting
    Weddings
    Wisconsin
    Witness
    Women
    Word Play
    Words
    Workshop
    Worship
    Wound
    Writer
    Writers
    Writing
    Writing Life
    Zanzibar
    Zapopan

    Bio:

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

Proudly powered by Weebly