travel far now
  • About Me
    • Newsletter
    • Image Gallery
    • Contact Me | C.V.
  • Writing
    • Journalism & Essays
    • Poetry
    • Travel Far Now: Blog
    • Public Poetics
    • Digital Engagement
    • 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 remembering Raisy and learning to read words and people

5/19/2026

1 Comment

 
Picture
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.
1 Comment

On memory as make-believe and the secrets of a scene

2/25/2026

0 Comments

 
Picture
I wake with a headache; pain is its own reprieve, perhaps. I grant myself the morning to meander. At least the sun is reaching for me through the window.

Before coffee, I’ve already gone swimming in a strange bath of news—the cruelty and shame of adjuncts in academia; the maddening mantra in these times, “they knew, they knew”; the death of the middle and the mediocrity it often peddled; it’s all too much for a Wednesday morning meant for writing an essay on letters.

I went to Cheesecake Factory the other day, and it was packed, and it was actually really good. I don’t think we can romanticize these places any more than we can critique them for the paradox they perpetuate—that we want ease and consistency and we also want curation and gates.

Walking on an indoor track is a form of self-hypnosis. I started listening to a woman talk about memoir and her video had the strange tinny affect of a 1990s infomercial. She wanted to sell me her genius and kept on dangling the promise of two main components to a memoir that she discovered after studying thousands of them at a big publisher. It took her at least three minutes to reveal her secrets: the scene.

As I circled the track, I grew mad at her for wasting my time and then I also realized I had no where else to be and kept walking. I left the gym with her gems: 1. a scene must have a time anchor; 2. something must happen in the scene. That was her reveal, the grand finale fireworks of her spiel. I thought about it while dreaming last night, still walking around the track inside my mind.

I’ve decided that when I write a scene, it’s actually fine if nothing happens, as long as there’s a person and a verb and feeling. Time anchors are useful, to stretch beyond the once-upon-a, but I call bullshit on the pressure to advance a plot. Guess what, we’ve lost the plot. Fragments and figments are their own kinds of happenings, and that’s the kind of non-story I need to tell at this point, about anything real or imagined. And I’m still circling the track—I’ll be back.

Why did I leap from poetry to the journalism? Some naive idea about justice and the facts. I spent about a decade thinking I could comb for them carefully and come up with real gold for the people. But the newsroom is a blues room with the same 12 bars. The stories got predictable, though the players often changed. We rarely riffed or reflected, rather put together and scrambled the same puzzle parts over and over again, until many of us got laid off.

“To be a writer is to betray the facts,” writes Christian Wiman, in his very dark and difficult essay, “The Limit.” It made my stomach turn, the scenes and the story. But I kept reading to mine this reminder: “to cast an experience into words is in some way to lose the reality of the experience itself, to sacrifice the fact of it to whatever imaginative pattern one’s wound requires.”

My wound requires a wind-up and a let-down—I want the story to come in pulse beats of sensation. I am not a puzzle maker or a heart-breaker, and I certainly realize at this point that memory is a make-believe game.

I’ve read and thought about much too much darkness before noon. It hurts my heart. My transit slips are slipping from my grip. I’ve collected all these mental notes for scope, but I’m not obliged to analyze or file. Wiman says we can work with memory as little stones we “smooth and polish with the waters of imagination.”
​

Transit Slips, #25
0 Comments

On flowing rivers and coexistence of old and new

2/4/2026

0 Comments

 
Picture
When I was eight, I began to have a feeling about poetry that I couldn’t yet put into words. I’d discovered a sense of peace within the privacy of an upstairs bedroom closet with purple carpeting, and the pleasure of reading with a bag of large jelly beans by my side. My brain collaged a connection between sweetness, solitude and language.

I studied rivers in elementary school, the Nile in particular. I spent months drawing a long replica of its slither and scope with blue and green pencils. I was a kid pulled out of class for “advanced studies,” spending hours learning key facts about the longest river in the world. Years later, debates about the mega dam boomeranged me back to this brief but deep relationship to this river now causing so much grief.

Elena Ferrante’s description of “dissolving margins,” is a helpful way to explain what sometimes happens with memories and life experience, how “the outlines of people and places dissolve and disappear,” how this seems to occur by “unknown entities” and tend to reveal life’s more unstable nature.

In high school, my first love pointed to the street lamps in the middle of a summer night and asked, “hear that?” I had never noticed their electric buzz until he pointed it out to me. Back then, I was angry and all I saw was ugliness in my world—dirty snow, Brutalist architecture, abandoned parking lots, cracked cement, maniacal designs, rusted cars, broken signs!

But then these childhood places where I ate pancakes with my dad and gabbed with mom and chatted with my aunts and fought with my sisters disappeared one by one, and rose up like palaces of great nostalgia in my mind, carnivals of joy, classrooms of passionate chaos, those platters of hot corned beef on rye, pickles as promises.


I meditate on coexistence as a contract we signed when we all arrived, of course, at different times and dates. How are any of us surviving this wild astrology, each week, an unprecedented transit! The old and new exist together always and forever, we know this, but we forget to look for it. AI agents are chatting away in the mirrored halls of our collective fever dream and the Nile river keeps on flowing through difficult passages in its own natural history.

Yes, we can lament the looming extinction of experience, or we can experience it and write about it and make plays about it and invite ourselves into the farthest rooms with the most magnificent sunlight and bask in it together and marvel the whip cream floating atop our hot drinks. Writing daily is an experience in which I feel my cold fingertips on a black plastic keyboard and hear the ticking of my tiny pink clock and think, I’m still here and so are you, if you’re still reading.
​

And if you are, I want to thank you for accepting the unedited river of thoughts that seem to flow out of me ever since the new year dropped me off at an unfamiliar juncture and asked me to find a way forward. 
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
    Art
    Astrology
    Awareness
    Bat Mitzvah
    Beauty
    Belief
    Belonging
    Blessings
    Book
    Book Review
    Books
    Bwejuu
    Camp
    Change
    Chaos
    Chicago
    Childhood
    Christian Wiman
    Cities
    Clock
    Coexistence
    College
    Connection
    Consciousness
    Conversation
    Creative Nonfiction
    Creative Practice
    Creative Writing
    Creativity
    Deadlines
    Death
    Decisions
    Desire
    Dream
    Dreams
    Dying
    Dystopia
    Dystopian Novel
    Elders
    Emdr
    Encounter
    Entropy
    Estate Sales
    Exile
    Experience
    Faith
    Familiar
    Family
    Fate
    Father
    Fiction
    Forgetting
    Friendship
    Friendships
    Future
    God
    Grandmother
    Guitar
    Healing
    High School
    Holy
    Home
    Hope
    Hypnosis
    Identity
    Imagination
    India
    Interview
    Iran
    Islam
    Islands
    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
    Michigan
    Midwest
    Mind
    Monasteries
    Monks
    Moon
    Mother
    Mothers
    Mwera
    Mysticism
    Myth
    Pain
    Palestin
    Palestine
    Paradise
    Paradox
    Parents
    Past
    Past Lives
    Patience
    Personal Essay
    Personal Narrative
    Place
    Poetry
    Presence
    Prison Island
    Proximity
    Questions
    Reader
    Reading
    Reality
    Rebecca Solnit
    Reciprocity
    Relationships
    Religion
    Retreat
    Road Trips
    Saints
    Sarasota
    Saudade
    Sauti Za Busara
    Scar
    Secrets
    Self
    Senses
    Silence
    Simone Weil
    Situation
    Smoking
    Social Media
    Spirituality
    Story
    Strange
    Strangers
    Surrealism
    Swahili
    Swahili Proverbs
    Takaungu
    Teaching
    Theater
    Therapy
    Time
    Time Travel
    Time Traveler
    Transit Slips
    Translation
    Travel
    Traveler
    Truth
    Trying
    Waiting
    Weddings
    Wisconsin
    Witness
    Women
    Word Play
    Words
    Workshop
    Worship
    Wound
    Writer
    Writers
    Writing
    Writing Life
    Zanzibar

    Bio:

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

Proudly powered by Weebly