Learn how to follow your sentences into deeper territory
By Brenda Miller

True Stories Well Told is having a little “takeover” by the team of Sheila Bender and Brenda Miller to promote their writing retreat in Lake Garda next September, which I’ll be attending. You too?
Brenda posted this to her Substack on April 9th.
My new book, Love You, Bye: A Daughter’s Journey in Essays and Poems, officially debuts today! I’ve been a bundle of nerves, because this is truly the most intimate book I’ve written (in a long career of writing very personal work…) In this hybrid collection, I explore how my role as daughter shifts and evolves as I shepherd my parents to and through end-of-life.
In honor of my book’s birthday, and since we’re still in the Jewish holiday of Passover, I want to share with you the first piece in the collection, a flash essay called “Elijah”:
We’ve dipped the bitter herb in salt water and slathered our matzo in charoset. We’ve forked apart the tender matzo balls in their clear broth, and we’ve eaten the roast chicken. We’ve fingerprinted the plagues on our plates with grape juice. We’ve poured four cups of wine, and now a fifth.
My father rises from the table and opens the kitchen door.
At Passover we celebrate the way god protected us from his wrath, redirecting it instead to our enemies; by opening the door to the night, we say that we still, and always, believe in this divine protection. Even if we don’t believe. Even if we’re confused about why we ask for protection from the very force that threatens us. Even if our faith has diminished, we keep opening that door.
Or perhaps it is the front door. Or maybe we’re not in our own home at all, but at our cousin’s house, where the dining room is larger and the table big enough for 12. But I’d like to imagine it at our own table, the door open to the spring twilight, the nearly full moon. Elijah has his own place setting—with the fancy wine glass, encrusted in brass, brought out for the occasion, filled to the brim with Manishevitz sweet wine.
My father sits back down and calls for him: Elijah! Not a command, exactly, but a wheedling, a lure: Elijah! Come inside!
I don’t know what he looks like, Elijah. Most likely, your standard-issue prophet, with long beard and robe, a way of walking that makes every step intentional. Every year, I think I might glimpse him out the corner of my eye, an apparition slinking past, something you can’t witness directly. But I know it’s really not Elijah’s appearance that matters so much; it’s these few moments of waiting: the space between what we know for sure and what we can’t know at all.
In a few seconds, the table shakes and Elijah’s wine subsides a millimeter in the glass. We all clap, and my father laughs; he gets up to close the door tight against the night, but a wisp of Elijah’s presence remains.
Years later, now that my father is gone, I picture Elijah in my father’s flesh: with his wide grin, his dimples, his crooked teeth, his ha-ha-ha laugh. He bows his head—embodied and disembodied, pretends to drink to please us. And perhaps that’s what Elijah’s been all along: the ghost of all we love, come back to join us.
I wrote this little essay years ago, probably during Passover, zeroing in on the small details of the Passover seder. I’ve always remembered Elijah, not only at Passover, but anytime I leave a little food on my plate I say, jokingly, it’s “for Elijah,” and I kind of mean it.
I didn’t know where the essay was going until I got into it, and I let the details lead me somewhere new. I allowed myself to slow down, to be in that moment of waiting for the prophet to come inside, to feel that anticipation. The line “the space between what we know for sure and what we can’t know at all” emerged organically as I kept probing the “why” of the memory: Why do I remember this recurring ritual so clearly? What compels me to write about it? What makes the memory more than an anecdote?
These are the kinds of questions we ask ourselves as we draft an autobiographical narrative. Without the “why” and some attempts at “because” the writing can remain on the surface and never find its deeper meaning.
I could have ended with my father closing the door, with the line “a wisp of Elijah’s presence remains.” This image concludes the memory, wraps up the short “plot” of the piece. But it still doesn’t get at the deeper “Why?”
The simple phrase “Years later…” springboards me beyond anecdote and into the emotional heart of the piece. By allowing myself to leave the memory scene and time travel to the present day, the narrator can look back with gained experience and wisdom. Constructing this memory in the context of my father’s absence, I discover that Elijah stands for all our ghosts, the longing that perhaps they are just outside the door, waiting to be invited back in.
I didn’t plan this ending; I simply followed the sentences along the path they made. I allowed for uncertainty, the “perhaps,” acknowledging that all moments contain rich interpretations.
I chose this little essay as the first piece in my book because it is, in essence, an invitation. This book is so much about many thresholds we cross in life and in death; opening the door seemed a natural way to begin this exploration.
Try it yourself: Write a specific memory of a family ritual you know by heart, staying close to the sensory details. Then write “Years later…” and keep going — let the older narrator arrive with whatever she now knows. See what’s waiting outside the door.
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I’ll be teaching a workshop with the marvelous Sheila Bender in Italy this fall. While there, we will do this kind of work: delving into our memories, seeing what they hold. We’ll practice asking “Why?” We’ll practice doing some time traveling. We’ll say “perhaps…” We’ll look for the small, sensory ways into our most authentic selves on the page. Please consider joining us!
© 2026 Brenda Miller
Brenda Miller is the author of six essay collections, and her work has received seven Pushcart prizes. She co-authored the textbook Tell it Slant: Creating, Refining, and Publishing Creative Nonfiction, and The Pen and the Bell: Mindful Writing in a Busy World. She is Professor Emerita of Creative Writing at Western Washington University. Her newest book, Love You, Bye, a hybrid collection of poetry and prose, is forthcoming in 2026 from Skinner House Books.











