White Butterflies.

And I want to keep us all alive

And I want to see you with my eyes

But I see you in the fireflies

And how extraordinary . . .

Is that?

– From the song, “Light Me Up” by Ingrid Michaelson

I was sleeping when the call came. Not quite sleeping, but not yet awake either. Drifting in and out of dreams, dreaming of things far off and beautiful, dreaming of a life different than my own.

me-and-mama-hawaii-copy

I heard the phone ringing in my dream too, then realized, as one does when a pleasant reverie is interrupted by the nagging insistence of the real world, that this was not actually a dream, but my cell phone, cutting through the sleepy Sunday morning with its persistent staccato. “What in the hell?” I muttered, annoyed at being pulled away from the comfort of my bed and the hazy, lovely world I inhabited there. I stumbled into the next room and found my phone where I’d left it the night before, on top of a chest of drawers.

I listened, confused, to the voicemail from my Aunt Sandy. Why was she calling me? Why was she crying? “Call me back,” she urged, her voice breaking, “Or call your father. It’s an emergency.”

I chose to dial home. It’s a decision I would later live to regret. I heard a click on the other end of the line, the receiver being lifted, strange voices echoing through my parents’ house, someone handing the telephone to my father, who was frail, hard of hearing, ill with cancer. Finally, his low, gravelly voice: “Sar?”

“Dad?” I asked, panic rising in my throat and threatening to choke out the words. “What’s going on?”

“Mom’s dead.”

And everything went black.

me-and-mom-wales

I will probably always mark September 23rd as a sad anniversary. From that dark day in 2012 onward, it will forever be known to me as the day I learned that my mother, Anne Popelka Kelly – my best friend, my first phone call, my most important person – was gone. Her passing was my first real experience with death, and, though there have been many others since, hers remains – for me – the most significant.

There are few things I haven’t tried, in the four years since her death, to assuage a tremendous ocean of grief. I have consulted astrologers and tarot readers. I have purchased – and barely opened – an embarrassing number of self-help books. I have seen therapists. I have tried (and abandoned) nearly every feel-good remedy, every exercise regimen, every diet. I have consumed a revolting amount of whiskey and wine and cigarettes. I have run countless miles in bad shoes on blistered feet.

I don’t think there’s any feeling heavier than guilt, any destination harder to reach than forgiveness. But if I’ve learned anything about grief in these last four years, it’s this: you cannot possibly begin to heal without releasing the first and embracing the second. I was closer to my mother than anyone else in this world, but for the past four years, I have carried a crippling amount of guilt and shame over the fact that I saw her spiraling into a black pit of despair and addiction, and stood by, watching it happen. I knew I was losing her months before she was actually lost, but not knowing what to do, I did nothing.

mom-college-with-flowers-copy

It may seem counterintuitive, but it was actually another experience with death that allowed me to turn the corner on my grief. Last October, I learned that my mother’s father, my sweet Grandpa Gerry, was abruptly, terminally, ill, his doctor giving him a timeline of a mere thirty days left to live. Without thinking, I put everything else on hold and traveled back to Washington State to help with his hospice care.

For the first time in my thirty-five years, I sat with someone as they faced the end of their life, and I felt the power of a love so enormous that all my fears about what would happen to me became secondary to my desire to provide my grandfather with the care and comfort that he needed. If there is such a thing as a “good” death, he had it, and his peaceful passing filled me not only with profound gratitude, but also with an unexpected surge of hope that the world could still be a good and decent place, as well as a fierce determination to not waste any more time punishing myself for a past that had already been written.

By the time I got to that July afternoon, two months ago, sitting across from the psychic medium Fleur in her sun-filled Los Angeles living room, I knew that the weight I had saddled myself with was simply too heavy to carry anymore. And so, when Fleur told me that my mother wanted me to forgive myself, that I couldn’t have altered or changed her death in any way, I chose to believe her. And when she told me that my mother was proud of me, that she was always with me, and that she sent me white butterflies as a sign to let me know that she was thinking of me, I chose to believe that, too. And I’ll tell you something: before that day, I can’t ever remember seeing a white butterfly. But now, I see them all the time. Almost every day.

I’m still sad that I couldn’t save my mother. I probably always will be. But maybe we can’t save anyone. Maybe we can only love them. And forgive them. And forgive ourselves. And maybe, by doing that, we can – to paraphrase the words of my favorite poet, Mary Oliver – save the only life we ever really can: our own.

Until next time, friends.

mom-olympia-copy

Where I Write: The Getty Center.

At 12:27 p.m. on Friday, September 9th, I find a parking spot on the third level of the subterranean garage and open my car door to be greeted by an oppressive wall of heat, the humidity wrapping itself around me as I quickly head for the exit, for higher ground, for cooler air. I take the elevator three flights up, disembark, and approach the bag check line. I open the canvas tote that’s slung over my shoulder, allowing a man in a polo shirt to briefly scan its contents, and then join a small – blissfully so, now that it’s after Labor Day – group of people waiting on the open air platform. The tram arrives and I claim a spot in the back, trying to settle into a comfortable position against the seat’s hard plastic. My limbs are sore from yesterday’s punishing kickboxing class, and my brain whirs from a sleepless night and an early wake up call to complete a project deadline. In truth, there’s so much work waiting for me at home – half-finished projects, a never-ending to-do list, my own personal writing deadlines – that I feel a bit like a delinquent child playing hooky from school, both giddy and guilty about this afternoon escape. But as the train climbs the hill, making its slow ascent toward the summit, a palpable sense of relief rushes through me. No matter how busy I am, I know that I need this.

above-l-a

Last month, in August, I hit my seventeenth anniversary of living in Los Angeles. Seventeen years. That’s essentially half my life, and longer than I’ve lived anywhere. I suppose there’s no denying it: for better or for worse, I am an Angeleno. And today, needing a brief respite from the hectic pace of this city and the life I live within it, I’ve come here, to my favorite sanctuary high up on a hill: the Getty Center.

If you’re a regular reader of Extra Dry Martini, you’ve probably noticed that mentions of the Getty – with its stunning grounds and gardens and sweeping views of Los Angeles – show up fairly often in my blog posts. I’ve been visiting the museum ever since I moved to L.A. all the way back in 1999, when I was a baby-faced college freshman, newly arrived from a small town in Washington State. And though things have changed dramatically for me over these last seventeen years, the Getty is one part of my L.A. life that has remained a constant.

I’ve come here on New Year’s Day, watching the first sunset of the year set the sky on fire. I’ve come here during the high heat of summer, seeking shade underneath flowering trees in the Japanese garden. I’ve come here when I’ve felt happy, come here when I’ve felt sad, come here when I’ve had something to celebrate, and come here when I’ve been at my lowest, needing to have my sense of possibility restored.

garden

I often come to the Getty when I want to feel close to my mother – including one trip two years ago on the anniversary of her death that I documented on this blog – because she loved the place every bit as much as I do. She loved the lush, tranquil gardens, the natural light and open spaces that float between the solid and sure travertine stone columns, the small but expertly-curated collection of Impressionist paintings, including its crown jewel: Van Gogh’s Irises, with such vibrantly textured lavender petals and emerald green leaves that I never grow tired of gazing at it.

When it comes to writing, I believe that reflection is just as important as action, and that in order to keep creativity flowing, we must take time to consume words and images other than our own. It’s a concept that Julia Cameron, author of the book The Artist’s Way, calls “filling the well.”

Fortunately, the Getty provides ample space for both, so before I settle in to put pen to paper, I take some time to wander the museum’s galleries and grounds. I get lost in an evocative collection of paintings on loan from the Tate – appropriately titled London Calling – and then am transported to 19th Century France via a black and white photography exhibit called Real/Ideal.

monet

Exiting the West Pavilion, I pause for a moment at one of the Getty’s many vantage points overlooking the city. As I stare down at this vast, sprawling metropolis, at the traffic inching along the 405 freeway, I can’t help feeling a surge of pride that a small town girl from the Pacific Northwest could come here, to Los Angeles, to the place of movies and dreams, and make it her own. And though L.A. can be brutal (and has at times, been brutal to me), I can’t help but love it, perhaps because of its brutality, perhaps in the same way that a gladiator, bloody and bruised though he may be, loves the arena.

Even when crowded, you can almost always find a quiet space at the Getty in which to write, whether it’s a shaded table tucked away in a corner of the outdoor plaza or a bench in an overlooked section of one of the art galleries. But my favorite place to write is always the breezy open-air terrace, perched above the garden and adjacent to the café. So when I’m finally ready to put pen to paper, that is where I go, choosing the most private table that I can find.

I have several writing projects in the works, but this afternoon isn’t about projects or deadlines. It’s more internal, more introspective. I pull out a brightly colored hard cover notebook recently gifted to me by a friend, called the “Letting Go Journal,” (something I’m actively trying to do these days), the pages of which are peppered with inspirational quotes on that very topic. I flip to the first page and the saying from Andy Warhol printed there makes me chuckle. Yeah, I think. So what? And as the soft September breeze meanders across the terrace, its cooler winds an early indicator that summer is pressing onward toward fall, I begin to write. That afternoon, I will fill the pages of my journal with things that I won’t tell you, with things that I won’t tell anyone, because – for a few hours at least – on this perfect late summer day, this time is just for me.

Until next time, friends.

letting-go-journal

 

Falling or Flying.

There was nothing particularly special about that Wednesday, other than the fact that it was the day that I would drive my Grandfather’s old powder blue Honda CR-V along curving country highways, eventually leading to a bridge, and that I’d drive over that bridge, and I’d cross that body of water, and then, once on the other side, I’d go to a business meeting, followed by a much-anticipated dinner with a dear friend. There was nothing particularly special about the minute or so that I’d spend up high, suspended over water, moving fast. After all, I’d done it dozens and dozens of times before. There was nothing special about it at all, except for the fact that it terrified me, and the night before I was due to make that drive, I couldn’t sleep, and I rose early, well before the sun came up.

Rowboat Sunset

In retrospect, the details of how I crossed that bridge don’t seem all that important. What is important is that I had to do it, and so, I did. I did it even though my palms sweat and my heart raced and my legs were wobbly and strangely on fire. I turned up the song on the radio, and I focused on the exhale and the inhale of my breath, and I thought about how Mount Rainier – standing strong and snowcapped and stunning just out my driver’s side window – felt like an old friend. And before I knew it, I was over that bridge, and I had steered Grandpa’s car from the highway on to the crush of Interstate-5, and I was relieved.

The next day, on the way to meet some friends for lunch, I followed different winding country highways to Olympia, the town where I went to high school, the town where I’d learned to drive, the town where I’d first dreamed my biggest dreams and made the plans that sent me to Los Angeles to pursue them. And this time, I felt better, almost normal, in fact, because the sun was shining and the water was sparkling and I felt happy. And I barely thought about that other time, that December, driving those exact same roads, hurtling through the darkness, Dad next to me, drifting in and out of consciousness, the wind pummeling my mother’s SUV and the rain spitting buckets, so much rain that the windshield wipers couldn’t keep up, and I gripped the steering wheel with everything I had just to keep us on the road, all the while stealing glances at my father, wondering if he was sleeping or dying, saying a silent prayer with every mile marker we passed, because every mile brought us closer to home, even though it wasn’t home any more, not since Mom died, not since Dad got sick.

I came of age driving Washington State’s rural highways, snaking over waterways and crossing bridges and winding through forests, so how could it be that the thing that raised me had now become the thing that frightened me? I suppose that’s the power of post traumatic stress, the way that it can shake you and alter your consciousness, making you feel like a stranger in your own body, making you doubt everything you thought you knew. I’m not a solider. I’ve never served in the military. But I’ve been to war. And I won; or at least I think that I have. But on some days, and in some ways, those battles still rage on.

Puget Sound

I recently told a friend that I didn’t think I’d ever feel safe again. The remark was off the cuff and meant to be a sort of joke, but in truth, I meant it. My whole life, I’ve struggled with anxiety, but I didn’t know how to name it, or how to talk about it. Instead, I tried to control it, to deny it, to tamp it down. And for a while, I was convinced that I had beaten my fears into submission. But then along came a tornado of tragedy, a violent storm of death and loss that quickly and swiftly eviscerated my carefully constructed façade that I was brave and strong and that I had it all together.

The storm taught me that nothing in life is certain, a scary prospect for a control freak like myself. But it also taught me that the only way out is through, and that if I don’t want my fears to control me, I have to surrender to them, to walk into them, and to thank them for being here, for reminding me of what’s important.

I had been staying at the beach for almost a week when something rather strange happened. I was paddling around Case Inlet, soothed by saltwater, utterly tranquil, when not far away, a curious seal popped his head above the water. He stared at me and I stared back at him, and before logic or reason could intervene, I began to swim towards him. Sensing a threat, he dove beneath the surface of the water. But I kept on swimming, and as I did, I made my voice a song and cast it out across the sea. “Hello, Mr. Seal,” I said. “Don’t worry, I won’t hurt you.” And he seemed to understand, because he popped his head above the surface again, and froze there for a minute, just looking at me.

Side View of the Cabin

This went on for several minutes, our water dance, the diving and re-emerging, both of us circling each other, watching, considering, keeping a safe distance but drawing ever closer. I wondered what he made of me, this strange fish in black and white bikini bottoms and ruby red rash guard and faded orange swim fins. And when we were quite close to each other, he dove under again, and as I treaded water, looking for him, I suddenly realized something: I was a long way from shore, and I was alone, and in the murky saltwater, clouded up as it was by sand and seaweed, I wouldn’t be able to see the seal coming, wouldn’t know where he’d emerge next, and if he decided to attack me, or bite me, or pull me under the water, I wouldn’t be able to escape.

And there it was, that fear again, pulsing through my veins like a jolt of ice water. I turned toward the shore and I swam as fast as I could, legs pumping, swim fins slicing though the bay. And several moments later I turned back and I saw my seal again, further away now, but still watching me. He cast one last curious glance my way – a sort of sad farewell – and then turned to swim off in the opposite direction. And in that moment, I knew that he had never meant to hurt me, just like I had never meant to hurt him.

I’m a realist. I know that I’ll never fully be free from the fears that plague my worried mind. On some days, I feel pretty good, like I could do just about anything. And on other days, like the Wednesday when I drove over that bridge, it was all I could do just to get through it. I used to think that soldiering on and suffering in silence was brave. It’s not. It only makes the fear worse. What is brave is being vulnerable enough to talk about the places that scare me, and to run the risk that by telling you that sometimes, when I’m driving my car on the freeway, I feel like I’m moving so fast I won’t be able to stop and I’ll fly through the windshield and hurtle into space, that you’ll think I’m crazy and irrational. And maybe you will. But then again, maybe you won’t. Maybe you’ll read this and think, “Oh my God, I thought I was the only one,” and you’ll realize – as I’m realizing – that none of us are truly ever alone in this strange and beautiful experiment we call life.

Can we ever really know if we’re falling or flying? I’m not sure. But maybe the answer to that question is simple. Maybe it’s the ones who decide to fly – in spite of their fears – that are the ones who do.

Until next time, friends.

Sarah Black and White

Blog at WordPress.com.