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Alaska Collage

“The ache for home lives in all of us, the safe place where we can go as we are and not be questioned.” -Maya Angelou

I want to go home. The problem is, I’m not sure where that is. It’s not Olympia any more, not since my parents died and we sold their house and I packed up my high school bedroom with its lavender walls and blue plastic glow in the dark stars on the ceiling. It’s not Anchorage, where I spent my first fourteen years making happy childhood memories amid snowball fights and sledding and ice skating on Chester Creek. And despite taking up residence for nearly fifteen years in Los Angeles, it’s not really L.A. either.

I’ve been thinking a lot about the concept of home lately, what it is, what it means, how I define it. Is it where we’re from, where we grew up? Is it where our family is? Is it where we feel the warmest and safest? Or is it simply where we live now?

I haven’t felt at home in a while. The last two years of my life have been an intense period during which everything familiar has been ripped away, some of it by circumstance, some of it by my own design.

I have a new home now. It’s still a handful of miles from the ocean but that doesn’t keep it from feeling like the sea. It’s bright and airy with lots of natural light, beautifully landscaped grounds and a patio large enough to do yoga on, a patio that’s begging to be populated by plants. I’ve decorated it in a way that’s very Sarah – furniture made from light-colored wood and textiles in every shade of blue imaginable: teal, turquoise, navy, cerulean, aquamarine. It’s serene and lovely here, and a sense of calm pervades. I feel grounded in this place, and yet I can’t settle in. I can’t shake the feeling that my charming little cottage is a stopgap on the way to somewhere else, some destination yet unknown or undecided.

My whole life, I’ve always gravitated toward the water. Whether it was Cook Inlet in Anchorage or Puget Sound in Olympia or the Pacific Ocean, being near a body of water – something expansive – has always made me feel secure, like I’m not stuck. As though, through a waterway, I’m connected to the rest of the world and if I need to, I can stage a quick getaway. I’m not sure where this feeling comes from, only that I’ve always had it.

PNW Collage

Given that, I suppose it’s not surprising that upon moving to L.A., I fell in love with Santa Monica. I’d go to the ocean as often as I could, taking long walks through Palisades Park, daydreaming with my headphones on. One building in particular captured my imagination immediately, a gorgeous Spanish style manse on Ocean Avenue called El Tovar by the Sea. I’d imagine that when I’d finally made it big, I would buy the penthouse suite and sweeping views of the Pacific would be the backdrop to the glamorous and exciting life that I’d lead there.

It’s funny how your dreams evolve as you get older. While I still love visiting Santa Monica – breathing in the sea air, taking long walks in the park – I don’t want to live there anymore. Not even if someone handed me that penthouse suite on a silver platter. It’s not that I no longer daydream, but the hard won wisdom that’s come with age and the certainty that nothing is guaranteed has caused my dreams to shift and become less pie in the sky, more grounded in the real and the familiar. There’s something about El Tovar by the Sea, about Santa Monica, about Los Angeles in general that has become too sterile, too perfect, too high atop a pedestal, too held at a distance.

These days when I meditate on the idea of home, I think about where I fit in, where I’m allowed to be myself, where people ‘get’ me. I think about what’s most important: the best place to pursue career success, or the place with the greatest opportunities to grab happiness? And is it possible that those two things can intersect, that they can coexist in one space?

I used to think that there was only one path, only one place, for me. I used to be pretty dogmatic about it. But now I wonder if that’s true. Maybe in the words of Joseph Campbell, it’s time to let go of the life I’ve planned in order to have the one that’s waiting for me. Maybe I can have everything I want, but maybe the road to get there is different than I thought. Maybe it’s simpler, easier, more connected to my past. Maybe, like Dorothy, happiness has always been in my own backyard.

If home is where the heart is, then tomorrow I’m heading home. I’m spending ten days in the Pacific Northwest, dividing time between a waterfront parcel of land on Grapeview Loop Road in Allyn, WA – known affectionately as ‘the beach’ – and Vancouver, B.C. The former is as idyllic as its name implies. It’s the place I came of age, spending every summer swimming in Case Inlet, beachcombing and building bonfires under the stars. The latter is where my big sister lives with her family, and it’s the place that has consistently been my favorite destination for fun and laughter, a picturesque urban center with an international flavor that never ceases to inspire me. The bridge between these two places is Seattle, the city where I was born, the city where my Mom spent many happy days and that she loved so much, the city that I spent many happy days in with her, the city that always makes me feel so connected to her. On my way from point A to point B, I’ll swing through the Emerald City for a quick stay over, just to say hello. It would be impossible not to.

There’s this song I recently discovered – ‘Coming Home,’ by Storyman, an indie band from Ireland. One of the lyrics is stuck in my brain, perpetually on repeat: ‘home is where your heart meets mine.’ It’s simple, and it rings true. But which home? And whose heart?

I haven’t quite figured that out yet. And so, I’ll keep looking.

Until next time, friends.

LA Collage

U2.

You’re on the road

But you’ve got no destination

You’re in the mud

In the maze of her imagination

You love this town

Even if that doesn’t ring true

You’ve been all over

And it’s been all over you

It’s a beautiful day

Don’t let it get away

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As an ‘80s baby who came of age in the 90’s, I’ve never known life without the music of U2. And I’m OK with that. A lifelong fan of the band – especially their magnetic front man, Bono – their songs are forever entwined with countless formative moments in my life. Whether it was the history teacher that used Sunday, Bloody Sunday to teach us about ‘the troubles,’ in Northern Ireland, the awkwardly sweet high school slow dance to With or Without You, the hostel café in Berlin where strangers from different parts of the world became friends while singing an acoustic version of Running to Stand Still, or driving around the neighborhoods of USC in my friend Ryan’s Volkswagen Jetta, belting the lyrics to Beautiful Day out of the car windows – just because we could – their songs are forever linked to my happy and hopeful past.

And while I’ve been to numerous U2 concerts over the years – each one its own spellbinding– almost spiritual – experience, there is one U2-related event in my life that has eclipsed all the others. It was the time I worked at the Grammy Awards and met Bono – if only for a nanosecond – backstage.

During my sophomore year of college, I interned for an entertainment PR firm in Beverly Hills that shared an office building with the event company in charge of producing the Grammy Awards. The Grammy producer became friendly with my boss, and asked if any of her interns wanted to work the awards ceremony, their main job being to escort the talent through the various backstage pressrooms. Umm, yes. Yes, I did.

This was 2001 – the year that U2 was nominated for a whole slew of awards for their album All That You Can’t Leave Behind, and in particular, their single Beautiful Day. I knew there would be a ton of security around the band, I knew they’d be hard to get to, but I also knew that this was my chance. I was going to meet them, or at least, Bono, if it was the last thing I did.

The week of the Grammys came. At a volunteer orientation, I let the powers that be know what a huge fan I was. Unfortunately, a high profile band like U2 already had ‘people’ to take them through the pressrooms. But, U2 would be doing a sound check at Staples Center the day before the awards ceremony. Would I like to attend that? Oh.My.God. YES.

I’ll never forget walking into that stripped down, empty arena, press pass swinging around my neck, my roommate Kate in tow, both of our eyes wide as saucers as Bono, short in stature but big as life, took the stage and started cracking jokes with the band and the crew. No big deal, just business as usual. The band played Beautiful Day a couple times to make sure everything sounded alright. It did. I could have died right then, one of only a handful of people witnessing a private U2 concert. All in all – it probably only lasted about twenty minutes. But it. Was. Magic.

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The actual Grammy ceremony and the nanosecond in which I met Bono, wished him congratulations and shook his hand when the band came backstage after winning the Record of the Year award for Beautiful Day was so impactful that I wrote a performance piece about it. It was a ten-minute monologue that I performed as part of a solo performance workshop during my senior year at USC. I called the piece Moxie, in which I recounted the night of the Grammy Awards through two dueling characters: Sarah (me) and Moxie, my braver, bolder, sassier alter ego who, rather than stammering like some idiot groupie, would have ever so coolly finagled an invite to the after party, hung out with the band, and become Bono’s bestie for life.

Thirteen years after that magical Grammy week, I still battle with the duality that I wrote about in Moxie. There’s the person that I show the world, and there’s the person that I know that I am, deep down inside. Though the disconnect between the two is shrinking as I get older and more confident, my ongoing struggle continues to be to challenge myself to be braver, to take more risks, and to live life on a larger scale. Essentially, to be more like Moxie.

Tomorrow – May 10th – is Bono’s 54th birthday (and perhaps coincidentally – or not – it is also the birthday of my friend and sound check buddy, Kate). So, in tribute to one of my musical idols and to a band that I’ve loved my whole life, I want to publicly say thank you. Thank you for the music. Thank you for providing the soundtrack that has helped shaped my life. Thank you for reminding me that even if I Still Haven’t Found What I’m Looking For, that’s OK. And thank you for the following lyric from that award-winning song; a song that’s all about keeping the faith in the face of despair, that no matter how bad things may seem, we are blessed with so much beauty all around us. A song that whenever I’m feeling a bit down, I return to:

See the world in green and blue


See China right in front of you


See the canyons broken by cloud


See the tuna fleets clearing the sea out

See the Bedouin fires at night


See the oil fields at first light


And see the bird with a leaf in her mouth


After the flood all the colors came out


It was a beautiful day


Don’t let it get away


Beautiful day

Touch me


Take me to that other place


Reach me


I know I’m not a hopeless case

What you don’t have you don’t need it now


What you don’t know you can feel it somehow


What you don’t have you don’t need it now



It was a beautiful day

Until next time, friends.

u211

The price.

For the last several months I’ve been meditating on a big idea. A vast, multi-faceted idea. An idea that can be approached from different sides and attacked from numerous angles. An idea that for me, as an artist and as a creative being, is on par with questions like ‘What is the meaning of life?’ ‘What’s my higher purpose?’ and ‘Why are we all here?’

I don’t think I can tackle the question weighing on my mind in one post. It’s too big. It will probably become a recurring theme in my work (echoes of it appear in my blog, Broken), or in a series of posts. I’m not sure yet.

But, to begin. What I’ve been puzzling over is this: in order to create great art, is suffering a necessary, and in fact, inevitable, part of the process?

Our history is rife with visionary creators who harbored broken souls. Tennessee Williams, Vincent Van Gogh, Sylvia Plath. More recently, Heath Ledger, Phillip Seymour Hoffman. The talented and tortured musicians who are members of that infamous 27 club: Jimi, Janis, Jim, Kurt, Amy.

There’s no doubt that among the gifted and the sensitive, there’s a proclivity toward addiction and self-destruction. But why? Don’t mistake me; I’m not suggesting that in order to be a great artist (or even a mediocre one), alcoholism, drug abuse, depression, even suicidal tendencies, are a prerequisite. If anything, this toxic and destructive behavior produces inertia that stands in the way of the creative process. But the idea that I keep coming back to is this: as artists, we suffer more than the rest of people. We feel things more exquisitely. In order to be visionary, we must be honest to the point that it’s painful. We must be willing to expose our most private, secret parts, our deepest vulnerabilities, and the darkest parts of our hearts. We must walk into the full range of human emotions open and unguarded.   And for that, we pay a hefty price.

I have a uniquely personal experience with the idea that the act of creation produces suffering, and it’s the reason I’ve been meditating on it at such great length. Over the last year and a half, I’ve lost three of the most important people in my life in dramatic fashion. And I lost not only their physical presence, but also something much deeper and more profound. Through their deaths, I’ve been faced with hard truths about my family that I didn’t want to know. Truths that have shaken and shattered my foundation and left me questioning everything I thought I knew: my childhood, my relationships, my history, and my very identity.

But here’s the gift. When I finally, recently, landed at zero, I became more creative. My writing got better. Ideas started clicking, and synapses started firing in a way they never had before. I found myself suddenly harnessing an authority that I’d never owned before; an authority that I’m not only compelled to share with others, but an authority that I have to share in order to survive. I know this like I know the color of my eyes or the place that I was born.

All human beings suffer. It’s inevitable. We make terrible, tragic mistakes. We experience great pain. We love deeply and we lose profoundly. Most people don’t walk into these emotions willingly. They avoid them because they’re painful, and only experience them as the inevitable by-product of being alive. But as artists, we wade into the most intense human experiences willfully, and with abandon. We welcome the pain, the joy, the agony and the ecstasy. We say bring it on. We want to feel everything. But sometimes we feel too much. Enter booze, drugs, sex, crazy, destructive behavior, in order to numb the pain. And that’s when we get into trouble.

Speaking from personal experience, it’s incredibly difficult to put my heart on the line and my grief on display in such a vulnerable way without becoming a little fucked up and unhealthy about it in the process. The intense feelings I’ve been wading into and moving through have made me feel closer to Tennessee and to Sylvia and to Vincent and to Kurt. I understand them better. My gift and my curse is that the hole in my heart is only filled through sharing my very personal story with the world. And yet to sit in those feelings without letting them swallow me whole is the great challenge that I’m still trying to sort out. The powerful conundrum that we face as artists is that our very lives depend on telling our stories – honestly, openly, nakedly, no holds barred – and yet the act of doing so is so dangerous to our psyches that it threatens our survival. It is the ultimate Catch 22, the tightrope we must all walk.

And so, my fellow poets, beautiful dreamers, dear friends, brave and broken souls, I invite you to join me in meditation on this question: how do we do what we must do, what we were born and put on this earth to do, without allowing it to destroy us?

It’s an open dialogue, if you’d like to have it.

Until next time, friends.

Familiar.

It’s funny the little habits that you get used to.  The everyday comforts that make up your daily routine; things you don’t really notice until they’re gone.  The gym is one of those comforts for me.  I’m a person who never stops going – I’m always working, juggling projects, tackling a to-do list that continually rolls over – and exercise is a crucial tool I use to not only stay healthy and feel good about myself, but also to manage stress and to release the tensions that build up in the course of my busy life.

The other day I found myself working out in an unfamiliar gym.  It was weird.  All of the equipment was different and suddenly I didn’t know which settings to put the machines on or how much weight to lift.  I wasted a lot of time trying to figure out what I was doing, all the while trying to look like I knew what I was doing so that some testosterone-fueled meathead didn’t offer to help me.  Ugh.

Wandering around this unfamiliar place, a song I always skip on my iPod (because it’s too damn sad) came on, and suddenly it was a year ago and I was back in Olympia.  After our Dad died, my sister Deirdre and I spent a week camped out in the house he shared with my Mom.  We sorted through old books and music and photos.  We did everything from ordering flowers to placing obituaries in newspapers to picking out gravestones to meeting the lawyer, to booking travel to Medford, Oregon for the memorial, to figuring out how we were going to transport Dad’s ashes to said memorial (that is a story in and of itself), and about a million other little things.  I spent a couple days essentially living in my Mom’s closet, going through piles of clothes and jewelry and beauty products, and her epic collection of Stephanie Johnson bags that I’d given her over the last eight years.

We worked hard and it was sad but it also felt good to work, to do stuff.  We’d collapse each night and wake up with the sun each morning, the to-do list never ending.  We’d talk over coffee first thing in the morning and review the day and write absolutely everything down because our brains were so frazzled with overwhelm from impossibly hard jobs and the utter emotional exhaustion of sorting through a house filled with a lifetime of memories.

After several days of this, I hit a breaking point.  The never-ending freezing February Olympia rain made the thought of running outside unappealing, but I knew I had to exercise or I was going to lose my mind.  So I told Deirdre I was taking a break from the vortex (our term for this weird, disorienting time in our lives and the Olympia house in particular; time disappeared inside the vortex) and getting a guest pass to the local 24 Hour Fitness.

And there I was.  In a gym full of unfamiliar equipment, unfamiliar faces.  My Dad had a membership there and saw a trainer 2-3 times a week until very close to the end of his life.  Dad’s trainer’s name was Dave, an exceptionally wonderful soul who, when he found out that none of Dad’s kids were able to get to Olympia for Thanksgiving, delivered a turkey to his home so that he wouldn’t miss out on his Thanksgiving meal.

I wandered around the gym, wondering what type of exercise Dad could possibly do when he was so sick, wondered at Dave’s patience, wondered if I should ask for him so that I could meet this man who’d been so kind to my father, but also knew if I met him I’d break down instantly and I couldn’t do that because I was barely, barely holding it together.

I wandered around the gym like a zombie, tried and failed at a few machines.  I finally settled on a treadmill because that I knew how to do.  And I ran and ran and ran.  And that song that I always skip came on my iPod, with lyrics about trying your best and not succeeding, about losing something you can’t replace, about learning from mistakes (fuck you, Coldplay) and this time I decided to let it play.  I can only imagine what I must have looked like.  Between the endorphin release of the run, and that stupid song and fighting so hard against the vortex that was sucking me in. Scanning the gym in this unfamiliar place, looking for my missing father (did I somehow think he’d still be there, that I’d find him?), in a town that used to be my home but was so far away from home now.

I don’t know how long I ran.  I was exhausted, I was weeping, I was drenched in sweat, but I couldn’t stop.  I knew that back in the vortex more sad jobs were waiting and I didn’t want any part of them.

There’s a lyric from a new Ingrid Michaelson song that as of late has been running through my head:  I’m a little bit home, but I’m not there yet.  That’s how I felt in the vortex.  That’s how I felt in that 24 Hour Fitness in Olympia.  And that’s how I felt in the unfamiliar gym the other day.  I’m a little bit home, but I’m not there yet.

So I guess I’ll keep running.

Until next time, friends.

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