On Slowing Down and Growing Up

There used to be an infinity of time between June and August. Now the days are short and cramped–even more cramped than last summer, with 40-hr work weeks and only one day off every other week or so. My heart has been equal parts happy, cranky, tired, and content these last few months. I’m thankful for one last summer at home with my family, but I’m tired of the constant working and saving and feeling not-so-slightly lonely. I wonder if, perhaps, I haven’t let myself slow down at all this summer because I don’t want to be reminded of how much my life here in Virginia has changed. My closest high school friends have all either gotten married or moved away. Half of the artwork is gone from my bedroom walls and stored in a garage in Illinois. My sister and cousins also work most days, and we rarely can coordinate days off anymore. My boyfriend fluctuates being between 800 and 1,100 miles away.  In a lot of ways, I expected to come home and find nothing had changed when, in reality, home had changed right along with me this past year.

My dad likes to analogize feeling comfortable in a place with the way he feels in our house late at night. When we first moved into our house twelve years ago, it was difficult to get a cup of water from the kitchen in the dark. Without knowing our way around, we’d bump into things in a klutzy effort to maneuver an un-memorized mental map.

I think our minds have maps like that too. I have a map of my life in my Virginia etched in stone into my memory. And this summer, I’ve felt very disoriented finding my way through it. In the beginning of July, I made a one-week trip back to my school campus and felt the remaining lines of that map shatter. The moment I walked back into the places where I started re-learning who I am, it became almost impossible to re-find who I was. I felt very torn-up. And shreds of the paper me were still in Virginia, glued together to prove that I have a life there. Paths and memories and moments and plans. But other shreds had been left in Illinois and I found them scattered around the theater, lying in the grass, swept under the stairs. They were the pieces of me that had held together through hard things and yet were left unpacked at the end of the school year because there was no room for them back home.

These last two days, I’ve been cranky beyond reason. I think a part of that has to do with a need to NOT reconcile things. The need to convince myself that “This is a Phase” and “Things Will Go Back to Normal Soon” and “Just Wait it Out and See.” I want to keep believing that things haven’t changed and that the photos on my wall of eighteen-year-old me with thick brown glasses and chartreuse pants could have still been taken just yesterday.

But I know I’ll be twenty-one at the end of this summer. That’s a very, very adult age. I’ll be a very, very non-child person. I’ll never be eighteen again, or nineteen, or twenty and I’ll have to keep accumulating the new changes of each of those years as they pile on top of each other.

There are so many beautiful new lines etched into the map of home for me. There’s home in the arms of the truly wonderful man that I’m more in love with than I could have ever imagined. There’s home in the community of creative and raw people who have embraced me in the face of all of my bald spots. And there’s still home in the sometimes-comfy, sometimes-tense interactions within my own family, and the way they will always tell me Good Night and Good Morning and I Love You day in and day out.

Yes, the map still exists, it’s just changed. It’s just so, so changed. And I’m starting to realize that there is no time to re-learn or re-memorize. Because the moment I adjust, it changes again. And it’s awkward and uncomfortable that way, but it’s also wild.



On Aesthetic

One thing that’s obviously on my mind a lot, as a community art and theater major, is art. More specifically, why do I like art? What kind of art do I like? Why is that important to me?

I’m a writer, and have been for as long as I can remember. To me, writing is a type of art that uses words to paint stories and pictures in our minds. I believe that words hold the power to create worlds and change worlds. And, in that way, writing is a form of art.

However, if my classes, discussions, solo field trips, and journal entries have taught me anything, it’s this: There are no words I could possibly share that would touch the soul in the exact same way that art does. And that’s not because words don’t also have the power to be beautiful, hopeful, ugly, shocking, or vivid. It’s merely because there is a part of our brain that is stimulated by visual sight, and taking in words can’t tickle that section of the brain in quite the same way a painting, sculpture, or piece of theater does.

But if we accept that there are certain types of art that must remain visual, in order to stimulate that section of our brain and touch us in ways that novels and theses never can, we must also accept that different types of visual art stimulate and affect us in different ways. And therein lies the question: What kind of art is good art?

My experience, especially among Christian circles, has been the view that art must reflect the beauty and glory of God and His created world. Christians are very quick to praise the work of Impressionists, Hudson River School painters, and the always docile Kinkade. We love these painters because they created worlds of unrivaled beauty and wonder. Who doesn’t see the hand of God in the mist of a stunning waterfall, the curve of a ballerina’s foot, or the parasols on the French Riviera? I’ll be the first to admit that I love to stand and look at Impressionist paintings up close. I’ve seen the works of Monet and Degas face to face, and I’ve waited in line for hours to catch a glimpse at the portraits and sunflowers of Van Gogh. There is so much beautiful art to be seen and appreciated, and I really do want to take in all of it.

But even if we did soak in all the “pretty art” of the world–trek to every foreign country and private gallery salon to see it–we still have to stop and ask ourselves if perhaps we have only witnessed half of what art, and human existence, reveals itself to actually be.

The problem is this: We view art as being purely aesthetic. We have our tastes, preferences, and favorites. Who doesn’t? When we are conditioned to view art as something pretty, meant for our enjoyment and culture, why would we not turn a blind eye to the pieces we don’t understand or like?

I don’t think this reality in any way indicates that Christians are blind to the needs of the world or indifferent to the suffering of others. On the contrary, it has been my experience that many Christians are the first to react to the injustice found around them. But why does the Christian’s acceptance that the world is broken and hurting stop short when it comes face to face with art? Why do we insist that art must “be pretty” and “reflect Jesus’ light” and “remind us of pleasant things”, when there is so much ugliness and darkness and unpleasantness around us?

In my opinion, this comes down to a mistaken understanding of what art is. In the Christian world, art has generally been placed into one of two categories: frivolity or history. We can admire art for the way it has changed over time and the different beautiful works artists have created through the years, but it retains its museum status even in the 21st Century, because we are unwilling to accept the fact that imperfect, honest art is creeping up all around us.

The Bible doesn’t have much to say about visual art. Ancient Israelites are warned about the worship of carved images, but the emphasis on visual creatures seems only unacceptable in a worship context. However, if we think back on the conclusions I made in the beginning of this post about how writing can be a form of art, then the Scriptures come alive with poetry, song, and meditations–not even half of which are “pretty”.

In the Book of Psalms, David and other poets pour out their hearts to God with visual images calling to mind drought, famine, war, death, and solitude. They express the full nakedness of their souls’ conditions, and plead for drops of living water. In Psalm 22, David cries out, “My God, my God, why have you forsaken me? Why are you so far from saving me, so far from my cries of anguish?” Sound familiar? That’s because Christ quoted those very words as He died, stretched out on a cross and completely abandoned by His heavenly Father and many of His earthly friends.

Now take a look at this painting by a Jewish painter named Marc Chagall. And let me warn you–it’s not pretty.

Chagall painted this portrait of Christ’s crucifixion in 1938–in spite of the fact that he wasn’t a Christian. But as a Russian-French artist who visited Europe during the pre-World War II killings of Jews in his native country, Chagall was struck to the soul, just like David, and could not understand why God–and Christians–were forsaking him. In this painting, Christ is crucified again as His people are killed, burned, and scattered across Europe during the mid-20th Century.

Another painting that I think should be viewed and talked about by every Christian who cares about art is “Die” by Faith Ringgold, painted in 1967.

Believe it or not, this painting is just one of many in a series Faith (an African-American artist also working in the mid-20th Century) entitled “The American People”.  This painting highlights the violence and brutality of the Civil Rights era, as both black and white Americans battled with each other and our nation was split and hurting. The power of this image is that not only does this reflect one African-American woman’s perspective on what was happening to the people around her, but it also gives 21st Century Americans (and Christians) a slap in the face as we recognize how little has changed in almost fifty years.

I’ve only shown two pieces of art today and believe me, I could show twenty or thirty more. But my goal in writing this is to remind Christians that yes, some art is meant to be beautiful. I hope that we can always find joy and peace in the sunflowers of Van Gogh and the waterlilies of Monet. But there is more art out there that could really change us if we allowed ourselves to experience and think about it. How are we, like the Christians in the 1930′s and 40′s, ignorant to the pain and suffering of minority groups all over our world? How are we, just like the Christians in the 1960′s, blind to the injustices of racism in America today? How can this art be used, not as enjoyment, but as prophecy?

The writers of the Psalms used art as a way of expressing the beauty, pain, suffering, joy, and glory they saw in the world around them. And I don’t think our art is a full reflection of God and His created earth until we use our art in all the same ways.


Eye Candy & Soul Food

Stills from Terrence Malick’s Badlands

e.e. cummings

Matisse’s sketchbook

Dallas Clayton’s perspective on love

Sunshine on a rainy day

Rachel Castle’s life manifesto

This article, perfect for all the people out there who like all types of music, and whose sense of humor is so random


The perfect dress for cocktail-drinking and red carpet-attending (or maybe just a summer BBQ)

This daily reminder

A treasure of a book you simply must read

This technicolor reminder from one of my very favorite movies that some nights are just wonder-worthy

It’s a Grand Night for Singing – State Fair

A bedtime reminder and goodnight


Dream Factory Workshop – Summer 2016

Oops, I did it again. Or I’m going to do it again, at least. Today, I’m beyond excited to announce the details for the next Dream Factory Workshop, hosted once again at my house this August 5-7.

You saw the pictures and read the stories from my first workshop in October 2014 and I’m praying that this next group of young women create bonds that are as raw and deep as the souls that met in the fall.

What I’m offering is simple. Three days living heartbeat to heartbeat with like-minded dreamers, creators, and life-squeezers. We’ll ball up in sleeping bags on late nights with cheeks that strain from smiling and notebooks full of our pounding thoughts. We’ll gather around the table for home-cooked meals and pile in the car to go exploring. Our cameras won’t stay in their cases and our words won’t be bottled up inside. Together we’ll learn to see and think and create in new and amazing ways.

This is a workshop for storytellers. It’s not for the weak of heart or the fearful. It’s for the shy girls who journal by flashlight late at night and the center-of-attention girls who can’t stop talking. It’s for the thinkers and the feelers and those who are a little of both. It’s for those who like eyes that burn from beauty and hearts that throb with passion. It’s a weekend for deep connections and awkward getting-to-know-you’s and tearful goodbyes. For sharing. For growing. For pouring out.

This time around, I have some different surprises in store for this next batch of dreamers…

This summer, we’ll drive to the beach and order ice cream cones and sit in the sand with our sunhats while we swap stories from our childhood. We’ll tear pages out of magazines and make collages with pictures and words and thoughts that are important to us. We’ll wander through an art museum and take notes on what we feel and how we ache and laugh and make faces in amusement over the confusing pieces of modern art. If the weather is nice, we’ll pack a picnic dinner and watch the sunset over the city skyline. We’ll make strawberry shortcake and lick whipped cream off our fingertips and eat cake together. And every evening we’ll gather together and talk and share and learn how to better tell these stories.

And I really think you should join us.

Come and write. Come and see. Come and laugh and rest and explore. You have a voice, so let’s learn to use it. Come share in my life and let me share in yours. Let’s live and tell these stories together.

DATES: August 5-7, 2016 (guests can arrive on Thursday afternoon, if necessary, but food will not be provided until Friday)

WHERE: My home, in central Virginia

FOR: Creative young women, ages 15-25 (writers, photographers, + girls who just want to develop their creative talents)

COST: Three full days – $400 (Price includes lodging, three meals a day, activities + other fun stuff—you are responsible for your own travel expenses and souvenirs)

YOU NEED: A brain. A laptop. A notebook. A camera (doesn’t have to be an SLR).

To sign up, send me a brief email at rachelcokerwrites(at)hotmail(dot)com to receive an application. A $400 deposit will be due at the time of your application, which will be non-refundable after July 1st. Please don’t apply unless you know that you are physically and financially able to make it that weekend. I wouldn’t want to turn someone else down only to have you bow out because of finances or inability to get here. Thanks!


“It was retreat. A getaway, where I was able to commune and spend time with other girls like me. A place where I wasn’t the only one snapping pictures of everything visible. A time where I could share my writing, and grow in my skill. A place where I could learn from others, and be built up by their encouragement. The fellowship was beautiful. The writing brought tears. The activities were flawless. The friendships made were unforgettable. The inside jokes still remain funny. The food was amazing. And the overall experience was one I wouldn’t give up for the world.” – Abbey

“The Dream Factory Workshop was exactly what it said: a dream. Through lectures, sharing time, adventurous outings, and brand new best friends, I’ve been able to learn not only about HOW to tell stories, but I’ve also had the opportunities to actually TELL the stories.” – Samantha

“Since your workshop I have such a different perspective. I see things and want to take their picture. I see someone laugh and I think of beauty and how I would want to capture that. I have found stories in other people. I’m looking for them. It’s really amazing.” – Abby

Thursday Lists

Songs on Repeat

Call Your Girlfriend – Robyn

Stay – Jackson Browne

Crazy For You – Madonnna

Bel Air- Lana del Rey

Cake by the Ocean – DNCE (Guilty pleasure, okay? Also, contains language)


Items on My Ebay Wishist

Colorful patchwork quilt from the 60′s

Vintage blue enamel articulated fish earrings

Anthropologie floral rug

J. Crew polka dot swimsuit

Breathless by Godard dvd

Embroidered Iranian blouse


Last Text Message I Sent

To Tim: “Maybe if I get a lunch break, I’ll come over and eat with you.”

To my mom: “I have your Mother’s Day gift here so I need to remember to pack it and bring it home!”

To Hannah: “Wowww….”

To my friend Sarah: “Lying in bed and I just realized we never added egg to the cookie batter.”

To my friend Liv: “What do you think of this rug?”


Food I Can’t Wait to Eat at Home

Potato salad

Corn on the cob

Scrambled eggs with bacon bits

Blue corn tortilla chips


Things I Still Want to Do Before Summer Break

See the Van Gogh Bedrooms exhibit at the Art Institute

Go to the Harold Washington Library

Hit up Salvation Army one last time

See the Kerry James Marshall exhibit at the MCA


Recent Movies Watched

The Land Before Time (I used to have this on VHS)

The Big Lebowski (four stars)

Raising Arizona (three stars)

Breathless (four stars)

Cheatin’ (four stars)

The Sparrow

If any of you follow me on Instagram, you know that the last two months of my life have been almost solely dedicated to being in my theater’s production of The Sparrow. And you probably know that, as of last night, it’s officially over.

Well, we did it. We made a show. And I feel amazing and wrung-out and weepy and tired and magical. The curtain closed last night and I just sobbed. Heartbroken, ugly tears, lost-someone-I’ll-never-see-again kind of sobbed.

I think I can honestly say that this was my first ever show. The last time I acted on stage I was in fifth grade and it was a church theater production of the story of Esther. Acting for me then meant memorizing my lines and being loud. But these last few weeks have been hard work—possibly some of the hardest I’ve ever done. I’ve been in rehearsals for up to twenty-five hours a week, straining my imagination and voice and body. As an actor, I’ve been asked to do nearly impossible things and I’ve somehow simultaneously failed and succeeded. I’ve stepped into the story of someone else and shared it imperfectly. But even in all its faults, it was a sharing only I could do.

Creating this play has taught me something rich about the role of advocacy. Now that the play is over, I can start writing down the spoilers I wanted to keep from everyone else. Now everyone who is ever going to see it knows that Emily Book killed a busload of second graders and a still very young woman. I’ve stood condemned countless nights in a row, facing and refacing the judgement that falls upon Emily’s shoulders. I’ve experienced what it feels like to be accused—to stand emptyhanded under the weight of some tremendous last mistake. I still don’t know that I can fully imagine what it means to be Emily in that moment, but I’ve certainly stood in her shoes. Playing a girl with blood on her hands has taught me compassion. I’ve learned to release my own judgement. I’ve seen the fraility and fear and courage in Emily, and I’ve stood in those moments too. Night after night, for weeks now, I’ve stood on the stage and begged on her behalf. And if that hasn’t taught me about what it means to advocate for another person, I don’t know what ever will.

It’s an amazing and tender thought to know that every night, when the lights came up, I knew I was going to be spending the next two hours in a world of compassion, with fellow actors and audience members who cared about this story and worked to tell and understand it. The friends I worked with became colleagues as I witnessed them stretch and use their bodies to further this message of loss and grace. I remember one night at the talkback hearing my fellow actors share, one by one, what it meant for them to play these high schoolers and their parents, and what they learned about grace, community, loss, and self-reflection in the process.

I think the message of The Sparrow was deeply rooted in a sense of community. At the end of the play, when all is revealed and more lives are hurt by the truth of Emily’s past, there is no real avenue for forgiveness. There is only grace—a float defined by the simple act of seeing and moving with each other. Last night, as I stood behind the stage and watched my dear friends float together, I started to weep at what this process meant for us. Through these roles and through this work, we have learned to really see each other. It’s easy to think of theater as simply make-believe—a giant act of pretend. But I think we are sometimes made more honest through our character work. I learned things about myself through being Emily that I don’t know I ever would have discovered otherwise. And in the same way, I was able to really see and acknowlege the work of the others around me. We breathed together. For five weeks, in one black box, we created a world out of practically nothing and inhabited it side by side. We experienced laughter, great loss, and a breathtaking amount of magic.

One of the things I’ve written about before but still never ceases to amaze me is the ephemeral quality of theater. One of the reasons we love to study artists and writers is because we are overwhelmed by the legacies they leave behind—a lifetime’s worth of paintings, sculptures, poems, and thoughts. Theater doesn’t work that way. It is conceived, slaved over, brought together, worked through, put on, lasted, and then over. There is no physical object I could look at, touch, or read to bring me back to the exact moments of this production. This morning, if I walked over to the theater now, I would find only an empty black box again. Because that’s what theater does. It disappears.

The ephemeral quality of theater means that it is something that only lives on in our memories of each other. The photographs can’t bring it back. The recordings—if there are any—can’t help us to relive it. We are living conduits of theater in the way we carry our memories of each other. I may not ever be Emily again. But someone will remember me that way. Someone will remember the time I froze dodgeballs. The time I cried. The time I ran. The time I flew.

I’m thankful I have these new memories of my friends as colleagues. It changes the way I look at them, I know. I see them for who they are, but I also see them for who they were. We have this new shared experience—something we created and fought for together.

The world will go on and new plays will be born and live out their lives and then come to an end and be laid to rest. But we’ll keep catching new glimpses of each other, slowing filling out the images in our minds with moments of magic, wonder, beauty, and loss. We’re colored by these experiences, and, in that way, they’re never really over.


(Photos c/o Paul Vermeesch)

A Love Letter to Chicago

Dear Chicago,

Everyone called you the “Second City”. And, for a while, I believed them. I’d been to New York before. I wasn’t exactly a spring chicken, coming in with country girl eyes and ready to fall in love with every little part of you. Or maybe I was. Either way, I’m completely and utterly an admirer of you now, with all of your quirks and grittiness.

Thank you for being a city of artists. New York is beautiful, with all of its flashing lights and noise. But there’s something about Chicago that grips me. It shakes me by the shoulders and shouts “Look. At. This.” and “This. Is. Important.” Your art isn’t always meant to be beautiful. It’s not always meant to be awed over and breathed through and enjoyed. But I’ve always found it to be moving. I’ve cried in the back rows of theaters, in the corners of small galleries and once, by surprise, on the street. There’s something to catch every time you turn your head and, unlike New York, space is allowed to notice it.

Thank you for being a city of enthusiasm. I remember walking through Millennium Park in mid-October, when the Cubs still had a chance at the World Series, and seeing banners strewn from the upper windows of skyscrapers. Everyone was talking, cheering, laughing, hoping. On the metra, strangers taught me about the history of baseball and shared with me stories about seeing games as a child. I never felt so close to the mobs of faces around me, glints of their excitement bouncing off of them and onto me.

And thank you for being a city of imperfection. You’ve given me biting wind and frozen toes. You’ve opened my eyes to the hurt in the world, to the gangs and homeless shelters and gunshots only a few miles from my home. You’re a city of wonder and art and history, and also of violence and pain and oppression. Thank you for never trying to cover up your scars. I’m glad it pops up on my news feed every time a teenager on the south side dies in a drive by shooting. I’m thankful you don’t leave me sheltered, happy to believe that twenty-first century America means wealth and health and kindness. The aching in your city reminds me of what we’re all slowly moving toward, and the tears I’ve seen shed give me a different kind of longing for the day they’ll all be wiped away.

Living less than an hour away from such a powerful city for the past eight months has been a dizzying, wonderful, tremendous opportunity. I wouldn’t trade my current little spot in the universe for anything in the world, and even as this semester draws to a close I look forward to returning in a few months and spending more time in my favorite smog-filled haven.


I know I haven’t been living in Chicago nearly long enough to give advice on where to go and what to do when you’re visiting, but here are a few spots that have become familiar and good to me this year. I know I’ll be back to each of them!

The Chagall “Four Seasons” mosaic on S. Dearborn St.

The historic Lookingglass Theatre

The Museum of Contemporary Art

The Italian Village

The Gene Siskel Film Center

The 20th Century floor of the Art Institute

Lou Mitchell’s

Music Box movie theater

The Lincoln Park Zoo

And that’s all for now!



This past week, I went on a day trip to Washington DC with Tim and two of his best friends. I’ve been to DC countless times before, since I only live a couple hours away, but this time I wanted to visit the new exhibit Wonder at the Renwick Gallery before it disappears this May. The exhibit featured installations from contemporary American artists, meant to inspire awe in the imaginations of its viewers.

One of the questions the exhibit poses is this: What makes you wonder?

Something that my acting professor often brings up is that there are several different ways that we see the world. Sometimes when we sit and think we are lost in an internal world-of the thoughts and dreams and concerns that only apply to us. We look at one thing but think about another. Everything is seen through the glass of our present state of mind and what’s going on inside of us. Other times, we sit and think about the room around us–the people and objects that make up our everyday lives and worlds. The things that concern us most are the things that directly impact us. But sometimes, we see the world outside of ourselves. We  recognize that there are countries and continents and planets and stars full of color and movement and life that exist outside of the space we take up. We get a sense of “the big picture” of the world and, for a moment, we consider it.

While in the Wonder exhibit, I entered the room designed by Janet Echelman and laid on the floor, surrounded by fellow humans. On the ceiling was a large, suspended sculpture that hung over us like a filmy net of color. As we were lying there, the lights illuminating the instillation changed colors, shifting the room between pink, orange, red, and purple. It felt like resting under our own version of the northern lights–an ever-changing heaven encapsulated in a tiny room.

It was one of those moments when I felt that third type of vision. Even though I was in a single room in a somewhat small museum half a block from the Whitehouse, I felt wonder. My imagination was stirred. The universe felt open to me with all its possibilities.

It was just a small moment in a busy day, but I hope it’s something my brain will continue to feed on for the weeks to come.



The other day I did this exercise where, for an hour, I pretended to fly. It was a room full of people actually–people lifting up onto their toes and holding their breaths and widening their eyes. None of us left the floor or anything. But I felt it all the same: A room of people flying.

One thing my acting professor stresses to us a lot is that by the time we become adults we have forgotten how to play. You don’t see too many grownups riding down grocery store aisles with their feet up on the carts. People don’t run around the city like superheroes in borrowed capes on their lunch breaks. Forts built out of blankets and pillows don’t seem quite as realistic when you’re over the age of ten and the ground is a whole lot further away than it once was. And I guess all this is chalked up to simply forgetting how to play.

I was a pretty imaginative kid. I wasn’t super popular and I didn’t have a ton of friends. But the friends I did have stuck around because I was actually somewhat fun. And it had nothing to do with my softball skills or my dance moves or my Barbie collection. I was imaginative. When I was six or seven, I made a Civil War hideout in the yellow forsythia bushes in our back yard. I would gather leaves and rocks and dirt and make them into soup for my stowaways (namely, my sister and next door neighbors). When I was eight Hannah and I would hold horseback races inside the house, running the loop of the layout on brooms and having my dad decide the winner. At around nine or ten I convinced our neighbors there was an ogre living in our creepy outdoor garage, and made up stories about him to freak the poor boys out. There was always something to pretend at–some story necessary for the moment to tell. And I never shied away from playing it, no matter what age I was.

So why is it that, ten years later, pretending to fly for one short hour catches my breath and makes me dizzy? When I was nine, I could have flown for days in my faded t shirts and black Converses. The magic in it wouldn’t have been magic. It would have been part of the ordinary life of daydreams.

A few months ago my acting professor gave me an a few partners a task to do. We had ten minutes to build a castle out of ourselves. Ready, set, go. I can’t describe what we did but I can describe how I felt. Giddy. Creative. Allowed.

When was the last time someone allowed you to fly, or ride a broomstick horse, or build a castle? And why do we feel like we have to be allowed to do that anyway?

One thing I’m learning this year is that I have permission. I have permission to follow small ideas. To listen to my voice. To make eye contact. To feel heavy and light at the same time. And I have permission to play.

I think that if we all gave ourselves permission to play sometimes, we’d probably live longer. We’d at least live happier. We carry around this weight of adulthood, and that’s okay. Yes, there are bills to pay and kids to take to the dentist and lunch appointments to make. But there’s so much time for play that we put aside because we don’t believe we have permission to do it. We go to Netflix for entertainment and fantasy football for a healthy dose of pretend. But that doesn’t cut it. We still need to play sometimes. We need to move our bodies and see things that aren’t real and believe with all our hearts in what we know to be imaginary.

Please try flying this week. Or try cruising in a Batmobile or taking off in a rocketship or having a mad tea party. Do it with kids, if you feel self conscious. But do it for yourself. Play hard. You have permission.


Spoken to Me

i. you’re very comfortable to be around

ii. your hair looks pretty, rachel

iii. don’t forget to challenge yourself today

iv. could you bring your super glue?

v.  i think you should pay attention to that

vi. i love you more each day


there’s something so very special about being given these words to hold on to. thank you, friends.