Boats

I. Sylvia Beach Hotel

Fifteen years ago, this was your surprise for his 30th birthday. You’d hoped to book the Edgar Allan Poe room, but had ended up in F. Scott Fitzgerald, decorative gin bottles on desks and shelves. Late May, lonely and ill, you still had no context for your symptoms. You thought being vegan meant giving things up, but you are only beginning. The surgeries half a year away, the months of recovery unimaginable. The way you will cry into your cupped palm in the corner of your bedroom to collect all the despair away quietly.

While he slept, you ventured into the wind and walked along the grey beach. Three years earlier, you’d come for New Year’s with a woman you expected to spend the rest of your life with. The two of you tucked into the attic library, reading Jeanette Winterson, and watching the seascape darken. The hotel cat had kept you company on the couch by the window, your tea cups steaming between the globe and boxes of puzzles.

II. The jellyfish

They litter the beach like dense bubbles. Some of them still throbbing. You step lightly on one once, and hop away unscathed. On this stretch of beach, there are three lighthouses, and great dark birds that swoop up and back from the jetty. Crab get ripped to fractions. Like paper, you think. Like love letters.

The first time you came here, you stayed in a communal room. You’d turn twenty-five that week. The night before, you’d ushered in Y2K at a queer dance club in Portland. You were strong and healthy, and expected to go on that way. You thought the two of you had time. More time to understand whatever this was. Love or loneliness or a repeated collision. Something hopeful and broken. Something you mistrusted.

You’d huddled on the beach as the wind battered and battered and battered the waves.

III. Steinbeck

Most of the photos in the room are of Charley. Steinbeck’s emissary to the world. It’s not until my second day walking between the lighthouses, that I realize my memories are wooden boats, appearing unbidden from the edge of the world, from the single line where the sky tumbles into the sea. How else to explain the gondola in Venice, the olive bread, the push push push through the water?

The beach in Hawaii where we held a jacket over our bodies as though a single person took shelter there.

The cliffs in Ireland where I loved her with a rare burst of fearlessness. Where I could imagine the two of us as old women. Our bicycles and our garden. Our kayaks and canoe ready to load into the truck for whatever river needed exploring.

I came back here to let sail that old terror that I would become someone I was ashamed of. Someone small and afraid to love.

In eighteen years, the hotel cats are different, and I am different, and these boats revisit to help me see the progress. My youth, and my health, and my heart. What I expected to be true. My certainty as a young woman watching from that window, at this shoreline where I stand this morning in my middle age. These boats of memory return to allow me to see things differently and again. To see differently and again.

I kneel in the sand as a small black dog approaches. “Hi, baby,” I say, and hold out my hand. She sniffs for a moment, before letting me pet her head.

“That’s unexpected!” shouts the man behind me. “That’s unexpected! You must be a good person. She doesn’t like ANYBODY.” He points at me again. “YOU MUST BE A GOOD PERSON.”

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Jill Malone

Jill Malone grew up in a military family, went to German kindergarten, and lived across from a bakery that made gummi bears the size of mice. She has lived on the East Coast and in Hawaii, and for the last seventeen years in Spokane with her son, two dogs, a hedgehog, and a lot of outdoor gear. She looks for any excuse to play guitar. Jill is married to a performance artist and addiction counselor who makes the best risotto on the planet.

Giraffe People is her third novel. Her first novel, Red Audrey and the Roping, was a Lambda finalist and won the third annual Bywater Prize for Fiction. A Field Guide to Deception, her second novel, was a finalist for the Ferro-Grumley, and won the Lambda Literary Award and the Great Northwest Book Festival.

Giraffe People

Giraffe People

Between God and the army, fifteen-year-old Cole Peters has more than enough to rebel against. But this Chaplain’s daughter isn’t resorting to drugs or craziness. Truth to tell, she’s content with her soccer team and her band and her white bread boyfriend.

And then, of course, there’s Meghan.

Meghan is eighteen years old and preparing for entry into West Point. For this she has sponsors: Cole’s parents. They’re delighted their daughter is finally looking up to someone. Someone who can tutor her and be a friend.

But one night that relationship changes and Cole’s world flips.

Giraffe People is a potent reminder of the rites of passage and passion that we all endure on our road to growing up and growing strong. Award-winning author Jill Malone tells a story of coming out and coming of age, giving us a take that is both subtle and fresh.

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A Field Guide to Deception

A Field Guide to Deception

In Jill Malone’s second novel, A Field Guide to Deception, nothing is as simple as it appears: community, notions of motherhood, the nature of goodness, nor even compelling love. Revelations are punctured and then revisited with deeper insight, alliances shift, and heroes turn anti-hero—and vice versa.

With her aunt’s death Claire Bernard loses her best companion, her livelihood, and her son’s co-parent. Malone’s smart, intriguing writing beguiles the reader into this taut, compelling story of a makeshift family and the reawakening of a past they’d hoped to outrun. Claire’s journey is the unifying tension in this book of layered and shifting alliances.

A Field Guide to Deception is a serious novel filled with snappy dialogue, quick-moving and funny incidents, compelling characterizations, mysterious plot twists, and an unexpected climax. It is a rich, complex tale for literary readers.

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Red Audrey and the Roping

Red Audrey and the Roping

Occasionally a debut novel comes along that rocks its readers back on their heels. Red Audrey and the Roping is one of that rare and remarkable breed. With storytelling as accomplished as successful literary novelists like Margaret Atwood and Sarah Waters, Jill Malone takes us on a journey through the heart of Latin professor Jane Elliot.

Set against the dramatic landscapes and seascapes of Hawaii, this is the deeply moving story of a young woman traumatized by her mother’s death. Scarred by guilt, she struggles to find the nerve to let love into her life again. Afraid to love herself or anyone else, Jane falls in love with risk, pitting herself against the world with dogged, destructive courage. But finally she reaches a point where there is only one danger left worth facing. The sole remaining question for Jane is whether she is willing to accept her history, embrace her damage, and take a chance on love.

As well as a gripping and emotional story, Red Audrey and the Roping is a remarkable literary achievement. The breathtaking prose evokes setting, characters, and relationships with equal grace. The dialogue sparks and sparkles. Splintered fragments of narrative come together to form a seamless suspenseful story that flows effortlessly to its dramatic conclusion.

Winner of the Bywater Prize for Fiction, Red Audrey and the Roping is one of the most memorable first novels you will ever read.

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