Boutique, 1992

The summer before my senior year in high school, my girlfriend drove me to a little boutique in Honolulu and told me she was going to buy me a bikini. She explained what she wanted to the saleswoman; they both peered at me for a bit and then started going around racks picking out various suits. That is a generous word for them: suits. I hadn’t yet hit my stride as a confident nudist. I was still more giraffe than girl if we’re being honest.

I’d started to weigh in on some of the selections but was quickly shushed. It seemed clear that I’d have to veto from the fitting room.

“Start with these,” the saleswoman said, giving my girlfriend a pile. I stepped forward to take the pile and was instead shoved with girl and pile into the dressing room, door locked, my shirt lifted over my head.

“Hold on now!” I wiggled to the farthest corner, and held out my hands. “I’m perfectly capable of dressing and undressing myself.”

From somewhere beyond the tiny booth, the saleswoman laughed.

“Keep your voice down!” And then, just like that, 8.76 million bikinis were dragged on and off me. And I was made to pose as though I might be anyone, and could certainly imagine her, as I had my top adjusted and was directed to “Stretch!” and “Crouch like someone’s just spiked a volleyball at you!” and “Pretend you’re swimming!”

Eventually we would forego the locked door altogether and the saleswoman and my girlfriend would helpfully adjust various suits as though a little more managing were all the situation required.

“Stand up straight,” they’d command.

“How long are her legs?” the saleswoman whispered to my girlfriend at one point.

“Three quarters of her body,” she replied.

If you’ve ever tried on bikinis, you know there’s no place to hide. There’s just you, and your underpants, and a saleswoman, and your girlfriend, and a palpable desire for pockets.

By the end, we’d discovered someone who hadn’t previously existed. Someone less giraffe and more girl and possibly even the sort of girl who could walk into a girls’ bathroom without any fears at all. We didn’t uncover a single curve, except my terrible posture, but the girl staring back at me from the mirror wasn’t me at all, and so they found her perfect in her blue and black bikini.

That was the summer I got a cocktail dress.

That was the summer I began to realize that bossy girlfriends were my favorite kind. But that was the summer’s only true discovery.

If we tell ourselves lies to grow into the people we imagine, it takes longer to get there. More costumes, more parts. I can still see the scathing way that she looked at me, hiking one cup and then the other up. The real disappointment of trying to make me a little more something than I was. I look best in lipstick when I’m wearing a 3-piece suit. That’s the takeaway here. We are complex.

I remember us in that little boutique, before the illness that would take my tonsils, before the hurricane, before either of our families had any idea that I was in love with a girl, and would give up everything to stay with her, and then give up everything to get away from her. Before my injuries. That’s how I remember that boutique.

But already in this story, there’s corruption. And I find myself unwilling to let it be heartbreaking.

I got something out of both of those girls in that little booth in Honolulu. The one who insisted I could be different. And the one who was willing to try it for a time.

It took me longer to find my way, but I got to wander down so many streets I’d never have found any other way. Girl 101. A little less giraffe. A little more underwire. Legs for days.

 

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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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