Of human bondage 2

Did I get sought out because I was a masochist, and they could smell it on me? Or was I the one that sought them? And who do I mean by them?

Last spring, during a free-form discussion of her life and work, Dorothy Allison said it took her a while to learn that the “bottom could run the fuck.” When she said that, I looked around at the rest of the audience, and wondered if that statement kicked them in the belly too. For me, it was a similar revelation to my freshman Lit professor announcing that just because we fantasized about something didn’t necessarily mean that we wanted it to happen.

Maybe you’ve never wondered if you’re depraved, but, god I have. When I turned “Red Audrey and the Roping” in to my fiction workshop, I had to wait a week for the response of my peers. I’d dated several people in the class, and would date more before the end, but there was a palpable shift the night I walked in before our discussion. It was an experience that I’d have again when I was pregnant and my body became a public representation of a private act. The assumption, always, on the part of the reader, has been that I’m writing about myself. That I am Jane.

The most important shift in my thinking about my own sexuality came when I stopped thinking about normal and started thinking about comfort. Am I comfortable with this? Is this OK with me? Or, since sex is power, have I allowed myself to be powerless, or am I being made powerless? How assertive am I?

Where, in short, are my boundaries?

Turns out they’re in different places all the time, and dialogue is the most effective way to make sure they aren’t breached. Is that self-evident? For me, dialogue about boundaries was hard won—sexual boundaries and otherwise. I hope for you, it’s simpler. I hope, you’re one of those people who says, “Of course,” when you’re told that the bottom can run the fuck.

Whatever you test and choose with consenting adults, I want you to live without shame.

2 thoughts on “Of human bondage 2”

  1. Masochism isn’t something I understand in its most traditional, sexual context. But it doesn’t originate there, does it? We all manifest it in one aspect of our lives or another. The patterns of my distant sexual history can certainly be linked to a desire for self-harm. Or the need to purge. Those two sensations are inextricably connected, I think, and they orbit around this elusive idea of control.

    Yet emotional control with regard to sex is so uniquely human. It is not instinctual. Is it a means to lessen our vulnerability, or to magnify it? And I wonder if shame comes from the act or the asking.

    Did the idea that the “bottom can run the fuck” make masochism more or less appealing to you? Did you lose some of the power when you realized you weren’t quite powerless?

  2. I’ve had a few days now to think about your questions, and I’m still not sure about my answers. Vulnerability, for me, has always been about relinquishing control; later, I realized that giving it up was an act, just as taking it was. My shame has come from my need.

    “The bottom can run the fuck.” I’ve thought about this statement many times since last spring. Victim and masochist aren’t synonyms. I had to learn that. Power and powerlessness have never bothered me, but fear has. Shame has. I will go here and no further. I had to learn that too. Submission isn’t a free pass.

    Sometimes I wanted to be obliterated. That was a compulsion, and one it was difficult to consider with tenderness. So I wrote a character, and considered her with tenderness instead.

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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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