Post ride

“We had a death on the ride yesterday.”

When my mother says this I’m getting off the elevator, and think at first that something is screwy with my cell phone.

“What?” I say.

“We had a death on the ride.”

“I don’t understand,” I say at last.

She tells me about their bike club, the overnight ride through Kellogg and Wallace. She tells me how gorgeous the day was. He shouted post, and then he was down.

I wait. I wait to hear who was down.

“His sister heard him shout post, and then he was down. And she started CPR right away. But he never responded.”

Because my mother is telling the story, I hear how many minutes it took the sheriff to respond, and the EMT. How my dad took over CPR before help arrived. How the man’s lips were blue. How he never was good about hydration.

He shouted post because it was a kind of game to shout post whenever you saw one. Each rider had done so.

Later in the evening, my mother and I ride on the Fish Lake Trail, and she tells the story again. It is heavy, and she is having trouble carrying it. Of course, my father is brilliant in emergencies. You get the athlete, the military man, and the minister all at once. I know this. And I have already heard about him directing the scene. What is late in coming is that my mother was leading the ride. That she sped back when she heard the cry go up that a rider was down. The first group of women she came to had refused to go back to the man on the ground, because they were afraid, because they saw my father was doing CPR. And so my mother went alone. She was the one who called 911, the one who held the man’s sister until the paramedics put the sister in the ambulance with the body.

Because my brain insists on replacing the downed rider with first my mother — her short legs in her tiny cycling shorts — and then my father — his flared ribs enormous in his green jersey — because I know this is the sort of death they envy — one without illness or violence — because I loop the incident — POST! and then down — I focus instead on my mother’s solitary ride to the scene. How maternal the journey. To come alone, and quickly, bringing as much aid as comfort can provide.

3 thoughts on “Post ride”

  1. I’m with you in how you are processing and replaying this. I wonder how your parents minds are working through it…

    My kids and I witnessed an awful awful accident a couple of weeks ago. Two boys (brothers, probably) on a bike- one pedaling, one on the pegs on the back wheel. Helmetless. The pedaler flew up in the air when the car struck them and landed flat and defenseless immediately. The peg rider was on the hood of the car until it crossed the intersection. The poor driver of the car never could have saw them coming.

    In my head, especially in the first few days that followed, my kids are those kids. Or I am that driver behind that wheel.

  2. Tina, that’s awful. And I wonder if it’s part of the grief or part of the experience of tragedy that makes us relive those moments through different points of view. Story is how we understand the world. How our brains see.

    It’s the specificity that troubles me. The fact that I can see the details — hear the shout and see the crash — and substitute the unknown man for people I love.

  3. I like how you’re redirecting your thoughts. I bet your dad knows the scripture about taking thoughts captive… We have to or else we’ll dwell in these things. Every time I replayed the accident, I interrupted the visual and instead, imagined those boys healing. I had to or all the details in slow motion would take over my brain.

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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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