The end

After my son was born, I told everyone — my husband, my mother, my friends — anyone who would listen, that I was not okay. And everyone told me I was fine. That I was fine, and doing well.

Now I can recognize it as postpartum depression, but at the time it was just a long, terrifying panic attack. I was convinced my son was going to die in my care. I thought that every time I walked into his room. Every time I leaned over his crib. I would dream of a blue baby. A dead baby. My fault. He would die and it would be my fault. Every day. Every hour.

But everyone said I was fine.

I wasn’t sleeping. I was alone for nearly 20 hours of every day. Alone except for a baby. But that is a different kind of alone. I had no internal monologue. I would tell my baby what we were doing. I’m reading you a story. I’m playing guitar for you. I’m bathing you. But in my head there was just a distant sound of screaming.

But everyone said I was fine.

My hedgehog died several weeks ago. He’d been ill, and had already lived longer than most hedgehogs. But I’ve found his death difficult to process. He was the most cantankerous creature I have ever met. He bit me whenever I held him. He bristled and hissed at me when I fed him. He ran around his terrarium looking for me when he wanted more food, and then got angry with me when I gave him more. I began to think of him as my unhappy self. Always a little past knowing what’s best for it. Too hungry to eat. Too thirsty to drink. Too lonely, but bristling at all contact.

Being intuitive means that I know more than I want to know.

My hedgehog died and I looked at his opened eyes through the terrarium and I was filled with sadness for both of us. For my love for him, and his reliance on me. For the difficulty of relationships. For the well of sadness that people want to assure me doesn’t exist.

I am having a hard time.

And as is often the case, I am having that hard time on my own.

I am alone with the burden of being me. The sadness of wanting human connection and intimacy in the age of electronics. Headphones and screens and the endless hustle of busywork. Where we mistake social media for real life. I am tired and I am sad.

I realized something today and it bothers me. When people assure you that everything’s fine, they mean for them. It’s fine for them. I used to think they couldn’t see me, but what they are saying is that they can’t see our relationship as I see it. Everything’s fine from their point of view. And everything is not fine from mine. We are in a different relationship. That is so much worse.

But, Jill, you’re talking about perspectives. We all have perspectives. We all struggle sometimes and that struggle comes at each of us differently. We’re always in a different relationship. That’s why your story of what happened is different from mine. 

Yes. Yes, that’s true. But in my relationship, I’m not OK. And in yours, everything is fine. And those two things are not compatible.

Not today. They aren’t compatible today. Last week everything was on fire, and today there’s rain. 

My life isn’t like the climate.

It is, Jill. Your life is exactly like the climate. Temporary and lovely and unpredictable. Sometimes heartbreaking.

You’re being reductive.

I meant to comfort you. This mess is yours for a while. A while is all you get. When you woke to the sound of rain this morning you were happy, remember?

I remember.

Right now you feel paralyzed with sadness. And that feels real and you are miserable. This evening you’ll walk through the black streets and the trees will stand like sentinels and you’ll love the day a little more. It’ll feel like a secret. Yours to keep.

Maybe.

Even your sadness is beautiful. Surely you can see that. How else would you make space for your joy?

I don’t know. I don’t know how to make space for my joy.

You are. That’s what you are doing right now. You are typing it into being. You are telling yourself a story of joy and sadness and love. Like all stories. Of the death of a small, hostile creature and the way it reminded you of your suffering and your love. You are frightened that your unhappiness is permanent, so you are telling yourself a story of impermanence. Life as climate. 

I see.

And now you feel better, don’t you? 

I do. I do feel better.

All these things are inside you. And they are yours and they are true.

Yes.

And that is why.

Why what?

That is why you feel better.

 

4 thoughts on “The end”

  1. Your commentary is always illuminating. I think I tend to nod along a lot when I read your different entries. I’m certain many of your notes trigger a “yea, what she said” so thanks for that. I’m sorry for you and your hedgehog. I won’t say loss. This past week, I lost my dog. But I didn’t really. I knew where she was. I killed my dog is melodramatic. She had a tumor. It grew and then ruptured. Neither of us were pleased and I had to make that decision. She trusted me. I felt like I failed her. I sorrowed more than i ever had in quite some time. She was a basket case and truly T-Rex unpredictable, not to be trusted near non-family. I lost my dog. On purpose. By decision. My grief perspective is chock full of stupid right now. Thank you for yours. It helped.

    1. I’m so sorry, Stephni. I still get stuck sometimes in the final moments of my dogs’ lives. It is a terrible responsibility to have to decide when. To make an appointment. To wonder if they got as much time as they had. In my case, I think I waited a day too long. And that was terrible, too. I love them. And I go on loving them. And that is painful and marvelous and too much and not enough.

  2. I had postpartum depression with my second child. I didn’t have it with the first, and that’s the only reason I knew what was going on. I got swallowed by an ocean of “not okay,” rage and despair. Rage and despair. The hubs didn’t know how to talk with me about it, so he didn’t.

    It is so real.

    I’m sorry you are grieving a loss, even if who you lost was a grumpy carmudgeony hedgehog.

    New grief brings up all the old griefs. So you’re in it. You don’t have to be in it alone. Love you.

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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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