Picture this fish as an island covered with houses. Picture the kind of castle houses that a little girl living in a trailer park would draw—big stone houses, each with a forest of chimneys, each a mountain range of different rooflines, wings and towers and gables, all of them going up and up to a lightning rod at the top. Slate roofs. Fancy wrought-iron fences. Fantasy houses, lumpy with bay windows and dormers. All around them, perfect pine trees, rose gardens, and red brick sidewalks.

The bourgeois daydreams of some poor white trash kid.

The whole island was exactly what a kid growing up in some trailer park—say some dump like Tecumseh Lake, Georgia—would dream about. This kid would turn out all the lights in the trailer while her mom was at work. She’d lie down flat on her back, on the matted-down orange shag carpet in the living room. The carpet smelling like somebody stepped in a dog pile. The orange melted black in spots from cigarette burns. The ceiling was water-stained. She’d fold her arms across her chest, and she could picture life in this kind of place.

It would be that time—late at night—when your ears reach out for any sound. When you can see more with your eyes closed than open.

The fish skeleton. From the first time she held a crayon, that’s what she’d draw.

The whole time this kid’s growing up, maybe her mom was never home. She never knew her dad, and maybe her mom worked two jobs. One at a shitty fiberglass insulation factory, one slopping food in a hospital cafeteria. Of course, this kid dreams of a place like this island, where nobody works except to keep house and pick wild blueberries and beachcomb. Embroider handkerchiefs. Arrange flowers. Where every day doesn’t start with an alarm clock and end with the television. She’s imagined these houses, every house, every room, the carved edge of each fireplace mantel. The pattern in every parquet floor. Imagined it out of thin air. The curve of each light fixture or faucet. Every tile, she could picture. Imagine it, late at night. Every wallpaper pattern. Every shingle and stairway and downspout, she’s drawn it with pastels. Colored it with crayons. Every brick sidewalk and boxwood hedge, she’s sketched it. Filled in the red and green with watercolors. She’s seen it, pictured it, dreamed of it. She’s wanted it so bad.

Since as early as she could pick up a pencil, this was all she ever drew.

Picture this fish with the skull pointed north and the tail south. The spine is crossed with sixteen rib bones, running east and west. The skull is the village square, with the ferryboat coming and going from the harbor that’s the fish’s mouth. The fish’s eye would be the hotel, and around it, the grocery store, the hardware supply, the library and church.

She painted the streets with ice in the bare trees. She painted it with birds coming back, each gathering beach grass and pine needles to build a nest. Then, with foxgloves in bloom, taller than people. Then with even taller sunflowers. Then with the leaves spiraling down and the ground under them lumpy with walnuts and chestnuts.

She could see it so clear. She could picture every room, inside every house.

And the more she could imagine this island, the less she liked the real world. The more she could imagine the people, the less she liked any real people. Especially not her own hippie mom, always tired and smelling like French fries and cigarette smoke.

It got until Misty Kleinman gave up on ever being a happy person. Everything was ugly. Everyone was crass and just . . . wrong.

Her name was Misty Kleinman.

In case she’s not around when you read this, she was your wife. In case you’re not just playing dumb—your poor wife, she was born Misty Marie Kleinman.

The poor idiot girl, when she was drawing a bonfire on the beach, she could taste ears of corn and boiled crabs. Drawing the herb garden of one house, she could smell the rosemary and thyme.

Still, the better she could draw, the worse her life got—until nothing in her real world was good enough. It got until she didn’t belong anywhere. It got so nobody was good enough, refined enough, real enough. Not the boys in high school. Not the other girls. Nothing was as real as her imagined world. This got until she was going to student counseling and stealing money from her mom’s purse to spend on dope.

So people wouldn’t say she was crazy, she made her life about the art instead of the visions. Really, she just wanted the skill to record them. To make her imagined world more and more accurate. More real.

And in art school, she met a boy named Peter Wilmot. She met you, a boy from a place called Waytansea Island.

And the first time you see the island, coming from anyplace else in the entire world, you think you’re dead. You’re dead and gone to heaven, safe forever.

The fish’s spine is Division Avenue. The fish’s ribs are streets, starting with Alder, one block south of the village square. Next is Birch Street, Cedar Street, Dogwood, Elm, Fir, Gum, Hornbeam, all of them alphabetical until Oak and Poplar Streets, just before the fish’s tail. There, the south end of Division Avenue turns to gravel, and then mud, then disappears into the trees of Waytansea Point.

This isn’t a bad description. That’s how the harbor looks when you arrive for the first time on the ferryboat from the mainland. Narrow and long, the harbor looks like the mouth of a fish, waiting to gobble you up in a story from the Bible.

You can walk the length of Division Avenue, if you’ve got all day. Have breakfast at the Waytansea Hotel and then walk a block south, past the church on Alder Street. Past the Wilmot house, the only house on East Birch, with sixteen acres of lawn going right down to the water. Past the Burton house on East Juniper Street. The woodlots dense with oaks, each tree twisted and tall as a moss-covered lightning bolt. The sky above Division Avenue, in summer it’s green with dense, shifting layers of maple and oak and elm leaves.

You come here for the first time, and you think all your hopes and dreams have come true. Your life will end happily ever after.

The point is, for a kid who’s only ever lived in a house with wheels under it, this looks like the special safe place where she’ll live, loved and cared for, forever.

For a kid who used to sit on shag carpet with a box of colored pencils or crayons and draw pictures of these houses, houses she’d never seen. Just pictures of the way she imagined them with their porches and stained-glass windows. For this little girl to one day see these houses for real. These exact houses. Houses she thought she’d only ever imagined . . .

Since the first time she could draw, little Misty Marie knew the wet secrets of the septic tanks behind each house. She knew the wiring inside their walls was old, cloth-wrapped for insulation and strung through china tubes and along china posts. She could draw the inside of every front door, where every island family marked the names and height of each child.

Even from the mainland, from the ferry dock in Long Beach, across three miles of salt water, the island looks like paradise. The pines so dark green they look black, the waves breaking against the brown rocks, it’s like everything she could ever want. Protected. Quiet and alone.

Nowadays, this is how the island looks to a lot of people. A lot of rich strangers.

For this kid who’d never swam in anything bigger than the trailer park pool, blinded by too much chlorine, for her to ride the ferry into Waytansea Harbor with the birds singing and the sun bouncing bright off the rows and rows of the hotel windows. For her to hear the ocean rolling into the side of the breakwater, and feel the sun so warm and the clean wind in her hair, smelling the roses in full bloom . . . the thyme and rosemary . . .

This pathetic teenager who’d never seen the ocean, she’d already painted the headlands and the cliffs that hung high above the rocks. And she’d got them perfect.