Introduction

(Life changes in an instant. On a foggy beach. In the seconds when Abby Mason—photographer, fiancée soon-to-be-stepmother—looks into her camera and commits her greatest error. Heartbreaking, uplifting, and beautifully told, here is the riveting tale of a family torn apart, of the search for the truth behind a child’s disappearance, and of one woman’s unwavering faith in the redemptive power of love—all made startlingly fresh through Michelle Richmond’s incandescent sensitivity and extraordinary insight.

Six-year-old Emma vanished into the thick San Francisco fog. Or into the heaving Pacific. Or somewhere just beyond: to a parking lot, a stranger’s van, or a road with traffic flashing by. Devastated by guilt, haunted by her fears about becoming a stepmother, Abby refuses to believe that Emma is dead. And so she searches for clues about what happened that morning—and cannot stop the flood of memories reaching from her own childhood to illuminate that irreversible moment on the beach.

Now, as the days drag into weeks, as the police lose interest and fliers fade on telephone poles, Emma’s father finds solace in religion and scientific probability—but Abby can only wander the beaches and city streets, attempting to recover the past and the little girl she lost. With her life at a crossroads, she will leave San Francisco for a country thousands of miles away. And there, by the side of another sea, on a journey that has led her to another man and into a strange subculture of wanderers and surfers, Abby will make the most astounding discovery of all—as the truth of Emma’s disappearance unravels with stunning force.

A profoundly original novel of family, loss, and hope—of the choices we make and the choices made for us—The Year of Fog beguiles with the mysteries of time and memory even as it lays bare the deep and wondrous workings of the human heart. The result is a mesmerizing tour de force that will touch anyone who knows what it means to love a child.

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Excerpt

Chapter One

HERE IS the truth, this is what I know: we were walking on Ocean Beach, hand in hand. It was a summer morning, cold, July in San Francisco. The fog lay white and dense over the sand and ocean–an enveloping mist so thick I could see only a few feet in front of me.

Emma was searching for sand dollars. Sometimes they wash up by the dozens, whole and dazzling white, but that day the beach was littered with broken halves and quarters. Emma was disappointed. She is a child who prefers things in a state of perfection: sand dollars must be complete, schoolbooks must be pristine, her father's hair must be neatly trimmed, falling just above his collar.

I was thinking of her father's hair, the soft dark fringe where it touches his neck, when Emma tugged at my hand. "Hurry," she said.

"What's the rush?"

"The waves might wash them away."

Despite our bad luck so far, Emma believed that on the beach ahead lay a treasure of perfect sand dollars.

"Want to go to Louis's Diner instead?" I said. "I'm hungry."

"I'm not."

She tried to extract her fingers and pull away. I often thought, though I never said it, that her father spoiled her. I understood why: she was a child without a mother, and he was trying to compensate.

"Let me go," she said, twisting her hand in my own, surprisingly strong.

I leaned down and looked into her face. Her green eyes stared back at me, resolute. I knew I was the adult. I was bigger, stronger, more clever. But I also knew that in a test of will, Emma would outlast me every time. "Will you stay close by?"

"Yes." She smiled, knowing she had won.

"Find me a pretty sand dollar."

"I'll find you the biggest," she said, stretching her arms wide.

She skipped ahead, that small, six-year-old mystery, that brilliant feminine replica of her father. She was humming some song that had been on the radio minutes earlier. Watching her, I felt a surge of joy and fear. In three months, I would marry her father. We hadn't yet explained to her that I would be moving in permanently. That I would make her breakfast, take her to school, and attend her ballet recitals, the way her mother used to do. No, the way her mother should have done.

"You're good for Emma," Jake liked to say. "You'll be a much better mother than my ex-wife ever was."

And I thought, every time, how do you know? What makes you so sure? I watched Emma with her yellow bucket, her blue cloth shoes, her black ponytail whipping in the wind as she raced away from me, and wondered, how can I do it? How can I become a mother to this girl?

I lifted the Holga to my eye, aware as the shutter clicked–once, softly, like a toy–that Emma would be reduced to a blurry 6´6 in black and white. She was moving too fast, the light was insufficient. I turned the winding knob, clicked, advanced again. By the time I pressed the shutter release a final time, she was nearly gone.

Chapter Two

HERE THEN is the error, my moment of greatest failure. If everyone has a decision she would give anything to retract, this is mine: A shape in the sand caught my eye. At first it looked like something discarded–a child's shirt, perhaps, or a tiny blanket. By instinct I brought the camera to my eye, because this is what I do–I take pictures for a living, I record the things I see. As I moved closer, the furry head came into focus, the arched back, black spots on white fur. The small form was dusted with sand, its head pointing in my direction, its flippers resting delicately at its sides.

I knelt beside the seal pup, reaching out to touch it, but something stopped me. The wet black eyes, open and staring, did not blink. Spiky whiskers fanned out from the face, and three long lashes above each eye moved with the breeze. Then I saw the gash along its belly, mostly hidden by sand, and felt some maternal urge bumping around inside me. How long did I spend with the seal pup–thirty seconds? A minute? More?

A tiny sand crab scuttled over the sand by my toe. The sight of it reminded me of those miniature creatures that littered the beach at Gulf Shores when I was a child. My sister Annabel would capture them in mason jars and marvel at their pink underbellies as they tried to climb out, legs ticking against the glass. This crab kicked up a pocket of sand, then disappeared; at most, another ten seconds passed.

I glanced eastward toward the park, where the fog abruptly ended, butting up against startling blue. As a transplant to this city from the bright and sultry South, I had come to love the fog, its dramatic presence, the way it deadens sound. The way it simply stops, rather than fading, opaque whiteness suddenly giving way to clarity. Crossing from fog into sunlight, one has the feeling of having emerged. Traveling in the other direction is like sinking into a mysterious, fairy-tale abyss.

Just beyond the beach, along the Great Highway, a hearse led a line of cars south toward Pacifica. I remembered the last funeral I attended, a healthy guy in his late twenties who broke his neck in a rock-climbing accident; he was a friend of a friend, not someone I knew well, but because I'd talked with him at a dinner party two weeks before the accident, it seemed appropriate to go to the funeral. This recollection took another five seconds.

I looked ahead, where Emma should be, but did not see her. I began walking. Everything was saturated a cool white, and distance was impossible to measure. I clutched the plastic Holga, imagining the great images I'd get, the deep black of Emma's hair against the cold white beach.

I couldn't help thinking of the dead seal pup, how I would explain it to Emma. I believed this was something mothers instinctively knew how to do. This would be a test, the first of many; at that moment I was not thinking entirely of Emma. I walked faster, anxious to know if she had seen the seal; it was a good thing for her to see that day, alone on the beach with me. I wanted her to be frightened by the dead seal pup so I could step delicately into the role of stepmother.

I don't know exactly when I realized something was wrong. I kept walking and did not see her. I pushed my hands in front of me, aware even as I did so of the absurdity of the gesture, as if a pair of hands could part the fog.

"Emma!" I called.

The panic did not strike immediately. No, that would take several seconds, a full minute almost. At first it was only a gradual slipping, a sense of vertigo, like the feeling I used to get as a child when I would stand knee-deep in the warm water of the Gulf of Mexico, close my eyes against the white-hot Alabama sun, and let the waves erode the platform under my feet. First the sand beneath the arches would go, then the toes, and finally I would lose my balance and tumble forward into the surf, mouth filling with seawater, eyes snapping open to meet the bright spinning world.

"Emma!"

I yelled louder, feeling the shifting, unreliable sand beneath my feet. I ran forward, then back, retracing my steps. She's hiding, I thought. She must be hiding. A few yards from the dead seal pup stood a concrete drainage wall covered with graffiti. I ran toward the wall. In my mind I pictured her crouched there, giggling, the pail propped on her knees. This vision was so clear, had such the ring of truth, I almost believed I had seen it. But when I reached the wall, she wasn't there. I leaned against it, felt my insides convulse, and vomited into the sand.

From where I stood, I could make out the shape of the public restrooms down the beach. Racing toward them, I felt a sense of dread. I knew, already, that the search had somehow shifted. I crossed the two-lane-highway and checked the women's room, which was dark and empty. Then I circled around to the men's side. The windows were made of frosted glass, dim light spilling onto the tile floor. I plunged my hand into the trash bin, looking for her clothes, her shoes. I got down on hands and knees and looked behind the urinals, holding my breath against the stench. Nothing.

As I crossed back to the beach, I was shaking. My fingers felt numb, my throat dry. I climbed to the top of a sand dune and turned in circles, seeing nothing but the impenetrable white fog, hearing nothing but the soft hum of cars along the Great Highway. For a moment I stood still. "Think," I said out loud. "Don't panic."

Up ahead, more fog, a half mile or so of beach, then the hill leading to the Cliff House, the Camera Obscura, the ruins of the Sutro Baths, Louis's Diner. To the right, there was the long sidewalk, the highway, and beyond it, Golden Gate Park. Behind me, miles of beach. To my left, the Pacific Ocean, gray and frothing. I stood at the center of a fog-bound maze with invisible walls and infinite possibilities. I thought: a child disappears on a beach. Where does that child go?

Chapter Three

I WILL RETURN again and again to that moment. I will keep a notebook in which I record the details. There will be poorly done sketches, graphs of time and motion, page after page on which I attempt to recover the past. I will pretend that memory is reliable, that it does not erode as quickly and completely as the brittle lines of an Etch-a-Sketch. I will tell myself that, buried somewhere in the intricate maze of my mind, there is a detail, a clue, some tiny lost thing that will lead me to Emma.

Later, they will want to know the exact moment I noticed she was missing. They will want to know whether I saw anyone unusual on the beach, whether I heard anything in the moments before or after she disappeared. They–the police, the reporters, her father–will ask the same questions again and again, staring into my eyes with desperation, as if by repetition they might make me remember, as if by force of will they can conjure clues where there are none.

This is what I tell them, this is what I know: I was walking on the beach with Emma. It was cold and very foggy. She let go of my hand. I stopped to photograph a seal pup, then glanced up toward the Great Highway. When I looked back, she was gone.

The only person to whom I will tell the entire story is my sister, Annabel. Only my sister will know I wasted ten seconds on a sand crab, five on a funeral procession. Only my sister will know I wanted Emma to see the dead seal, that in the moment before she disappeared, I was scheming to make her love me. For others, I will choose my words carefully, separating the important details from misleading trivialities. For them, I will present this version of the truth: there is a girl, her name is Emma, she is walking on the beach. I look away, seconds pass. When I look back she is gone.

This single moment unfolds like a flower in a series of time-lapse photographs, like an intricate maze. I stand at the labyrinth's center, unable to see which paths lead to dead ends, which one to the missing child. I know I must trust memory to lead me. I know I have one chance to get it right.

The first story I tell, the first clue I reveal, will determine the direction of the search. The wrong detail, the wrong clue, will inevitably lead to confusion, while the right clue leads to a beautiful child. Should I tell the police about the postman in the parking lot, the motorcycle, the man in the orange Chevelle, the yellow van? Or is it the seal that matters, the hearse, the retaining wall, the wave? How does one distinguish between the relevant and the extraneous? One slip in the narrative, one mistake in the selection of details, and everything disintegrates.

Chapter Four

PI TIMES radius squared equals the area of a circle. Time is a continuum, stretching forward and back infinitely. I learned these things in school.

In a ninth-grade classroom at Murphy High School, Dr. Thomas Swayze, an exhilarating and shady character who was rumored to have received his doctorate through the mail, drew a giant circle on the chalkboard. On the outer rim of the circle and on a straight line drawn from the midpoint to the circle's edge, he scribbled numbers and formulas. His bicep flexed, straining the white sleeve of his T-shirt. "Radius, diameter, circumference," he said, his FM radio voice inciting in me sweaty adolescent desires. He turned to face the classroom and rolled the gleaming white cone of chalk from palm to palm, looking straight at me.

The sun glared through a long row of windows, turning the copper hair of the girl in front of me to flame; she smelled like Juicy Fruit gum. My hand lay on the desktop in a pool of burning light; all around my thumbnail were flecks of blood where I had chewed the skin to shreds. In my head, a steady, maddening hum. Dr. Swayze turned toward the blackboard. Some hidden object formed a faded and perfect circle on the back pocket of his blue jeans.

"And the greatest of these is area," he said. My knees slid apart, and I could feel little pools of sweat gathering on the plastic seat beneath my thighs.

Years before, Mrs. Monk, my third-grade teacher, had moved the hands on a giant cardboard clock and extolled the virtues of time. Seconds were grains of sand, she said. Minutes were pebbles. Hours were the bricks of which past, present, and future are made. She talked of days and years, decades, centuries. She talked of the millennium, when we would all be grown. She opened her big arms wide and whispered the word eon. In our portable classroom, the air conditioner sputtering mildly against Mobile's April heat, Mrs. Monk, teacher of the year for 1977, preached and glowed and sweated.

I sat at my wooden desk, looking up at that huge circle with its eternally trapped hands, and cried. She came over to me and laid warm, damp fingers on my neck. "Abby, what's wrong?" she asked. I leaned into her ample, motherly waist, buried my face in deep folds of polyester, and confessed, "I don't understand time." It wasn't the clock itself that confounded me, the half-past and quarter-till, the five-of and ten-after, but rather the essential nature of time. I did not have the words to explain this to Mrs. Monk. view abbreviated excerpt only...

Discussion Questions

From the publisher:

1. The Year of Fog unfolds as a series of flashbacks and present-tense scenes. How do Abby’s impressions of her own past shift as she searches for Emma? What does her research on the neuroscience of memory tell us about the limits and the power of the mind’s imagery?

2. How much was Emma a factor in Abby’s relationship with Jake? After Emma’s disappearance, what did they discover about each other? Why was it awkward for Abby to see Jake turn to religion? Why was he skeptical of her insistence that Emma didn’t drown but was kidnapped?

3. How does Abby’s eye as a photographer shape the way she sees the world around her? What does she see that others don’t? What kinds of images captivate her the most? What does her approach to photography indicate about her approach to life?

4. Are Ramon and Jake entirely different, or was there a common thread that attracted Abby to each of them? What keeps her from sleeping with Nick in chapter 40? What has she needed from men in general at crucial points in her life?

5. How did Abby’s recollections of her own mother affect her approach to being a stepmother?

6. Describing the ancient history of memory studies in chapter 43, Abby mentions the concept of Renaissance “memory theaters” and later has a dream in which her memories are displayed in ways she cannot fully comprehend. If your past were to be categorized in such a way, what would it look like? Which objects would best represent various events? Which of your memories would you most like to preserve?

7. Abby struggles with feelings of inadequacy, seeing herself as the sister who often botches her chances at a happier life. What accounts for the tremendous differences between her self-perception and Annabel’s?

8. How would you describe Lisbeth’s wavering, extreme motivations? What would explain her dangerous decisions? How is she able to appear trustworthy?

9. For Abby, one of the most difficult aspects of the search is the fact that she doesn’t receive full respect as a key figure in Emma’s life. Ultimately, how do you define “a devoted mother”? What are the best examples of good parenting in the novel? What determines whether someone has what it takes to be a good parent?

10. What enabled Abby to uncover the truth while Jake could not? Was it her intuition? Determination? Hypnosis? Fate? Or simply the deep guilt she felt? What ultimately caused the fog to lift in Emma’s disappearance?

11. In many ways, the novel is a poignant portrait of coping with grief, in this case a very unresolved form of grief. What is the best way to confront tragedy?

12. How did you attempt to solve the mystery of Emma’s disappearance? Were you able to hold out hope for her survival?

13. Goofy’s help leads Abby to the sojourn in Costa Rica. What do both beach communities begin to mean to her? In what way does the landscape, both liberating and treacherous, form an appropriate place for her to come to terms with her greatest fears?

14. What is distinct about Abby’s storytelling voice? How might the novel have unfolded had it been told from Jake’s point of view?

15. What did the novel reveal to you about the world of missing children and their families? Did it change your perspective on the real-life cases you encounter in the media?

16. As you saw Abby catch a wave in the final paragraph, what did you predict for her future?

Weblinks

»	Author Michelle Richmond's web site
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»	Author Bio
»	Publisher's Book Info
»	Author Michelle Richmond's web site
»	Author Tour Dates
»	Author Bio
»	Publisher's Book Info

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