Doctor Julie Walker has just signed her divorce papers when she receives news that her younger sister, Heather, has gone into labor. Though theirs is a strained relationship, Julie sets out for the hospital to be at her sister’s side—no easy task since the streets of San Francisco are filled with tension and strife. Today is also the day that Julie will find herself at the epicenter of a violent standoff in which she is forced to examine both the promising and the painful parts of her past—her Southern childhood; her romance with her husband, Tom; her estrangement from Heather; and the shattering incident that led to her greatest heartbreak.
Infused with emotional depth and poignancy, Golden State takes readers on a journey over the course of a single, unforgettable day—through an extraordinary landscape of love, loss, and hope.
Praise for Golden State
“A stirring look at the ties that bind husband-wife, mother-child and even sisters, and what happens when they’re torn asunder. Set in a San Francisco chafing with unrest both political and personal, the world Richmond creates is exquisitely charged with regret and hope.”—Family Circle
“[A] riveting read that can be recommended to fans of Jodi Picoult and Jacquelyn Mitchard . . . Mesmerizing and intricate, Richmond’s dissection of a California on the violent brink of secession from the nation provides the backdrop to her deeper inspection of the uneasy, fragile relationship between siblings.”—Booklist (starred review)
“[An] amazing, turbulent novel woven of disparate threads . . . Nearly every feature of this mesmerizing novel is provocative, as Richmond explores the fragmented, hopeful lives of complex characters. This is gripping, multilayered must-read fiction.”—Library Journal (starred review)
“An exciting premise . . . skillfully written . . . Julie’s past and her relationship with the other characters are scrutinized as the clock ticks. It’s an interesting and sometimes-disturbing study.”—Kirkus Reviews
“Richmond takes readers through a bittersweet, heartwarming tale of a woman on the cusp of life-changing events in both her personal and professional lives. . . . Once invested, the reader is carried away by this action-packed, poignant story, making this a tale that will live in the heart of the reader once the last page is read.”—RT Book Reviews
“This is a thoughtful book about how past circumstances change us into the people we are today, for the good or bad. Julie is a sympathetic and relatable character, and readers will definitely feel for her as she goes through her life-changing day.”—The Parkersburg News and Sentinel
“Richmond . . . delivers a page-turner.”—San Jose Mercury News
“A breathtaking read and one I’ll not soon forget.”—Melanie Benjamin, author of The Aviator’s Wife
Look for special features inside. Join the Random House Reader’s Circle for author chats and more.
|Publisher:||Random House Publishing Group|
|Product dimensions:||5.10(w) x 7.90(h) x 0.90(d)|
About the Author
Read an Excerpt
Richmond / GOLDEN STATE
12:41 p.m., June 15
The reception area of the tiny hotel is eerily empty. On the desk, a coffee mug smeared with red lipstick sits beside a small televi- sion, the volume turned up high, blaring news of the vote. Eleanor’s mug, Eleanor’s lipstick. Famously difficult Eleanor.
I leave my crutches behind and use the rail to pull myself up the stairs. At the top, I turn left. The first room is empty, the door open to reveal two twin beds, an old dresser, blood on the floor.
I continue along the hallway. The second door is closed. Room 2B. Heather’s room. Early this morning, while I was still sleeping on the couch of a radio station at the other end of the city, my phone began to vibrate. It was Heather, texting: It’s time. It seems like a life- time ago.
I try the knob, but it doesn’t budge.
I knock. Again, no answer.
Finally, a scraping sound, furniture moving across the floor. The knob turns, the door opens a few inches, and there she is—red in the face, her T-shirt drenched with sweat, her eyes strangely calm. Her gaze takes in my wrecked face, my filthy clothes, the hastily wrapped bandage on my foot.
I squeeze through the doorway. On the opposite wall, a bureau is shoved against a tall window that opens onto a balcony. To my left, as far as possible from the window, stands the bed, the sheets twisted and wet.
“When I saw him coming toward the hotel,” she tells me, “I barricaded the door. When he left, I barricaded the window.”
She shuts the door behind me, then locks it. Together we shove the desk back into place.
“What happened next door?”
“He had Eleanor,” she says. “Sounded bad.”
Heather doubles over in pain, moaning. I limp to her side. She grips my arm so tight I can feel her fingernails through my sweater. Seconds pass before her face relaxes. She catches her breath, lowers herself onto the bed. “What’s the difference between a pregnant woman and a lightbulb?” she asks.
“You can unscrew a lightbulb.”
I smile, happy to see the Heather I know.
In the bathroom, I wash my face and hands. I smell terrible and look worse. The skin under my arms is bleeding, rubbed raw from the crutches. Rummaging through Heather’s cosmetics bag, I am grateful for the small miracle of a rubber band. I gather my hair into a ponytail, drink cold water from the faucet, and rinse my mouth with toothpaste.
I scan the bathroom for anything useful. There’s a small bar of soap, two towels hanging beside the stained tub, an empty waste bin beneath the sink. I grab the towels and bin and hobble into the darkened room. I drag a chair up to the end of the bed and drape a blanket over Heather’s knees.
“Are there any cops out there?” she asks.
“Just one terrified kid.”
She clutches the sheets as another contraction seizes her. Her face registers the pain, but she is silent. Thirty seconds pass before she collapses back onto the pillow, panting.
“Where’s the National Guard?” she asks.
“Sacramento and L.A., I guess.”
A foghorn wails in the distance—that familiar, soothing sound. “Scoot down,” I say. “Here comes the fun part.”
“When I said I didn’t need the bells and whistles, I didn’t quite picture it like this.” She moves toward the end of the bed.
“The baby’s going to be fine,” I say, mustering my calmest voice.
I lift the blanket to examine her. I’m not an ob-gyn, I’m a general internist. This is not what I do. Of course, I did it during my residency years—a month on the maternity ward at San Francisco General—but I was relieved beyond measure when my time was over.
Just to the west of us, beyond the barricaded window and the empty parking lot, is the Veterans Administration hospital. The six-unit hotel is normally booked with veterans’ families, waiting out heart surgery and organ transplants, but today the place is deserted. All but the most crucial surgeries have been postponed, and the whole campus is running on a bare-bones staff.
Both of us are startled by the footsteps on the stairs. Our eyes lock.
A knock on the door. I open my mouth to answer, but Heather brings a finger to her lips.
The knock again, more insistent this time.
“Dr. Walker?” I recognize the voice—Greg Watts from security. Relief washes over me. I shove the desk away from the door just enough to let him in. At sixty going on forty-five, Greg has the slim, athletic build of a runner. He looks me over quickly, grimacing.
“You okay, Dr. Walker?”
He glances at Heather. “What about her?”
“We’re managing. It would be great if we could get a nurse and supplies.”
“Nobody wants to cross that parking lot,” he says. “Not after Eleanor. Not after he shot at you.”
“You crossed the parking lot.”
Greg holds up a cellphone. The blue Mute light is flashing. “Special delivery. He wasn’t going to shoot his own messenger.”
I look at the phone, uncomprehending. “What?”
“He wants to talk to you.”
“He says if he can’t talk to you, someone’s going to get hurt.”
“Where is he now?”
“He broke into your office.”
I take a shaky breath. My office. I think of the photos on the desk, the art on the walls, the radios from Tom, the sand dollar from an afternoon on the beach with Ethan. If he wanted to get inside my head, he’s done it.
Betty’s worked ICU for twenty-six years. A nice woman, a gifted nurse, very calm, four kids and eleven grandkids spread out all over the country. Every year, she and her husband travel by RV to Florida, New Jersey, Ohio, and Montana to see all of them.
“Better staff than patients.”
Greg shakes his head. There’s something he doesn’t want to tell me. “He’s got Rajiv.”
My heart sinks. Twenty-seven years old, in his final year of residency, Rajiv is my chief resident and my favorite student. In a couple of months, he’s getting married. I’ve been looking forward to the wedding.
I press the Mute button and take a deep breath.
“So,” a familiar voice says, “I finally got your attention.”
Reading Group Guide
A Conversation with Michelle Richmond
Random House Reader’s Circle: Why did you decide to set the novel against the backdrop of a vote for secession?
Michelle Richmond: I am fascinated by the fact that so often things that seem impossible are actually very much within the realm of possibility. Every day in the news, there’s something else that completely explodes our expectations. Tom’s radio show, Anything Is Possible, is a tribute to that notion, and I hope this novel is a tribute to that notion as well. Personally, to be clear, I don’t think that California should or will go anywhere, but there’s been so much secession talk on the fringes for years, from states as diverse as New York, Texas, Colorado, and California, that it seemed worth exploring what would happen if the concept of secession moved from the outermost fringes to the mainstream. I also am interested in the way characters live out their lives against the backdrop of the larger world, which is what every one of us does, every day. Only days after moving to California, I experienced my first tremor. I’d been in hurricanes and tornadoes, but this was the first time I’d felt the ground move beneath my feet. It sent a powerful message: that stability is an illusion, and that we have no way of knowing when everything is going to change. Fifteen years have passed since I felt that first tremor, and I’ve felt hundreds of them since then. I am accustomed to them, but I don’t imagine I’ll ever be immune: every time the house moves—-whether it’s a quick jolt or a slow roll—-I’m reminded that we live on a fault line. To me, this seems like an apt metaphor for marriage in particular and for life in general.
RHRC: In Golden State, as in The Year of Fog, the couple is suffering from the loss of a child. Can you talk a bit about this theme and why you are drawn to it?
MR: The worst thing I could imagine as a child was being separated from my parents. Now that I am an adult, I see this fear of separation from the other side. As a child, you fear the loss of protection, but as an adult, you fear the inability to protect a child who is in your care. In my mind, Julie is deeply in love with Tom, and always will be. But there is something about the love for a child that is very different and more fierce than romantic love—-I believe it must have something to do with the need to care for those who are incapable of caring for themselves.
RHRC: You have said in the past that you never outline, and that you don’t know where a book is going when you begin. How much did you know about this story when you began writing it?
MR: Well, I knew from the start that it would be the story of a marriage. I am always intrigued by what holds a couple together, and by what it takes to sever the bonds that, at some point, were strong enough to justify a vow of lifelong commitment. For Julie and Tom, there is this deep love and passion and mutual respect that have kept them together for so long, but things happen, things largely beyond their control, to threaten that love. Will the center hold? That was the question I began with, and I had no idea when I started writing what the answer would be. But it was important to me that Julie and Tom both be characters as decent as they were flawed. I also knew, when I began writing the novel, that three relationships would be central to the novel: the marriage, Julie’s relationship with her sister, and the couple’s relationship to the lost child. It was only much later—-years into the writing of the book—-that Dennis became a strong force. He sort of took me by surprise and added a new element to the novel. This is where the author--editor relationship comes into play; in this case, my editor noticed a character that had been lurking fairly quietly on the sidelines and basically said, “What’s the deal with this guy?” It was a good question, one that forced me to look at the story from an entirely different angle. When I began exploring Dennis’s role in Julie’s life, I thought about all of the relationships we enter into sort of blindly over the course of our adult lives. And I thought about how much of ourselves we make known to people, and how easily we sometimes trust others with our deepest secrets and fears. What interested me about Dennis were the long--term repercussions of that trust.
RHRC: There’s a lot of music in your book. Do you listen to music when you write?
MR: I’ll sometimes listen to instrumentals, but I never listen to music with lyrics while I’m writing. It gets in my head. When I’m not sitting down writing, though, there’s always music in our house. My husband used to DJ at UCLA when he was in college, and he’s always on the lookout for new acts, or new albums by people you haven’t heard of in twenty years. In our house, I buy the books and he buys the albums, and then we share.
RHRC: How did you research this book?
MR: Well, I spent a lot of time driving, walking, and taking the bus up and down California Street! Most people in San Francisco never use the cable cars, and when I started writing this novel, I’d been living in San Francisco for years but hadn’t ridden a cable car since I was there on a family vacation when I was thirteen. Sometimes, some of the research happens before the idea of the book ever takes hold, and that was the case with this novel. At the time I began writing it, my little boy attended the preschool on the campus of the Veterans Administration Hospital in San Francisco. It’s this amazingly beautiful place, and I felt so fortunate to drop him off there every day. But I was also aware that the hospital served a population of veterans who had seen the very worst of war. This was also at a time when the patient population was beginning to change, and when many veterans were coming home with terrible wounds that would not have been survivable in previous wars. A general internist at the hospital generously allowed me to shadow him and his residents. I took copious notes, but it goes without saying that much of what I witnessed on rounds and in the lectures went over my layperson’s head. When it comes to the actual medical terminology of the book, I should emphasize that any failures in logic or procedure are, of course, entirely my own! I also read a lot of first--person accounts by veterans of the wars in Iraq and Afghanistan and talked with friends in the military. We expect so much from our service members, and when they come home, I think we civilians sometimes feel awkward around them. There is this sense of not knowing quite what to say, of being curious but afraid to ask questions that would be intrusive or would force them to recount what they’ve been through. I tried to capture that in the relationship between Julie and her sister: Julie knows that Heather has been through a great deal, but she also knows that it’s something she will never entirely be able to understand.
RHRC: If you hadn’t become an author, what career would you have pursued?
MR: Well, I am endlessly fascinated by outer space. I spend a lot of time reading about newly discovered planets and the Martian atmosphere. I do weird things like attend the SETI (Search for Extraterrestrial Intelligence) conference and stay in the hotel with all the Artificial Intelligence people just to soak up the conversation. I ask my son at least once a month, “Honey, do you think you might like to be an astronaut?” I’ve made my husband sit through the planetarium show at the California Academy of Sciences more times than I care to admit, and it has never once failed to move me to tears. So, I would love to say that I would have become a physicist had I not become a writer, but that simply would not have been possible. We are not always given the brains that we would choose. I am very, very happy to be a writer, and I am keenly aware that my gray matter supports the writing life quite well but would not be particularly well suited for a life observing the unknown universe. I must stick, then, with the known universe, and spend a lot of time staring at the stars.
1. The author uses an unconventional timeline to tell her story, moving back and forth between past, present, and earlier that morning. What elements does this add to the reading experience? How would the experience have changed had the author used a strictly linear approach?
2. How are music and lyrics important throughout the story? What does the incessancy of Tom’s voice on the radio mean to Julie?
3. Describe how Heather and Julie’s relationship changes. What are the most influential moments? If you were Julie, would you have been able to forgive Heather?
4. On page 148, Julie questions her and Tom’s relationship by saying, “Without a child, are we even a family?” Ethan undoubtedly transforms Julie and Tom’s life, but does he prove that children are necessary to have a real family?
5. On page 80, Julie wonders, “Between a marriage one chooses and a blood relation one doesn’t, shouldn’t marriage be the more powerful bond?” Does Julie find an answer to this question? Which do you think is the stronger bond?
6. What does Julie’s mother represent? Why are Julie’s memories of Mississippi and her childhood so important? Why might she reflect on them during the stress of the hostage situation?
7. The characters in Golden State grapple with the idea of things either happening for a reason or happening due to cause and effect. Julie spends most of the novel defending the latter, but which do you believe in? Why?
8. Explain Dennis and Julie’s relationship. How is it possible that Julie could feel remorse for Dennis in the midst of a hostage crisis?
9. Throughout the novel, Julie views her life as a series of beginnings and endings, rather than a continuum of learning and growing. Does this mindset hurt or help her? Does her attitude change by the end of the novel? Through which interpretation do you view your life?
10. The author leaves certain questions unanswered at the close of the story. If you were to write a sequel, how would you tie up the novel’s loose ends?
11. On page 94, Tom says, “We become so used to the way things are . . . we can’t imagine things being any other way.” What does he mean by this? How does the premise of Golden State encourage readers to imagine the impossible?
12. Of all the themes in the novel—-forgiveness, family, belief, patriotism, identity, etc.—-which was the most relevant to you? Why?
Most Helpful Customer Reviews
Copy provided by Netgalley & Random House/Bantam for an unbiased review. It took me a long time to get around to reading this book, and I'm really sorry I waited. I liked this one a lot. The "current" action takes place over the course of a day, but the backstory is told in a series of memories of the main character, Julie Walker. There's a lot going on in that one day, but it's all tied together in the different flashbacks of the events in her life that led up to the one day. As the events of the day unfold both for Julie and her adopted state of California, she considers the events that led up to the day and makes some decisions about her future. The way Michelle Richmond rolls out the different events in Julie’s life kept me wondering and interested, and I cared about how the day would turn out and about how she’d go forward in the future. Well written, and also well narrated (I mostly listened to the audio version, read a few parts).
Kept my attention and interest. Alternating chapters of years past, the recent past, and the present gave the book some suspense as answers were slowly revealed. Several different plot lines and characters that developed over time. Recommended.
I like the author's style and the way she keeps the reader wondering about certain events that contributed to the characters' relationships. I feel like the story could've delved deeper into the hypothetical goings on with the vote for secession. It was lost in the background and unresolved.
Check out the full review at Kritters Ramblings As her relationship is falling apart and she is listening to her soon to be ex-husband blast messages via his radio show, she is trying to get to and attend to her sister who is having a baby and a man from her past is holding her colleagues hostage in the hospital AND if all this wasn't enough, the state she is living in is going through a controversial vote to cede from the Union. A whole heck of a lot of drama.