New York Times Bestseller • A Best Book of the Year: New York Times, Chicago Tribune, San Francisco Chronicle, Seattle Times, and Kansas City Star • Winner of the Orange Prize
“Breathtaking. . . dazzling.” — New York Times Book Review
“Her best novel yet. . . both epic and deeply personal. . . . This is thought-provoking, and potentially thought-changing, historical fiction at its best.” — Dallas Morning News
In this powerfully imagined, provocative novel, Pulitzer Prize-winning author Barbara Kingsolver takes us on an epic journey from the Mexico of artists Diego Rivera and Frida Kahlo to the America of Pearl Harbor, FDR, and J. Edgar Hoover. The Lacuna is the poignant story of a man pulled between two nations as well as an unforgettable portrait of the artist—and of art itself.
Born in the United States, raised in Mexico, Harrison Shepherd lacks a sense of home in either. Life is whatever he learns from housekeepers who put him to work in the kitchen; from errands he runs in the streets; and, one fateful day, by mixing plaster for famed Mexican muralist Diego Rivera. He discovers a passion for Aztec history and the exotic, imperious artist Frida Kahlo, who will become his lifelong friend. When he goes to work for Lev Trotsky, an exiled political leader fighting for his life, Shepherd inadvertently casts his lot with art and revolution, newspaper headlines and howling gossip, and a risk of terrible violence.
Meanwhile, to the north, the United States will soon be caught up in the internationalist goodwill of World War II. There, in the land of his birth, Shepherd believes he might remake himself in America’s hopeful image and claim a voice of his own. Through darkening years, political winds continue to toss him between north and south in a plot that turns many times on the unspeakable breach—the lacuna—between truth and public presumption.
With deeply compelling characters, a vivid sense of place, and a clear grasp of how history and public opinion can shape a life, Kingsolver has created a rich and daring work of literature, establishing its author as one of the most provocative and important of her time.
Barbara Kingsolver was born in 1955 and grew up in rural Kentucky. She earned degrees in biology from DePauw University and the University of Arizona, and has worked as a freelance writer and author since 1985. At various times she has lived in England, France, and the Canary Islands, and has worked in Europe, Africa, Asia, Mexico, and South America. She spent two decades in Tucson, Arizona, before moving to southwestern Virginia where she currently resides.
Her books, in order of publication, are: The Bean Trees (1988), Homeland (1989), Holding the Line: Women in the Great Arizona Mine Strike (1989), Animal Dreams (1990), Another America (1992), Pigs in Heaven (1993), High Tide in Tucson (1995), The Poisonwood Bible (1998), Prodigal Summer (2000), Small Wonder (2002), Last Stand: America’s Virgin Lands, with photographer Annie Griffiths (2002), Animal, Vegetable, Miracle: A Year of Food Life (2007), The Lacuna (2009), Flight Behavior (2012), Unsheltered (2018), How To Fly (In 10,000 Easy Lessons) (2020), Demon Copperhead (2022), and coauthored with Lily Kingsolver, Coyote's Wild Home (2023). She served as editor for Best American Short Stories 2001.
Kingsolver was named one the most important writers of the 20th Century by Writers Digest, and in 2023 won a Pulitzer Prize for her novel Demon Copperhead. In 2000 she received the National Humanities Medal, our country’s highest honor for service through the arts. Her books have been translated into more than thirty languages and have been adopted into the core curriculum in high schools and colleges throughout the nation. Critical acclaim for her work includes multiple awards from the American Booksellers Association and the American Library Association, a James Beard award, two-time Oprah Book Club selection, and the national book award of South Africa, among others. She was awarded Britain's prestigious Women's Prize for Fiction (formerly the Orange Prize) for both Demon Copperhead and The Lacuna, making Kingsolver the first author in the history of the prize to win it twice. In 2011, Kingsolver was awarded the Dayton Literary Peace Prize for the body of her work. She is a member of the American Academy of Arts and Letters.
She has two daughters, Camille (born in 1987) and Lily (1996). She and her husband, Steven Hopp, live on a farm in southern Appalachia where they raise an extensive vegetable garden and Icelandic sheep.
Date of Birth:
April 8, 1955
Place of Birth:
Annapolis, Maryland
Education:
B.A., DePauw University, 1977; M.S., University of Arizona, 1981
Titling a book should happen like a romance: the words should bedazzle the writer from the start. Getting swept off your feet is useful for book beginnings, as for marriage, as it can carry the smitten along through some of the constructive work and whining that inevitably lie ahead.
I've nursed this fantasy through many writing years: one after another, titles gazed at me across a crowded room and made me weak in the knees. The first time, I hardly knew what had hit me. I was a biology graduate student, walking across the University of Arizona campus to my favorite study haunt, an old brick library. I looked up to see the entire façade covered with an enormous wisteria vine, its branches flowing upward from one gnarled trunk, ending in a shimmering fringe of bean pods. I took it all in: the thousand pods, the absurdly arid ground, the roots that had pushed below cement, with their symbiotic microbes pulling nitrogen out of empty dirt to fuel this magnificent productivity. (As I mentioned, I was a graduate student.) "Bean Trees," I said aloud, and understood I needed to write a novel about how people living together in communities can draw resources from unlikely places. This was not what I'd planned to do with my life. It took a few years to break it to my graduate committee.
But my point is, the title and theme of the book arrived together. It happened again and again. Animal Dreams, Prodigal Summer, Small Wonder, I received each one as a gift, the only part of writing that seemed effortless and beyond my control. A good title holds magic, some cognitive dissonance, a little grit between the teeth, but above allit is the jumping-off place into wonder. Titling a book is not like putting a coat of paint on a finished house. It's like finding a skeleton key in the grass, then devising locks, building them into doors. The key allows entry into every part of the house.
Imagine my dismay, then, when I found myself several years into writing my thirteenth book and it didn't have a title. It had a label, of the kind one scribbles on a manila folder: a file-cabinet description for my poor unchristened project. Maybe I've outgrown love-at-first-sight, I thought. I consoled myself with the memory of a previous novel that had gone through several titles, all bad, (one of them so awful my agent made squawking sounds over the phone when I proposed it), but in time I'd seen the light and called it The Poisonwood Bible. Order returned after that. The next four book ideas arrived with titles attached.
Now, though, in the autumn of 2007, I was more than halfway through a draft of this novel whose name remained at large. Unlucky thirteen? I felt panic rising. Just in time to send me over the edge, I learned that the current Wikipedia entry for author Barbara Kingsolver made the bizarre claim that a new novel (titled with the file-folder name) would be released at the end of that month! "What's the problem?" my husband asked his supine wife, in a lull between her howls. "You've still got three weeks."
A full year later, I was finally closing in on a solid draft. This was the most difficult, research-intensive, delicious creation I'd ever sunk my teeth into - and I still had no idea what to call it. My story was full of secret passageways, tunnels through time and lives. It was about missing manuscript pages, dark caves, people who disappear against the backdrop, and the howling falsehoods that obscure quiet truths, all connected thematically with an underwater cave the protagonist discovers while diving in the sea. The image of that cave was as potent for me as the Bean Trees that stopped me in my career tracks twenty-two years before. I hungered for enough words to describe it.
I keep Roget's Thesaurus within reach of my desk chair. I love the heft of this white book, its treasury of associations, for even though no two words in our language have precisely the same meaning, a good thesaurus can lead you down the trail to exactly the one you need. I leafed through the wafer-thin pages. This sea-cave in my novel was a grotto, a chasm, an orifice, an interval, a missing link, a void, a . . . lacuna.
Dear reader, I swooned. I heard the angel chorus, the cherubs fluttering overhead holding up the banner: THE LACUNA. This word whose many intertwined meanings unlocked every room in the house I'd built. I typed it, and stared. It's possible that I smacked myself on the forehead. I could not wait to march downstairs from my study and announce to my family, "I have a title! The Lacuna!"
My husband put on his kindest I-hate-to-tell-you-this face. The trouble with my fabulous title, he offered, is that most people don't know what that word means.
"Oh," I said. "Well. I hope they will learn it soon."
I'll confess, I've had my moments of doubt. Or I've rationalized. I did name a novel Prodigal Summer, and almost nobody knows what prodigal means either. (It has nothing to do with returning home.) When people ask, "What is the name of your new book?" I brace myself for the furrowed brow. I am sorry, I wish it were otherwise, and if I've sent anyone begrudgingly to the dictionary, I swear I'm not out to thump the American noggin one vocabulary word at a time, this is not eighth-grade English. It's just that no other word will do. We have no exact synonym for lacuna, with its scent of old manuscripts and mystery, its dark salt taste of geology, its Latinate echoes, these grooves and ridges of meaning. This is the one. I found my key lying in the grass, in the nick of time. I suppose it must have been there all along.
