Lacuna

By Fiona Snyckers

A feminist response to Coetzee’s masterwork Disgrace, and the moving story of a woman trying to put her life back together

Lucie Lurie is the victim of an act of terrible sexual violence, a gang rape at her father’s farmhouse in the Western Cape. In the grip of debilitating PTSD, she becomes obsessed with JM Coetzee, author of the celebrated Disgrace, a novel based on the attack she suffered.

Withdrawn and fearful of crowds, Lucy nonetheless makes occasional forays into the world of men in her search for Coetzee himself. She means to confront him. The character in his novel is passive and almost entirely lacking agency. The real Lucy means to right the record, for she is the lacuna that Coetzee left in his novel the missing piece of the puzzle. She plans to put herself back in the story, to assert her agency and identity. For Lucy Lurie will be no man’s lacuna.

“You are concerned for my sake, which I appreciate, you think you understand, but finally you don’t. Because you can’t.”
LUCY LAURIE IN COETZEE'S DISGRACE

• Language: English
• Publisher: Europa Editions
• Release date: May 19, 2022
• ISBN: 9781787703759

Fiona Snyckers

Fiona Snyckers is the author of the Trinity series of young adult novels, the Eulalie Park series of mystery novels, and two high-concept thrillers, Now Following You and Spire. She has been long-listed four times for the Sunday Times Barry Ronge Fiction Prize.

Reviews for Lacuna

[ozzer_1 · Rating: 5 out of 5 stars]

Notwithstanding the #Me Too movement, women’s accounts of rape are still frequently disbelieved in favor of unsatisfying “he said-she said” narratives that all too frequently come down on the side of the powerful. One only needs to consider the Kavanaugh hearings or the many allegations against Trump to understand this sad fact. Snyckers explores this dynamic by re-imagining Lucy Lurie, the protagonist of “Disgrace” JM Coetzee’s award-winning novel that uses a brutal rape as a metaphor for racial reconciliation in post-apartheid South Africa. Unlike Coetzee’s Lucy, a passive person devoid of agency, Snyckers’ Lucy is intelligent and belligerent, totally obsessed with scratching back her voice and agency from how they were portrayed in Coetzee’s novel. Snyckers’ creation is far from perfect. She suffers from PTSD, is withdrawn, afraid of crowds, deluded about finding Coetzee and making him understand her point of view, and at bottom, a deeply unreliable narrator. At its core, this engaging stream-of-consciousness narrative explores the relationship between fact and fiction in storytelling. It artfully explores the question of just who owns a story? Is it the artist, the subject, or the reader? Lucy begins her meditation with the strong belief that she owns her story and Coetzee has no right to use it for his own purposes. Clearly, one can make a successful argument that rape is a particularly ill-suited metaphor for South African racial reconciliation, yet the central question of the novel is never resolved. Instead, one comes away with the feeling that art needs to be judged on its own merits by those who consume it. The artist and the subject are merely conduits to carry ideas forward. Interestingly, this question appeared once again in all its messy glory in the recent press. Amanda Knox, the American student accused of killing her roommate while studying in Italy, objected to the adaptation of her story in the recent film, “Stillwater.” Clearly, such creations can interfere with healing from trauma. Notwithstanding, they still can contain artistic value. One could rightly argue that “Stillwater” may not have as much artistic merit as “Disgrace”, but it is not totally devoid of art.Snykers’ writing is accomplished primarily because it explores culture broadly with humor and insightfulness almost exclusively through Lucy’s internal monologue. She does so by identifying and criticizing Lucy’s ideas using multiple characters, including her long-time friend Moira, her therapist Lydia Bascombe, her love interest Eugene Huzain, her distant father, and her academic colleagues. It is ironic, however, that Snyckers’ fictional Coetzee plays no active role in the novel, except in Lucy’s mind. This is primarily a novel of ideas, but the plot, such as it is, still has a satisfying resolution.