Bel Canto

by Ann Patchett

Overview

Notes From Your Bookseller

Before The Dutch House and Tom Lake, there was Bel Canto. This is the luminous novel about music and art, love and connection that put Ann Patchett on the map for readers.

Winner of the PEN/Faulkner Award • Winner of the Orange Prize • National Book Critics Circle Award Finalist • New York Times Readers’ Pick: Top 100 Books of the 21^st Century

"Bel Canto is its own universe. A marvel of a book." —Washington Post Book World

Ann Patchett’s spellbinding novel about love and opera, and the unifying ways people learn to communicate across cultural barriers in times of crisis. 

Somewhere in South America, at the home of the country's vice president, a lavish birthday party is being held in honor of the powerful businessman Mr. Hosokawa. Roxanne Coss, opera's most revered soprano, has mesmerized the international guests with her singing. It is a perfect evening—until a band of gun-wielding terrorists takes the entire party hostage. But what begins as a panicked, life-threatening scenario slowly evolves into something quite different, a moment of great beauty, as terrorists and hostages forge unexpected bonds and people from different continents become compatriots, intimate friends, and lovers.

Patchett's lyrical prose and lucid imagination make Bel Canto a captivating story of strength and frailty, love and imprisonment, and an inspiring tale of transcendent romance.

Product Details

ISBN-13:	9780060838720
Publisher:	HarperCollins
Publication date:	02/07/2023
Series:	P.S. Series
Pages:	336
Product dimensions:	0.30(w) x 7.50(h) x 0.90(d)
Lexile:	930L (what's this?)

About the Author

Ann Patchett is the author of novels, most recently the #1 New York Times bestselling Tom Lake, works of nonfiction, and children's books. She has been the recipient of numerous awards, including the PEN/Faulkner, the Women's Prize for Fiction in the UK, and the Book Sense Book of the Year. Her novel The Dutch House was a finalist for the Pulitzer Prize. Her work has been translated into more than thirty languages, and Time magazine named her one of the 100 Most Influential People in the World. President Biden awarded her the National Humanities Medal in recognition of her contributions to American culture. She lives in Nashville, Tennessee, where she is the owner of Parnassus Books.

Hometown:

Nashville, Tennessee

Date of Birth:

December 2, 1963

Place of Birth:

Los Angeles, California

Education:

B.A., Sarah Lawrence College, 1985; M.F.A., University of Iowa, 1987

Website:

http://www.annpatchett.com

Read an Excerpt

Chapter One

When the lights went off the accompanist kissed her. Maybe he had been turning towards her just before it was completely dark, maybe he was lifting his hands. There must have been some movement, a gesture, because every person in the living room would later remember a kiss. They did not see a kiss, that would have been impossible. The darkness that came on them was startling and complete. Not only was everyone there certain of a kiss, they claimed they could identify the type of kiss: it was strong and passionate, and it took her by surprise. They were all looking right at her when the lights went out. They were still applauding, each on his or her feet, still in the fullest throes of hands slapping together, elbows up. Not one person had come anywhere close to tiring. The Italians and the French were yelling, "Brava! Brava!" and the Japanese turned away from them. Would he have kissed her like that had the room been lit? Was his mind so full of her that in the very instant of darkness he reached for her, did he think so quickly? Or was it that they wanted her too, all of the men and women in the room, and so they imagined it collectively. They were so taken by the beauty of her voice that they wanted to cover her mouth with their mouth, drink in. Maybe music could be transferred, devoured, owned. What would it mean to kiss the lips that had held such a sound?

Some of them had loved her for years. They had every recording she had ever made. They kept a notebook and wrote down every place they had seen her, listing the music, the names of the cast, the conductor. There were others there that night who had not heard her name, who would have said, if asked, that opera was a collection of nonsensical cat screechings, that they would much rather pass three hours in a dentist's chair. These were the ones who wept openly now, the ones who had been so mistaken.

No one was frightened of the darkness. They barely noticed. They kept applauding. The people who lived in other countries assumed that things like this must happen here all the time. Lights go on, go off. People from the host country knew it to be true. Besides, the timing of the electrical failure seemed dramatic and perfectly correct, as if the lights had said, You have no need for sight. Listen. What no one stopped to think about was why the candles on every table went out as well, perhaps at that very moment or the moment before. The room was filled with the pleasant smell of candles just snuffed, a smoke that was sweet and wholly unthreatening. A smell that meant it was late now, time to go to bed.

They continued the applause. They assumed she continued her kiss.

Roxane Coss, lyric soprano, was the only reason Mr. Hosokawa had come to this country. Mr. Hosokawa was the reason everyone else had come to the party. It was not the kind of place one was likely to visit. The reason the host country (a poor country) was throwing a birthday party of unreasonable expense for a foreigner who had to be all but bribed into attending was that this foreigner was the founder and chairman of Nansei, the largest electronics corporation in Japan. It was the fondest wish of the host country that Mr. Hosokawa would smile on them, help them in some of the hundred different ways they needed helping. That could be achieved through training or trade. A factory (and this was the dream so dear its name could hardly be spoken) could be built here, where cheap labor could mean a profit for everyone involved. Industry could move the economy away from the farming of coca leaves and blackhearted poppies, creating the illusion of a country moving away from the base matter of cocaine and heroin, so as to promote foreign aid and make trafficking of those very drugs less conspicuous. But the plan had never taken root in the past, as the Japanese, by nature, erred on the side of caution. They believed in the danger and the rumors of danger countries such as this presented, so to have Mr. Hosokawa himself, not an executive vice president, not a politician, come and sit at the table was proof that a hand might be extended. And maybe that hand would have to be coaxed and begged. Maybe it would have to be pulled from its own deep pocket. But this visit, with its glorious birthday dinner replete with opera star, with several meetings planned and trips to possible factory sites tomorrow, was a full world closer than they had ever come before and the air in the room was sugared with promise. Representatives from more than a dozen countries who had been misled as to the nature of Mr. Hosokawa's intentions were present at the party, investors and ambassadors who might not encourage their governments to put a dime into the host country but would certainly support Nansei's every endeavor, now circled the room in black tie and evening gown, making toasts and laughing.

As far as Mr. Hosokawa was concerned, his trip was not for the purposes of business, diplomacy, or a friendship with the President, as later would be reported. Mr. Hosokawa disliked travel and did not know the President. He had made his intentions, or lack of intentions, abundantly clear. He did not plan to build a plant. He would never have agreed to a trip to a strange country to celebrate his birthday with people he did not know. He was not much for celebrating his birthday with people he did know, and certainly not his fifty-third, which he considered to be a number entirely without note. He had turned down half a dozen strong requests from...

Reading Group Guide

Introduction

"How much does a house know?"

In the vice president's mansion in an unnamed South American country, a lavish party is taking place to celebrate the birthday of a visiting Japanese businessman. An American opera singer is entertaining the guests, dignitaries and high-ranking officials from around the world, when suddenly the room is plunged into darkness. Terrorists invade the mansion and set in motion a series of events that irrevocably alters the life of every person involved.

For Mr. Hosokawa, the Japanese businessman in whose honor the party is thrown, the time in captivity is rife with paradox. He never had any intention of doing business with the host country and so feels guilty for having accepted the invitation under false pretenses-solely to meet Roxane Coss. His feelings of guilt however give way to an undeniable happiness. He is held against his will, and yet under no other circumstances would he have become acquainted with the renowned opera singer who has long captivated him.

The only woman not released by the terrorists, Roxane Coss is the central figure in the story. As much as Gen, Mr. Hosokawa's translator and a gifted linguist, makes it possible to overcome the language barriers, it is Roxane's exquisite voice that bridges the chasm between the hostages and the terrorists.

Every person in the house, regardless of their knowledge and understanding of opera, recognizes the sheer splendor of Roxane's singing and understands that they, in the midst of this terrifying situation, are witness to an awe-inspiring talent. Her singing and the practice routine she devises allow her to maintain a hold on her previouslife -- and, by extension, her fellow hostages are able to do so as well. Her singing is their only link to the world they have left behind, and because of this the power that Roxanne holds is greater than that of the gun-wielding terrorists.

Just as the hostages have no contact with the outside world, the narrative keeps the reader focused on the events taking place inside the mansion. As time passes, the boundaries between hostage and terrorist begin to blur. Friendships are formed; passions flare, and mutual interests and talents are discovered. As the days become weeks and the weeks flow into months, an uneasy rhythm marks the time spent in captivity as the world is reduced to the four walls of the Vice President's mansion.

Much the same as an opera takes the listener through various stages of emotions; Bel Canto delivers the same impact for the reader. The beauty of the music is always present -- "soon enough the days were divided into three states: the anticipation of her signing, the pleasure of her signing, and the reflection of her singing" -- in stark contrast to the harsh reality of the situation. Mesmerizing with its lyrical prose, Bel Canto builds to an unexpected and poignant crescendo that resonates with emotion.

Discussion Questions

Describe Roxane Coss. What is it about her that makes such an impression on the other hostages and the terrorists? Is it merely that she is famous? How does her singing and the music relate to the story?

Even though he is given the opportunity to leave the mansion, Father Arguedas elects to stay with the hostages. Why does he decide to stay when he risks the possibility of being killed? As the narrative states, why did he feel, "in the midst of all this fear and confusion, in the mortal danger of so many lives, the wild giddiness of good luck?" (pg. 74). Isn't this an odd reaction to have given the situation? What role does religion play in the story?

There are numerous instances in the story where Mr. Hosokawa blames himself for the hostages' situation. He says to Roxane, "But I was the one who set this whole thing in motion." Roxane replies with the following: "Or did I?" she said. "I thought about declining…. Don't get me wrong. I am very capable of blame. This is an event ripe for blame if I ever saw one. I just don't blame you." Is either one to blame for the situation? If not, who do you think is ultimately responsible?

Roxane and Mr. Hosokawa speak different languages and require Gen to translate their conversations. Do you think it's possible to fall in love with someone to whom you cannot speak directly?

"Roxane Coss and Mr. Hosokawa, however improbable to those around them, were members of the same tribe, the tribe of the hostages.... But Gen and Carmen were another matter" (pg. 294). Compare the love affairs of Gen and Carmen and Roxane and Mr. Hosokawa. What are the elements that define each relationship?

We find out in the Epilogue that Roxane and Gen have been married. How would you describe their relationship throughout the story? Thibault believes that "Gen and Roxane had married for love, the love of each other and the love of all the people they remembered" (pg. 318). What do you think of the novel's ending? Did it surprise you? Do you agree with Thibault's assessment of Gen and Roxane's motivations for marrying?

The garua, the fog and mist, lifts after the hostages are in captivity for a number of weeks. "One would have thought that with so much rain and so little light the forward march of growth would have been suspended, when in fact everything had thrived" (pg. 197). How does this observation about the weather mirror what is happening inside the Vice President's mansion?

At one point Carmen says to Gen, "'Ask yourself, would it be so awful if we all stayed here in this beautiful house?'" (pg. 206). And towards the end of the story it is stated: "Gen knew that everything was getting better and not just for him. People were happier." Messner then says to him, "'You were the brightest one here once, and now you're as crazy as the rest of them'" (pg. 302). What do you think of these statements? Do you really believe they would rather stay captive in this house than return to the "real" world?

When the hostages are finally rescued, Mr. Hosokawa steps in front of Carmen to save her from a bullet. Do you think Mr. Hosokawa wanted to die? Once they all return to their lives, it would be nearly impossible for him to be with Roxane. Do you think he would rather have died than live life without her?

The story is told by a narrator who is looking back and recounting the events that took place. What do you think of this technique? Did it enhance the story, or would you have preferred the use of a straight narrative?

About the Author: Ann Patchett is the author of three previous novels, The Patron Saint of Liars, which was a New York Times Notable Book of the Year; Taft, which won the Janet Heidinger Kafka Prize; and The Magician's Assistant, which earned her a Guggenheim Fellowship in 1994. She is also a recipient of the Nashville Banner Tennessee Writer of the Year Award. Patchett has written for many publications, including New York Times Magazine, Chicago Tribune, Village Voice, GQ, Elle, Gourmet, and Vogue.

Patchett attended Sarah Lawrence College, where she took writing classes with Alan Gurganus, Russell Banks, and Grace Paley. While an undergraduate, she sold her first story to the Paris Review. Patchett then went on to attend the University of Iowa Writer's Workshop, and in 1990, she won a residential fellowship at the Fine Arts Work Center in Provincetown, Massachusetts. Here she wrote her first novel, The Patron Saint of Liars, which was awarded a James A. Michner/Copernicus Award for a book in progress. The Patron Saint of Liars was adapted into a TV movie for CBS in 1997, and Patchett wrote the screenplay for Taft, which has been optioned by Morgan Freeman for a feature film.

Patchett lives in Nashville, Tennessee.

Editorial Reviews

"Tremendous fun... Rereading this terrific novel with [Patchett]... is a master class in fiction writing conveyed in marginalia that has the tone of an ideal dinner conversation." — The Washington Post

“Bel Canto is its own universe. A marvel of a book.” — Washington Post Book World

“Patchett’s tragicomic novel—a fantasia of guns and Puccini and Red Cross negotiations—invokes the glorious, unreliable promises of art, politics, and love.” — The New Yorker

“One approaches the final pages with a heavy heart for several reasons, not the least of which being that this fine read has come to an end.” — Entertainment Weekly (A-)

“Bel Canto has all the qualities one has come to expect from a classic Ann Patchett novel: grace, beauty, elegance, and magic.” — Madison Smartt Bell

“Patchett’s ability to evoke sense of place. . .is near magical in itself.” — Publishers Weekly

“A novel that showcases Patchett's profound understanding of the heart.” — BookForum

“This fluid and assured narrative, inspired by a real incident, demonstrates her growing maturity and mastery of form as she artfully integrates a musical theme within a dramatic story.” — Publisher's Weekly

"Bel Canto by Ann Patchett should be on the list of every literate music lover. The story is riveting, the participants breathe and feel and are alive, and throughout this elegantly-told novel, music pours forth so splendidly that the reader hears it and is overwhelmed by its beauty. Ann Patchett is a special writer who has written a special book." — WXQR

“A strange, terrific, spellcasting story.” — San Francisco Chronicle

"Bel Canto invites readers to explore new and unfamiliar territory, to take some emotional risks rather than stand with Rolland among those 'already saved.'" — Chicago Tribune

"In more ways than one, Bel Canto is about finding beauty in unexpected places." — New York Magazine

“The author has taken what could have been a variation on the Lord of the Flies scenario and fashions instead a ’Lord of the Butterflies,’ a dreamlike fable in which the impulses toward beauty and love are shown to be as irrepressible as the instincts for violence and destruction.” — New York Magazine

"Patchett can be counted on to deliver novels rich in imaginative bravado and psychological nuance." — Publishers Weekly

"You'll find a few hours of entertainment and maybe even a strange yearning to be kidnapped." — Time Out New York

"A book that works both as a paean to art and beauty and a subtly sly comedy of manners." — The New York Times

"Combining an unerring instinct for telling detail with the broader brushstrokes you need to tackle issues of culture and politics, Patchett creates a remarkably compelling chronicle of a multinational group of the rich and powerful held hostage for months." — Kirkus Reviews

"Bel Canto moves elegantly through its paces, captors and captivates alike stumble on that most elusive liberty: the freedom to be." — New York Daily News

“A provocative and enchanting look at the power art has to suspend real life and to create a better world, one in which the differences between people can be erased and the barriers to our best selves can be hurdled.” — Detroit Free Press

“Blissfully romantic... with engaging wit and brilliant writing about love, Patchett has crafted a seductive, romantically charged novel...” — San Fransisco Chronicle

From the Publisher

National Book Critics Circle Award Finalist
IMPAC Dublin Literary Award Finalist
Southeast Booksellers Assn. -- fiction Finalist
PEN/Faulkner Award

PAPERBACK COMMENTARY

Bel Canto has all the qualities one has come to expect from a classic Ann Patchett novel: grace, beauty, elegance, and magic.

Madison Smartt Bell