Winner of the 2002 PEN/Faulkner Award for Fiction
Winner of the 2002 Orange Prize
Finalist for the 2001 National Book Critics Circle Award

Somewhere in South America, at the home of the country's vice president, a lavish birthday party is being held in honor of Mr. Hosokawa, a powerful Japanese businessman. 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 breaks in through the air-conditioning vents and takes the entire party hostage. But what begins as a panicked, life-threatening scenario slowly evolves into something quite different, as terrorists and hostages forge unexpected bonds and people from different countries and continents become compatriots.

Without the demands of the world to shape their days, life on the inside becomes more beautiful than anything they had ever known before. At once riveting and impassioned, the narrative becomes a moving exploration of how people communicate when music is the only common language. Friendship, compassion, and the chance for great love lead the characters to forget the real danger that has been set in motion and cannot be stopped.

Ann Patchett has written a novel that is as lyrical and profound as it is unforgettable. Bel Canto engenders in the reader the very passion for art and the language of music that its characters discover. As a reader, you find yourself fervently wanting this captivity to continue forever, even though you know that real life waits on the other side of the garden wall. Bel Canto is a virtuoso performance by one of our best and most important writers. It is a novel to be cherished.

"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 creates a remarkably compelling chronicle of a multinational group of the rich and powerful held hostage for months....Readers may intellectually reject the author's willingness to embrace the terrorists' humanity, but only the hardest heart will not succumb....Brilliant." Kirkus Reviews

"Let me put this plainly: Ann Patchett has written the best book I've read in a long, long time. Bel Canto is a masterpiece true to its title, a beautiful song, a broad, bold entirely original love story destined to become an international classic. This is the book we all wait for, the one we thrust into the hands of friends, saying, 'You've got to read this! You've got to read this now!'" A. Manette Ansay, author of Midnight Champagne

"Patchett's tragicomic novel — a fantasia of guns and Puccini and Red Cross negotiations — invokes the glorious, unreliable promises of art, politics, and love. Against this grand backdrop, the smallest gestures bloom with meaning." The New Yorker

"[An] elegantly alluring book....Although this novel is entirely housebound, at the vice presidential mansion, Ms. Patchett works wonders to avoid any sense of claustrophobia and keeps the place fresh at every turn." Janet Maslin, New York Times

"Ann Patchett's latest novel sneaks up so stealthily on the reader that before you know it, you've already skipped a meal or missed your meeting....The power and majesty of music, the power and acceptability of good writing. It's all there in Ann Patchett's Bel Canto." John Valentine, Independent Online

From the bestselling author of The Magician's Assistant comes a marvelous novel of love, opera, and terrorism set in South America. Two couples, complete opposites, fall in love; sexual identities become confused; and a horrific imprisonment is transformed into an unexpected heaven on earth.

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 previous life — and, by extension, herfellow 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 thisfear 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 anumber 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 ofthe 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.

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Somewhere in South America, at the home of the country's vice president, a lavish birthday party is being held in honor of Mr. Hosokawa, a powerful Japanese businessman. 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 breaks in through the air-conditioning vents and takes the entire party hostage. But what begins as a panicked, life-threatening scenario slowly evolves into something quite different, as terrorists and hostages forge unexpected bonds and people from different countries and continents become compatriots.Friendship, compassion, and the chance for great love lead the characters to forget the real danger that has been set in motion and cannot be stopped.

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.

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 and The Magician's Assistant She has written for many publications, including the New York Times Magazine, The Paris Review, and Vogue. She lives in Nashville, Tennessee.