Bel Canto is a novel that
displays the best and worst of humankind. In a beginning that is fast paced and
violent, the reader is introduced to a set of unsavoury characters, from the
barbaric nature of the terrorists, in particular the generals, to the worshipping
mannerisms of Roxane Coss. Yet, Anne Patchett beautifully dilutes this prior
chaos and constructs a place of familiarity that soon becomes a home of
security to all those within it.
The novel forces us to
subconsciously to change the way we view human nature. Anne Patchett’s
intensely descriptive narrative strips down the false façade of individuals to
reveal a raw portrayal of society. She is able to hold a certain ability to
entrance the reader throughout, to the extent that we too become the hostages,
experiencing the tale of prohibited love.
Her subtle use of understated
humour compliments much of her work. It is neither laboured, nor rarely used,
but merely enhances the beauty within each of the characters. Although, it may
not appear as stereotypically humorous, she is able to define and perfect each
of the individuals’ mannerisms, to the extent that the witty narrative is not
obvious, but added in within their public and private observations. The amusing
narrative becomes more prominent as the tale progresses, and so too do the
terrorist’s mind-sets, and attitudes, that soften towards the hostages.
On the surface, it is a situation
that appears so brutal, yet it is so quickly overturned into a secluded
euphoria. What becomes surprising for the reader is that a certain affection is
developed for the characters. With the absence of a clear protagonist, the
weight of the narrative falls upon each of the individuals. Hitherto, as the
novel progresses it is difficult to distinguish ones fondness between those of
the hostages and the terrorists.
Anne Patchett carefully addresses
the matters of courtship and love. We, as the reader, are not forced to believe
a set of blundering characters professing their love. But instead we are
introduced to the delicate issue of clandestine love. The unlikely romance that
ensues between Mr Hosokawa and Roxane Coss, is born out of their close
captivity. Ann Patchett subtly plays out their elegant courtship. What causes
this to differ from so many other romances is that their sentiments of love are
not directed through dialog. Indeed, with the help of Mr Hosokawa’s employee;
Gen the translator, they are, to a certain degree able to pass on public
affections. However, what is so endearing about their love is that although everything
within the house is so public; their intimate relations within Roxane Coss’ bedroom are kept private. Not only is it a secret from the household, but also
from the reader, for Patchett chooses to leave their love behind closed doors.
Indeed, this makes it a more beautiful and respected courtship. With the lack
of dialogue between them, they become reliant upon one of our most basic forms
of interaction; body language.
In comparison, Patchett also
presents the reader with the more thrilling and strictly prohibited love
concerning Gen, the hostage, and Carmen, the terrorist. Their romance escalates
from Gen teaching the young terrorist how to speak English. Patchett does not
throw the reader into a sordid affair, but instead we see that it is born out a
yearning of education. Carmen only learns that she desires Gen through her
initial want of wisdom and knowledge.
Patchett cleverly lulls, not only the hostages and terrosists, but also the
reader into a false sense of security. Once past the initial rush, as the
hostages are faced with a barbaric battlefield of mistreatment, the novel takes
a steady pace and the individuals partake in a series of monotonous everyday
activities, such as chess. However, one is completely unprepared for the
explosive ending. Ann Patchett is a master of creating the conclusive
unexpected. Throughout the novel, we form bonds and affections for both the
hostages and terrorists. It is with this connection that makes the ending so
hard to accept. It is at this point that we question ourselves, for the
military break in, should, if asked at the beginning of the novel, be the
correct and immediate thing to do. However, the euphoria instilled within the
house becomes so hypnotising and secluded, that the destruction of it becomes
as horrifying, if not more so, than the initial terrorist break in. The
emotional ending sees humanity at its most stripped of false pretences. We see
powerful figures, such as the Vice President (Ruben Iglesias) weeping over what
he feels to be a son of his in the young terrorist; Ishmael. Ann Patchett
skilfully concludes the novel as romance still ensues out of the memory of the
loved ones lost.
Patchett ultimately proves to be
the master of novel’s destiny. She intertwines the brutal resilience and
frustration of politics with the tender course of love. It is, in my eyes, a
book that engages the reader entirely, and plays out what can only be described
as the best and worst of humankind.
Sophie Fowler-Tutt
No comments:
Post a Comment