Patchett canto5/26/2023 The coup thus fails at the outset negotiations drag on while government forces tunnel beneath the mansion and, in the barricaded cohabitation of hostages and hostage-takers, the illeducated young rebels, exposed to the international array of refined party guests, reveal great talents for singing, chess, and romance. Their hope is to kidnap the President, but he does not attend. Hosokawa, with a special performance by the internationally esteemed lyric soprano Roxane Coss, whom he has long loved from afar-is invaded by a tiny army of terrorists, consisting of three revolutionary “generals” and fifteen youthful recruits from the impoverished countryside. A lavish party-designed by the government to court the Japanese industrialist Mr. Patchett’s customarily benign view of human nature took on global import within the besieged mansion of a Peru-like nation’s Vice-President. Her arresting, elegant thriller cast a hostage crisis in a nameless Latin-American capital as an operatic illustration of the well-known truism that captives and captors tend, as the days of mutual exposure draw on, to develop solidarity with one another. Before “Bel Canto,” she had been admired but obscure, a veteran of academic postings and the grant wars. PAUL HAMLYNĪnn Patchett has not rushed to follow up her breakthrough novel, “Bel Canto” (2001), which promoted her from private to major in the embattled ranks of literary novelists. Patchett gives us the world as it should be.
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