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The Glass Hotel: A novel av Emily St. John…
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The Glass Hotel: A novel (utgåvan 2021)

av Emily St. John Mandel (Författare)

MedlemmarRecensionerPopularitetGenomsnittligt betygOmnämnanden
2,9811784,664 (3.81)222
"[A] novel of money, beauty, white-collar crime, ghosts, and moral compromise in which a woman disappears from a container ship off the coast of Mauritania and a massive Ponzi scheme implodes in New York, dragging countless fortunes with it"--
Medlem:booksonadventures
Titel:The Glass Hotel: A novel
Författare:Emily St. John Mandel (Författare)
Info:Vintage (2021), 320 pages
Samlingar:Ditt bibliotek
Betyg:
Taggar:Ingen/inga

Verksinformation

The Glass Hotel av Emily St. John Mandel

Senast inlagd avIrinna55, kkelley13, ajhackwith, privat bibliotek, niki1414, santhony, JoeB1934, JFBCore
  1. 100
    Station elva av Emily St. John Mandel (JenMDB)
  2. 51
    Huliganerna kommer på besök av Jennifer Egan (novelcommentary)
    novelcommentary: Similar structure. Ms. Mantel mentions the book herself as one she admired
  3. 30
    En saga om tidens väsen av Ruth Ozeki (JenMDB)
  4. 10
    Dagen efter av Lionel Shriver (sparemethecensor)
  5. 00
    Deptford-trilogin av Robertson Davies (M_Clark)
    M_Clark: Like The Glass Hotel, the Deptford Trilogy cleverly weaves together the threads of the story.
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» Se även 222 omnämnanden

engelska (174)  franska (1)  Alla språk (175)
Visa 1-5 av 175 (nästa | visa alla)
Having previously read the author’s Sea of Tranquility and Station Eleven, I was looking forward to this relatively short work of literary fiction and was not disappointed.

This work fleshes out a character thread previously found in Sea of Tranquility, Vincent, the consort of Jonathan Alkiatis. Jonathan is a Bernie Madoff of sorts, running a vast pyramid scheme. The novel bounces back and forth between several characters and time lines before wrapping up nicely in the end.

Vincent goes from being an itinerant bartender to living a life of unimaginable luxury before returning to her previous state, working in the kitchen of a container ship. The author mixes in several other compelling characters who exist on the fringes of the financial fraud.

As in her previous novels, the author displays an uncanny ability to capture and keep the reader’s attention while crafting a beautifully written piece of work. Also, like her previous work, it is very short, and easily consumed in 3-4 sittings. ( )
  santhony | May 9, 2024 |
It's a 3.5 for me. Well written and a bit addictive, but I didn't love any of the characters. ( )
  SergioRuiz | Apr 30, 2024 |
(Print:3/24/2020; 9780525521143 Knopf; 320 pages) Audio: 3/24/2020; 9780593151037; Penguin Random House Audio Publishing Group; duration 10:35:26. (Film: No, but I’m hoping with time, there will be.)

SUMMARY/ EVALUATION:
I selected this book due to it’s being in Goodreads list of top nominations for 2020’s Best Reads—I tried to pick one from each category, and it was really based mostly on which one a library had in it’s collection and if it was currently available. This one might also have been the cover though. Yes, I’m well aware of the adage not to judge a book by it’s cover, even more so after learning from Andy Weir that an author has no say in the cover (not to say he had any complaints)—it’s all the publisher’s choice, but I still do it. ( )
  TraSea | Apr 29, 2024 |
Loved it. Want to connect all her characters with her other books. ( )
  RaynaPolsky | Apr 23, 2024 |
Mandel’s fifth novel feels delightfully familiar in terms of its style. Like her previous novels the prose is elegant and precise, the story nonlinear and mosaic. Also familiar are two of the characters from her previous novel Station Eleven, brought back I think to advance one of the novel’s themes: the permeability of boundaries between one sort of life and another.

Vincent, the closest here to a main character, moves from poverty into the “kingdom of money”, in which one city or country looks much like another because the wealth creates a uniform appearance. She moves from a life on land to a life on sea, as a cook on one of those massive shipping vessels, touching land only every nine months. She moves from life to a ghostly world, appearing to her brother thousands of miles away, slipping easily away.

Jonathan Alkaitis hires Vincent to play his wife. He runs a Madoff style Ponzi scheme. Finally arrested and jailed when it collapses, he moves between prison and a “counterlife” in which he escaped to Dubai before discovery. This counterlife, as well as a ghostly life in which some of his dead defrauded investors appear to him in the prison yard, increasingly take over his reality from the “real” one of his prison cell.

Leon Prevant, shipping executive and pandemic flu victim in Station Eleven, becomes in the parallel universe of The Glass Hotel, Leon Prevant, shipping executive and defrauded investor. In one version of reality he dies in a pandemic, in another, the pandemic never happens. In one version of reality he never meets Jonathan Alkaitis, in another, he gives Alkaitis his life savings and spends his retirement years in an RV working odd menial jobs, discovering the “shadow country” he only glimpsed out of the corner of his eye as a corporate executive, always looking away.

It goes further - one of Alkaitis’ assistants thinks about fleeing but doesn’t, while another does and creates an alternate life in Mexico under an alternate name. Why did one of them flee and one stay to accept his fate? Or better said, one of his possible fates, instead of another?

Many different kinds of lives are possible for us, and the boundaries between them may be thinner than we think. Just look. ( )
  lelandleslie | Feb 24, 2024 |
Visa 1-5 av 175 (nästa | visa alla)
It’s a beguiling conceit: the global financial crisis as a ghost story. As one of Alkaitis’s employees reflects of a swindled investor: “It wasn’t that she was about to lose everything, it was that she had already lost everything and just didn’t know it yet.” But Mandel’s abiding literary fascination is even more elemental: isn’t every moment – coiled with possibilities – its own ghost story? Isn’t every life a counterlife?... All contemporary novels are now pre-pandemic novels – Covid-19 has scored a line across our culture – but what Mandel captures is the last blissful gasp of complacency, a knowing portrait of the end of unknowing. It’s the world we inhabited mere weeks ago, and it still feels so tantalisingly close; our ache for it still too raw to be described as nostalgia. “Do you find yourself sort of secretly hoping that civilisation collapses ... Just so that something will happen?” a friend asks Vincent. Oh, for the freedom of that kind of reckless yearning.
tillagd av Lemeritus | ändraThe Guardian, Beejay Silcox (May 2, 2020)
 
The Glass Hotel isn't dystopian fiction; rather it's "straight" literary fiction, gorgeous and haunting, about the porous boundaries between past and present, the rich and the poor, and the realms of the living and the dead.... This all-encompassing awareness of the mutability of life grows more pronounced as The Glass Hotel reaches its eerie sea change of an ending. In dramatizing so ingeniously how precarious and changeable everything is, Mandel's novel is topical in a way she couldn't have foreseen when she was writing it.
tillagd av Lemeritus | ändraNPR, Maureen Corrigan (Mar 30, 2020)
 
The question of what people keep when they lose everything clearly intrigues Mandel.... By some miracle, although it’s hard to determine what it’s about, The Glass Hotel is never dull. The pleasure, which in the case of The Glass Hotel is abundant, lies in the patterns themselves, not in anything they mean. This novel invites you to inhabit it without striving or urging; it’s a place to be, always fiction’s most welcome effect.
tillagd av Lemeritus | ändraSlate, Laura Miller (Mar 24, 2020)
 
Mandel is a consummate, almost profligate world builder. One superbly developed setting gives way to the next, as her attention winds from character to character, resting long enough to explore the peculiar mechanics of each life before slipping over to the next.... The disappointment of leaving one story is immediately quelled by our fascination in the next.....what binds the novel is its focus on the human capacity for self-delusion, particularly with regards to our own innocence. Rare, fortunately, is the moral idiot who can boast, “I don’t take responsibility at all.” The complex, troubled people who inhabit Mandel’s novel are vexed and haunted by their failings, driven to create ever more pleasant reflections of themselves in the glass.
tillagd av Lemeritus | ändraThe Washington Post, Ron Charles (betalvägg) (Mar 23, 2020)
 
This latest novel from the author of the hugely successful Station Eleven forgoes a postapocalyptic vision for something far scarier—the bottomless insecurity of contemporary life.... Highly recommended; with superb writing and an intricately connected plot that ticks along like clockwork, Mandel offers an unnerving critique of the twinned modern plagues of income inequality and cynical opportunism. [
tillagd av Lemeritus | ändraLibrary Journal, Reba Leiding (betalvägg) (Feb 1, 2020)
 

» Lägg till fler författare (2 möjliga)

Författarens namnRollTyp av författareVerk?Status
Mandel, Emily St. Johnprimär författarealla utgåvorbekräftat
Moore, DylanBerättaremedförfattarevissa utgåvorbekräftat
Robben, BernhardÖversättaremedförfattarevissa utgåvorbekräftat
Weintraub, AbbyOmslagsformgivaremedförfattarevissa utgåvorbekräftat

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Begin at the end: plummeting down the side of the ship in the storm's wild darkness, breath gone with the shock of falling, my camera flying away through the rain --
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Painting was something that had grabbed hold of her for a while, decades, but now it had let go and she had no further interest in it, or it had no further interest in her. All things end, she’d told herself, there was always going to be a last painting, but if she wasn’t a painter, what was she? It was a troubling question.
There is exquisite lightness in waking each morning with the knowledge that the worst has already happened. (p. 113-114)
It turned out that never having that conversation with Vincent meant that he was somehow condemned to always have that conversation with Vincent.
We had crossed a line, that much was evident, but it was difficult to say later exactly where that line had been. Or perhaps we'd all had different lines, or crossed the same line at different times. (p. 163)
He didn't insist on a detailed explanation. One of our signature flaws as a species: we will risk almost anything to avoid looking stupid. (p. 206)
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"[A] novel of money, beauty, white-collar crime, ghosts, and moral compromise in which a woman disappears from a container ship off the coast of Mauritania and a massive Ponzi scheme implodes in New York, dragging countless fortunes with it"--

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