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Loading... The Glass Hotelby Emily St. John Mandel
  
No current Talk conversations about this book.   ) bragan | May 25, 2024 |  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 |  ) SergioRuiz | Apr 30, 2024 | 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 | ) RaynaPolsky | Apr 23, 2024 |
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. 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. 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. 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. 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. [ Belongs to Publisher SeriesKeltainen kirjasto (540) Has as a reference guide/companionAwardsDistinctionsNotable Lists
"[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"-- No library descriptions found. |
LibraryThing AuthorEmily St. John Mandel is a LibraryThing Author, an author who lists their personal library on LibraryThing. Current DiscussionsNonePopular covers
 Google Books — Loading...GenresMelvil Decimal System (DDC)813.6Literature English (North America) American fiction 21st CenturyLC ClassificationRatingAverage: (3.81)
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