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The Glass Hotel di Emily St. John Mandel
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The Glass Hotel (edizione 2020)

di Emily St. John Mandel (Autore)

UtentiRecensioniPopolaritàMedia votiCitazioni
1,9201326,959 (3.83)145
"[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"--
Utente:tim_mo
Titolo:The Glass Hotel
Autori:Emily St. John Mandel (Autore)
Info:Knopf (2020), 320 pages
Collezioni:La tua biblioteca
Voto:***
Etichette:Nessuno

Informazioni sull'opera

The Glass Hotel di Emily St. John Mandel

  1. 50
    Stazione undici di Emily St. John Mandel (JenMDB)
  2. 21
    Il tempo è un bastardo di Jennifer Egan (novelcommentary)
    novelcommentary: Similar structure. Ms. Mantel mentions the book herself as one she admired
  3. 10
    Una storia per l'essere tempo di Ruth Ozeki (JenMDB)
  4. 00
    The Post-Birthday World di Lionel Shriver (sparemethecensor)
  5. 00
    The Deptford Trilogy di 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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Having read (and loved) Sea of Tranquility I was surprised to discover the same characters in this earlier book by Emily St. John Mandel. I may be reading the books in the wrong order, but once you realise that time doesn’t flow in normal ways in these novels, it doesn’t really matter. While the more recent book has been labelled a time travel story, which was its appeal for me, this is more of a ghost story. Though neither of those labels are really fully accurate. Let’s just say that these are stories with characters one grows to care about, even if these characters are deeply flawed. I finished the book with a profound sense of sadness, and yet I would recommend it to others. If that makes any sense. ( )
  ericlee | May 8, 2022 |
I came to this book after falling in love with the author's Station Eleven. While the new book shares some characteristics of the earlier book (highly non-linear telling of the story, interrelated characters popping up at unexpected moments) I wasn't as impressed by this book. Still good, but no cigar.
I think the non-linear time jumps in the Station Eleven worked well because there were clear markers for the reader to stitch the different eras together. In this book the year was given as a time stamp for each segment, but I found that wasn't enough to bring the content together, especially in the first half of the book.
The Bernie Madoff connection was explicit to me from the very early mention of a sceptic questioning the lack of variation in returns. This made the rest of the gradual unfolding (unravelling?) of that subplot a bit boring and anticlimatic.
So, looking forward to Sea of Tranquility and much more from Emily Mandel, but hoping they deliver more like Station Eleven than Glass Hotel. ( )
  mbmackay | May 6, 2022 |
This is a fascinating and beguiling book, but a hard one to place. It’s kind of a mystery (but not really a crime novel, although it does feature a number of crimes), but also has a healthy dose of magical realism and lots of human drama. Like Mandel’s much-loved ‘Station Eleven’ it features a large cast of characters and skips back and forth in time. In the hands of a less skilled writer, this might have been confusing, but Mandel makes it work brilliant. It gives the book a dreamlike feel at times, but also a real weight. It’s an enjoyable read, but also one that feels quite important. For a lot of the book I struggled with the sense that I didn’t really know what it was about, but by the end everything came sharply into focus. ( )
  whatmeworry | Apr 9, 2022 |
Similar in format to The Topeka School with different perspectives and jumping back and forth in time but this one worked for me. Interesting narratives, characters, and settings. The interwoven stories with clues added piecemeal were kind of predictable but enjoyable nonetheless. ( )
  Dairyqueen84 | Mar 15, 2022 |
There is an interesting sub-class of the literary fiction genre that involves plots and themes based on significant events that have taken place in the financial markets. Although by no means as prominent as, say, mystery, crime, or romance, the “fiction of finance” strain of the literature includes the work of some of the very best writers of their respective eras. A partial list would include Theodore Dreiser’s Trilogy of Desire, a series of novels chronicling the exploits of an avaricious and unscrupulous financier in the 1800s, Tom Wolfe’s brilliant social satire of the financial excesses of the 1980s in The Bonfire of the Vanities, Don DeLillo’s Cosmopolis, a post-modern take on Joyce’s Ulysses that follows a currency hedge fund manager having a very bad day, and Gain, Richard Powers’ extraordinary look at two centuries of U.S. economic history through the lens of the rise and fall of a modern multinational corporation. Of course, these are all novels and so the point is not the economic details per se but the remarkable personal stories those backdrops allow the authors to tell.

That context is useful to appreciate what Emily St. John Mandel attempts in The Glass Hotel. At its center, the book is a fictionalized account of the asset management Ponzi scheme perpetrated by Bernie Madoff over a period of several decades. That fraud, which at $65 billion is said to be the largest in history, left no one in its wake unscathed, from the hundreds of mostly unwitting investors to Madoff himself and everyone who had a personal or professional connection to him. In Mandel’s version, Jonathan Alkaitis (the Madoff character) meets Vincent Smith, a much younger woman with a troubled past, at a luxury hotel he owns in a remote part of western Canada. He convinces her to assume the role of his wife, without being married, to support the ruse he is running with his investment business. On that visit, Alkaitis also meets Leon Prevant, a guest who will become an unfortunate investor in the scam. Much of the tale is told from the alternating perspectives of these three characters as they are forced to deal with the considerable emotional and financial fallout when the Ponzi collapses.

There was so much that I found appealing about The Glass Hotel. Above all, I suppose, is that it is an engaging story that has been told in an interesting way. There is a decidedly dream-like quality to the author’s writing—in fact, ghosts play an important role as several of the main characters blur the line at times as to where reality leaves off—that was very effective in telling this particular tale. It is a story that is also revealed in a non-linear manner, jumping around in time to events that occurred before, during, and after the point where the investment scheme unraveled. While some readers might be troubled by this narrative device, I found it to enhance the overall atmosphere a great deal. My only complaint about the book (if that’s even the right word for what is probably a minor quibble) is that the whole story-arc involving Paul, Vincent’s drug-addicted half-brother, seemed a little forced and superfluous to the main plotline. Still, this was a satisfying reading experience for me as well as one that serves as a reminder of the tremendous human cost that comes with financial misconduct. ( )
  browner56 | Feb 19, 2022 |
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.
aggiunto da Lemeritus | modificaNPR, 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.
aggiunto da Lemeritus | modificaSlate, 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.
aggiunto da Lemeritus | modificaThe Washington Post, Ron Charles (sito a pagamento) (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. [
aggiunto da Lemeritus | modificaLibrary Journal, Reba Leiding (sito a pagamento) (Feb 1, 2020)
 

» Aggiungi altri autori (2 potenziali)

Nome dell'autoreRuoloTipo di autoreOpera?Stato
Mandel, Emily St. Johnautore primariotutte le edizioniconfermato
Moore, DylanNarratoreautore secondarioalcune edizioniconfermato
Robben, BernhardTraduttoreautore secondarioalcune edizioniconfermato
Weintraub, AbbyProgetto della copertinaautore secondarioalcune edizioniconfermato

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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.
It turned out that never having that conversation with Vincent meant that he was somehow condemned to always have that conversation with Vincent.
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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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Emily St. John Mandel è un Autore di LibraryThing, un autore che cataloga la sua biblioteca personale su LibraryThing.

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