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The Glass Hotel (2020)

de Emily St. John Mandel

Outros autores: Veja a seção outros autores.

MembrosResenhasPopularidadeAvaliação médiaMenções
1,3229710,541 (3.88)101
"[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"--
  1. 30
    Station Eleven de Emily St. John Mandel (JenMDB)
  2. 10
    A Tale for the Time Being de Ruth Ozeki (JenMDB)
  3. 00
    The Post-Birthday World de Lionel Shriver (sparemethecensor)
  4. 00
    The Deptford Trilogy de Robertson Davies (M_Clark)
    M_Clark: Like The Glass Hotel, the Deptford Trilogy cleverly weaves together the threads of the story.
  5. 11
    A Visit from the Goon Squad de Jennifer Egan (novelcommentary)
    novelcommentary: Similar structure. Ms. Mantel mentions the book herself as one she admired
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Mostrando 1-5 de 95 (seguinte | mostrar todas)
Hm. Just when u think it is a mystery it turns into some love arrangement story and the a Ponzi scheme and then a ghost story. No continuous line. ( )
  kakadoo202 | Mar 23, 2021 |
Hmm. Dit was een beetje een frustrerende leeservaring.
Kan Emily schrijven? Ja en dat toont ze ook in dit boek weer aan.
Weet Emily een roman op te bouwen? Ja, absoluut, en nog meer dan in Station Elf spint ze een fascinerend web van personages en gebeurtenissen die telkens opnieuw als puzzelstukjes in elkaar blijken te passen.
Ook een spanningsboog opbouwen doet ze moeiteloos.
Voeg daar schone zinnen en af en toe prachtige passages met existentialistische waarheden aan toe en je zou zeggen dat Het Glazen Hotel spek voor mijn bek is, of zelfs dat we zo welhaast de perfecte roman benaderen.
Helaas, ... ondanks alle voorgaande is geen enkel personage me bijgebleven en weet ik eigenlijk niet echt wel verhaal ze wilde vertellen.
Emily St. John Mandel schreef een puzzel. Een mooie puzzel. Maar ik had liever een boek dan een puzzel gelezen. Zo eentje met mensen en zo... ( )
  GertDeBie | Mar 22, 2021 |
This book was unlike anything I'd ever read. I'm not sure exactly how to describe it, but I absolutely loved it. It was drama and mystery with a little surrealism thrown in. Told from many different points of view and shifting back and forth between past and present, the plot was intricately woven in a gorgeous tapestry of imagery and language. I found myself genuinely interested in every single character that was introduced - no matter how likable or unlikable. And I loved how all the pieces slowly came together in little aha moments, each mystery slowly peeled back and revealed. What a beautiful novel. ( )
  niaomiya | Mar 17, 2021 |
This was nothing like Station Eleven. I had high expectations, and since I don't really read the cover texts if I don't have to, I was not really prepared. So money, beauty, crime and moral compromise, meh. Not really for me. But Emily St. John Mandel's writing is compelling and I'm starting to think I might read just about anything she writes.

So a pleasant read despite of the world of money, depicts perfectly how people really end up in situations that determine their futures instead of choosing their way. ( )
  Iira | Mar 13, 2021 |
It was about a year ago that I read this book, but I remember getting involved with it. There was a scene where someone is hiding and looking at the vandalized sign for this remote five-star hotel on Vancouver Island. The graffiti read, WHY DON’T YOU SWALLOW BROKEN GLASS. While reading the scene, I remember clearly sensing the coolness and the feeling of the island’s air moving around me. I was sure that I was in hiding there myself. I love when black letters printed on a page are so real, they show that they have a life to them, and you are a part of a book. Too often I find myself reading something cover to cover, and never really finding myself engaged beyond thinking, Hey, that was pretty good, or, Oh, and this and then that other thing happened. I am thankful whenever the division, that big curtain between reader and the written word dissolves, and the book’s story seems to happen around and through you as something more than simply reading.

This book is such a curious mixture of plots, scenes, and a few ghosts. There’s the hostility on that remote island, a huge international Ponzi scheme (younger readers can think of Bernie Madoff) plays with the life savings of so many people in the executive offices of a Manhattan high-rise, a woman disappears off a container ship at sea, and another woman is dying in hospice care. At other times we find ourselves in a homeless camp, a federal prison, touring the club scene, and then we’re involved with the fortunes of a Saudi prince. Yet, there are connections and tendrils linking so much of it all together.

Emily St. John Mandel is such a gifted and inventive writer. I read her previous novel, "Station Eleven," absolutely loved it, and then this book comes along and is so many worlds away from that book. It is probably fortunate that the books hadn’t switched their released dates, as that previous story was about some people traveling around America after a virus had decimated 95% of the world’s population. That could have been fatal for sales during a pandemic. She always has so much going on in her work. As I was just looking at the flap of the book’s cover, I have to share a part of its last line, “'The Glass Hotel' is a captivating portrait of greed and guilt, love and delusion, ghosts and unintended consequences, and the infinite ways we search for meaning in our lives.” Simply put, she is a powerful writer who reaches into your mind, stirs things around, and leaves you thinking. ( )
  jphamilton | Mar 13, 2021 |
Mostrando 1-5 de 95 (seguinte | mostrar todas)
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.
adicionado por Lemeritus | editarThe 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.
adicionado por Lemeritus | editarNPR, 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.
adicionado por Lemeritus | editarSlate, 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.
adicionado por Lemeritus | editarThe Washington Post, Ron Charles (Web site pago) (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. [
adicionado por Lemeritus | editarLibrary Journal, Reba Leiding (Web site pago) (Feb 1, 2020)
 

» Adicionar outros autores (3 possíveis)

Nome do autorFunçãoTipo de autorObra?Status
Mandel, Emily St. Johnautor principaltodas as ediçõesconfirmado
Weintraub, AbbyDesigner da capaautor secundárioalgumas ediçõesconfirmado

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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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