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The Glass Hotel: A novel von Emily St. John…
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The Glass Hotel: A novel (2020. Auflage)

von Emily St. John Mandel (Autor)

MitgliederRezensionenBeliebtheitDurchschnittliche BewertungDiskussionen
2,9801714,598 (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"--
Mitglied:KatyBee
Titel:The Glass Hotel: A novel
Autoren:Emily St. John Mandel (Autor)
Info:Knopf (2020), Edition: 1st Edition, 320 pages
Sammlungen:Gelesen, aber nicht im Besitz
Bewertung:****
Tags:fiction, ghosts, Canada

Werk-Informationen

Das Glashotel von Emily St. John Mandel

  1. 100
    Das Licht der letzten Tage von Emily St. John Mandel (JenMDB)
  2. 41
    Der größere Teil der Welt von Jennifer Egan (novelcommentary)
    novelcommentary: Similar structure. Ms. Mantel mentions the book herself as one she admired
  3. 30
    Geschichte für einen Augenblick: Roman von Ruth Ozeki (JenMDB)
  4. 10
    Liebespaarungen: Roman von Lionel Shriver (sparemethecensor)
  5. 00
    The Deptford Trilogy von 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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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 |
3.5

Such a strange and dreamy book. I lost steam in the middle and turned my attention elsewhere but when I returned I zoomed through and that is giving me pause when it comes to the ratings. I had a hard time connecting the dots at first and was waiting for the true plot to emerge but eventually I realized that this wasn’t really about the plot so much as it was about atmosphere and feelings.

When I finished I immediately returned to the beginning a reread some pages and that wrapped things up nicely for me.

Looking forward to watching a recorded session with the author from when she did a virtual event with my local bookstore.

Purchased because I really enjoyed Station Eleven. ( )
  hmonkeyreads | Jan 25, 2024 |
Wow. 5 stars for the creation of a whole world and the interior lives of people caught up in . . . a complicated situation! In times of pandemic and war, I have been on the lookout for books that take me away, out of myself. This was a great read for those purposes! ( )
  fmclellan | Jan 23, 2024 |
The Glass Hotel weaves together the stories of many characters that are all impacted by a major Ponzi scheme. The story roams from Vancouver Island to Manhattan to Dubai (among other places) and covers a few decades in the lives of probably a dozen characters. It is very well written and has a lot to say about greed, ethics, and responses to catastrophe. It makes you think long and hard about what you would do if faced with difficult choices. I makes you realize how easy it is to find yourself on the wrong path. It makes you see how fleeting your comfortable position in life might be. I think this would be an excellent book club selection-- so many interesting topics to discuss! ( )
  technodiabla | Jan 7, 2024 |
I enjoyed this read, but I think I enjoyed the first half much more than the latter. The writing was incredible, so easy to get sucked into. It wasn't about what I thought it would be about. ( )
  lindywilson | Jan 3, 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.
hinzugefügt von Lemeritus | bearbeitenThe 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.
hinzugefügt von Lemeritus | bearbeitenNPR, 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.
hinzugefügt von Lemeritus | bearbeitenSlate, 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.
hinzugefügt von Lemeritus | bearbeitenThe Washington Post, Ron Charles (bezahlte Seite) (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. [
hinzugefügt von Lemeritus | bearbeitenLibrary Journal, Reba Leiding (bezahlte Seite) (Feb 1, 2020)
 

» Andere Autoren hinzufügen (2 möglich)

AutorennameRolleArt des AutorsWerk?Status
Mandel, Emily St. JohnHauptautoralle Ausgabenbestätigt
Moore, DylanErzählerCo-Autoreinige Ausgabenbestätigt
Robben, BernhardÜbersetzerCo-Autoreinige Ausgabenbestätigt
Weintraub, AbbyUmschlaggestalterCo-Autoreinige Ausgabenbestätigt

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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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Zusammenfassung in Haiku-Form

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Emily St. John Mandel ist ein LibraryThing-Autor, ein Autor, der seine persönliche Bibliothek in LibraryThing auflistet.

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Durchschnitt: (3.81)
0.5
1 5
1.5 3
2 47
2.5 19
3 180
3.5 81
4 338
4.5 66
5 163

 

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