In “The Glass Hotel”, all that glitters turns out to have been fraudulently acquired
three respectable thrillers, the Canadian author Emily St John Mandel raised her profile with her boldly inventive fourth novel. “Station Eleven” tells of a flu pandemic that devastates the Earth’s population, and follows a group of travelling Shakespearean actors who perform for the survivors 20 years later. The narrative’s before-and-after structure beautifully balances the life and death of a single individual against the fate of civilisation.
The main protagonist is Vincent, a young bartender at a swish hotel on Vancouver Island who had a tragic childhood. One night a vicious anonymous message is scrawled on the building: “Why don’t you swallow broken glass.” One of the guests, a shipping executive named Leon Prevant, is disturbed by the graffiti. Vincent herself is shocked and contemplates fleeing, even disappearing.
“The Glass Hotel” is a sprawling, immersive book. In places it is disorientating, as the narrative chops between timelines and perspectives. Minor characters, such as Vincent’s half-brother, drift in and out. And yet the novel’s scope and brimming vitality are also its strengths. Vincent’s encounters with the plutocracy are memorably realised; so are Alkaitis’s concoction of a “counterlife” in his prison cell and his employees’ struggles to save their skins.
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