The Glass Hotel is as tightly constructed as a detective fiction, with its mysteries, apparently discrete events leading to revelations, dire consequences . . . a superb performance

Vorwort

The Glass Hotel is the story of the lives caught up in two very different tragedies: a woman disappearing from a container ship off the coast of Mauritania and a massive Ponzi scheme imploding in New York, dragging countless fortunes with it.

Autorentext
Emily St. John Mandel is the author of seven novels. Station Eleven was longlisted for the Women's Prize for Fiction and was a finalist for a National Book Award and the PEN/Faulkner Award. It also won the 2015 Arthur C. Clarke Award, the Toronto Book Award and the Morning News Tournament of Books. The Glass Hotel was a finalist for the Scotiabank Giller Prize and was longlisted for the IMPAC Dublin Literary Award. Translated into thirty-four languages, Station Eleven was made into an acclaimed limited TV series. Emily St. John Mandel lives in New York City and Los Angeles.

Klappentext

'A damn fine novel . . . haunting and evocative and immersive' George R. R. Martin, author of *A Game of Thrones
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'A perfect post-lockdown read . . . Mandel is a terrific storyteller' *Sunday Times
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'Elegant . . . beguiling' *Guardian
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Vincent is the beautiful bartender at the exclusive Hotel Caiette. When New York financier Jonathan Alkaitis walks into the hotel and hands her his card, it is the beginning of their life together.

That same night, a hooded figure scrawls a note on the windowed wall of the hotel: 'Why don't you swallow broken glass.' Leon Prevant, a shipping executive for a company called Neptune-Avramidis, sees the words from the bar and is shaken to his core.

When Alkaitis's seemingly successful investment fund is revealed to be a Ponzi scheme, Leon loses his retirement savings in the fallout, but Vincent seemingly walks away unscathed. Until, a decade later, she disappears from the deck of a Neptune-Avramidis ship . . .

'Fascinating and affecting' *Stylist
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'A beguiling tale about skewed morals and reckless lives . . . immersive' The Economist