I know this isn't out for months yet but I couldn't resist bumping it to the top of the tbr. Full review to come but this was everything I hoped for. Bear in mind that it's not technically a sequel to Station Eleven or a dystopian novel, but instead a literary novel. Although there are some nods to Station Eleven - two characters make a cameo; there's a hint of the parallel universe theory etc But this has some strong speculative elements and a compelling mystery all written in the author trademark beautiful prose. A stunning novel.

If a reader's only experience of Mandel's writing is her superlative post-pandemic novel, Station Eleven, then I can imagine them feeling disappointed with The Glass Hotel, which has much more in common with her earlier books (particularly Last Night In Montreal). However, given time, it reveals itself to be a gem of a book. Somewhat odd and narratively meandering in the best way, with characters and plots intersecting and nestling within each other like Russian dolls.

The way this is told is mesmerising. It flows from past to present, unveiling the story in a totally unique way, giving hints of events before explaining them. We start with Paul - when his life is crumbling into disaster (not for the first time), he turns to his half sister Vincent. Then the scene switches to the hotel of the title and we are introduced to Jonathan, around whom the rest of the story revolves. I went into this without having read any of the reviews or blurbs so it took me totally by surprise. What happens? Read it and see! Brilliant.

A book that captivates from the start. The prose flows smoothly, not a word out of place.

The characters, each distinctive, elegantly move in and out of each others lives - for better and for worse - over 20 plus years . We move between downtown New York, a container ship somewhere off the coast of Africa and a remote Canadian hotel, we move between the character and the years and see how their lives intertwine and overlap in both major and minor ways.

I do think the blurb gives too much away, I'd suggest going into this fresh and enjoying the journey.

This book is a like a dream. Took me a little while to get into it, with a massive cast of characters that weave in and out of each other's lives.

At its heart, it's a ghost story. About a cast of characters who are haunted by regrets, paths not taken, and multitudes of 'what-ifs'.

I don't want to spoil the story, but I certainly didn't think a book focussed around the 2008 financial crash would be so human and riveting. Slow to start (the first third is a little slow placed as it sets the scene), but the flies by so quickly.

I received a free copy from NetGalley in return for my honest review.

This is a new to me author despite being made aware of several other works. The Glass Hotel is so skillfully written though that I believe I can now count myself as one of the converted. I only wish that I had been able to pick up on some of the easter eggs that other readers have mentioned, to make more sense of the world building that seems to be at play.

I think that what I found most impressive was the dawning realisation that even seemingly inconsequential passages, characters and even dialogue would all eventually have some impact as the story revealed itself. And rather than wrap everything up with a neat little bow there was enough open endedness that I feel I will reflect on this book for a long time. Truly a great read.

The Glass Hotel is a stunning piece of literary fiction - I never thought I'd find a novel about a Ponzi scheme so compelling.

In many ways, this is a very different beast from Station Eleven, but I get the sense that Emily St. John Mandel has further honed her authorial voice in this loosely-styled follow on. The narrative weaves between time, space and character, but despite the dreamlike consistency of the tone, each character (or collective character) has their own distinctive voice. It's hypnotic and disorientating without ever becoming confusing or overwhelming.

There are several incidences of coincidences where two characters' stories overlap, but the storytelling always feels organic. Despite the seeming randomness of the temporal shifts, you get the sense that you are being handed each piece of the jigsaw at just the right time to bring the picture into focus.

The Glass Hotel is perhaps a quieter, more subtle story than Station Eleven but it is not less artful - or enchanting.

This is a very impressive interweaving of the life stories of individuals with national events. The setting in a barely accessible hotel off Vancouver starts the book on a voyage that then includes the financial meltdown triggered by the dishonest dealings of one of the main characters. The life experiences of the characterscarevcarefully laid out to eventually make them integral or passing participants in the disaster. Then the book moves on to what happened to them after. The main character,Vincent,a woman fills many roles and has varied relationships. The story is well told and makes fascinating reading.

This is a really technically brilliant book, as you'd expect from the author - everything is woven together in a subtly complex way; it's not difficult to follow, but it's very intricate. It's a really unusual book and I did enjoy reading it, but there was a certain coldness that that stopped me from fully connecting with it, and it didn't ultimately have that emotional punch and climax that I was willing it to have.

I finished this book last night and I am still not sure what I thought of it. I haven't read anything else by this author so have nothing to compare it to. I enjoyed the writing style, and the way future information was contained in current or past narratives. It could have been messy or difficult to follow but it wasn't. None of the characters were particularly like-able and I am not sure how Ms Mandel managed to string together the several, seemingly disassociated threads of the story in such a comprehensible way. Having worked in finance for forty years I thought the Ponzi scheme and it's aftershocks were well drawn. I think the title is misleading, although I love the cover; and the blurb on Goodreads gives away too much of the plot and leaves little to discover.

With thanks to NetGalley and the publishers for the opportunity to read and review and e-ARC

"There are so many ways to haunt a person, or a life…"

Emily St John Mandel seems to have two particular talents (probably a lot more, but these two stand out to me). She has a remarkable way to tell a story by jumping around in time and yet having it all make sense. She seems to be able to put the pieces together so that the reveals from the past or future come at exactly the right point to avoid the reader being either frustrated or confused. It is a great skill, I think, to be able to write passages that the reader has known about for a while and yet are still exciting to read because the reader has been looking forward to getting the detail. Secondly, she doesn’t need many words to bring a character to life and she seems to get under the skin of her characters very quickly. Crucially, she takes her reader with her.

I have read all four previous novels by this author, but I think this is probably my favourite of the five. There is something about the writing in this book that makes it more subtle, more mature, more insightful.

Plus, in this novel, there is the added excitement of discovering two characters from the author’s best known work (Station Eleven) making a re-appearance. It suggests that (like David Mitchell), Mandel is setting books in a self-contained universe. Except! Except for the fact that here one character imagines a world where Georgian flu was not contained but ran rampant round the world destroying civilisation. That, of course, is the pandemic that drive the plot in Station Eleven. So, we have the plot of one book being imagined as a possible "alternate reality" in this book and with characters bleeding over between the books.

But this idea of characters appearing in worlds where they might not be supposed to be is actually a key idea throughout this new novel.

We begin at the end as Vincent (unusual name for a girl) falls off a ship to her death. Then we skip back a couple of decades to meet Paul, an aspiring musician with a drug problem. After some bad tablets, he has an even more serious, if different, drug problem. Then the core of the novel is the story of the collapse of a Ponzi scheme in 2008 (we know the man at the centre of this as Jonathan Alkaitis, but the crime is modelled on Bernard L. Madoff's Ponzi scheme which collapsed at exactly this time).

We follow Vincent, Paul and Jonathan, along with a host of other characters, as their lives connect and influence each others, or as their actions impact on others. I don’t want to give the plot away - a huge part of the fun in reading this book is seeing how all the pieces gradually pull together and I would not want to spoil that. But one thing many of the characters do often is imagine "alternate realities", the way life might have been (as with the Georgian flu epidemic mentioned above) and, at times, "see" people who should not be where they are seen. Are these characters ghosts, are they just products of guilty consciences, are they visitors from an "alternate reality"? The novel never strays into science fiction or fantasy, but it also never seeks to particularly resolve that question: this, it seems, is an exercise for the reader. One way or another, our protagonists are haunted by lives they might have lived or by lives they lost somewhere along the way.

At the end of the novel, most of the pieces are in place. I find myself pleased rather than frustrated at any loose ends: I want to spend more time with these characters thinking about what happened to them. As with this author’s other books, the pieces don’t come at you in the order you expect. But, also as in this author’s other books, the pieces are clearly organised to come in a very clever and specific order and to be the right size and shape to fill exactly the hole you as a reader were waiting to be filled at that point. I have finished every one of Emily St John Mandel’s book full of admiration for the way she tells a story. It’s a wonderful approach to storytelling and here her writing seems to have moved up a gear, too, making this a thoroughly enjoyable book to read.

Unfortunately this book just wasn't for me. A US or Canadian audience would probably enjoy it more, I found the American terminology and grammar annoying and also the whole premise and super luxury of the story line annoying.