“A lovely, beautifully written and constructed novel that I couldn’t put down, full of memorable, unusual characters… Mandel’s agility with time in this story was a marvel.”—Kristin Hannah, author of The Nightingale

“The question of what is real—be it love, money, place or memory—has always been at the heart of Ms. Mandel’s fiction… her narratives snake their way across treacherous, shifting terrain. Certainties are blurred, truth becomes malleable and in The Glass Hotel the con man thrives… Lyrical, hypnotic images… suspend us in a kind of hallucinatory present where every detail is sharply defined yet queasily unreliable. A sense of unease thickens… Ms. Mandel invites us to observe her characters from a distance even as we enter their lives, a feat she achieves with remarkable skill. And if the result is a sense not only of detachment but also of desolation, then maybe that’s the point.” —Anna Mundow, Wall Street Journal

“A striking book that’s every bit as powerful — and timely — as its predecessor… In Vincent and Paul, Mandel has created two of the most memorable characters in recent American fiction… Mandel’s writing shines throughout the book, just as it did in Station Eleven. She’s not a showy writer, but an unerringly graceful one, and she treats her characters with compassion but not pity. The Glass Hotel is a masterpiece, just as good — if not better — than its predecessor. It’s a stunning look at how people react to disasters, both small and large, and the temptation that some have to give up when faced with tragedy.” —Michael Shaub, NPR

“Though its characters were inspired by Bernie Madoff, his victims, and his enablers, there’s much more to this novel than ripped-from-the-headlines voyeurism; it’s a gorgeously constructed tapestry, each jewellike sentence building to one of the most devastating, moving endings in recent memory. I read it when I was feeling uniquely exhausted by the demands of COVID-era living; I still couldn’t put it down.”—Vanity Fair

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