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Emily St. John Mandel

Autor(a) de Station Eleven

8+ Works 19,331 Membros 1,271 Críticas 28 Favorited
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About the Author

Emily St. John Mandel was born in British Columbia, Canada. She is a staff writer for The Millions. She has written several novels including Last Night in Montreal, The Singer's Gun, The Lola Quartet, and Station Eleven. Her work has appeared in numerous anthologies including The Best American mostrar mais Mystery Stories 2013 and Venice Noir. In 2015, her novel, Station Eleven, was on the New York Times bestseller list and was nominated for the PEN/Faulkner Award for Fiction 2015. In the same year she won the 2015 Arthur C. Clarke Award for science-fiction writing for her novel Statio Eleven. (Bowker Author Biography) mostrar menos
Image credit: Kevin Mandel

Obras por Emily St. John Mandel

Station Eleven (2014) 11,471 exemplares
Sea of Tranquility (2022) 3,053 exemplares
The Glass Hotel (2020) 2,936 exemplares
Last Night in Montreal (2009) 838 exemplares
The Lola Quartet (2012) 554 exemplares
The Singer's Gun (2010) 472 exemplares
Mr. Thursday 6 exemplares
Drifter (2014) 1 exemplar

Associated Works

The Best American Mystery Stories 2013 (2013) — Contribuidor — 97 exemplares
The Late American Novel: Writers on the Future of Books (2011) — Contribuidor — 64 exemplares
Venice Noir (2012) — Contribuidor — 57 exemplares
Future Tense Fiction: Stories of Tomorrow (2019) — Contribuidor — 57 exemplares
Out of the Ruins: The Apocalyptic Anthology (2021) — Contribuidor — 40 exemplares


Conhecimento Comum

Data de nascimento
Canada (dual citizenship)
USA (dual citizenship)
Local de nascimento
British Columbia, Canada
Locais de residência
Brooklyn, New York, USA
School of Toronto Dance Theatre
Katherine Fausset (Curtis Brown) [books]
Britton Rizzio (Writ Large) [screewriting]
Noah Rosen (Writ Large) [screewriting]

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Born on the coast of British Columbia, Canada in 1979. She studied dance at The School of Toronto Dance Theatre and lived briefly in Montreal before relocating to New York. She lives in Brooklyn.



August 2023: Emily St. John Mandel em Monthly Author Reads (Agosto 2023)
Found: SciFi/Fan pandemic em Name that Book (Setembro 2021)


This is too complicated for me. I had the feeling I need to make notes to keep on the right track. I had the impression that there were a few glitches in the time-plot-structure, but probably it was just me not following...
After the last two, what I need now is a character novel. Less action, fewer dimensions, less apocalypse, more profund characters.
Kindlegohome | 156 outras críticas | Feb 29, 2024 |
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.
… (mais)
lelandleslie | 170 outras críticas | Feb 24, 2024 |
Once upon a time, in far more primitive days, people connected to the internet through 56k modems. Remember those? Waiting for a picture to download could try the patience of typical modern man. An ingenious approach to dealing with this problem was interlacing. Rather than downloading from top to bottom strictly sequentially, an interlaced image was divided up into strips 8 pixels high and downloaded onto your screen in passes. The first pass downloaded only the top line of each strip, the second pass downloaded another line, the next pass downloaded more lines, and the final pass downloaded the rest. In this way each section of the image was progressively made clearer and fully visible through multiple passes through it: a fuzzy whole made sharp while you waited for the complete image.

The Singer's Gun reminded me of watching one of these picture files download back in those days before broadband. It is a novel that does not progress from start to finish along a chronological line, each step along the timeline clearly presented before moving along. Instead we see a fuzzy outline of the whole, and take more passes back through sections of the story, making them gradually clearer, and in fact changing our perception of the image. It's a great alternative way to shape a novel, and it works terrifically well with this book.

Other than that, I'll note that in her second novel Mandel has again created a central character who finds himself living outside the bounds of the law, but forced there more or less unwillingly out of circumstance. As in her debut novel Last Night in Montreal, it's just that there were two options presented, and as it happened the only option really to be taken was the one that leads to being chased by an officer of the law.
… (mais)
lelandleslie | 40 outras críticas | Feb 24, 2024 |
When I was a teenager my family took a trip up to Quebec on vacation one year. I came back home with a t-shirt that I often wore for many years that bore the province's motto - "Je me souviens", meaning "I remember". A touch ironic for me, not only because I refused to use any of my embarrassing high school level French while we were there, but also because I did not remember those French speaking Acadian ancestors of mine who were expelled from Canada after the British conquest in the 18th century and who were forced to flee to Louisiana. I found that history out later.

It's also ironic for one of the main characters in this fantastic debut novel. Lilia was abducted by her father from his ex-wife when she was seven. She does not remember her life in the small Quebec town near the American border before the abduction. She does not remember why she has these scars on her arms. She does not remember her mother. She does not remember why her half-brother tells her "never come home". She and her father spend the next nine years fleeing from Quebec - always traveling, changing names, hiding from discovery. It's an anxious way to live and grow up.
But she never felt at ease in the world. It couldn't be claimed that she was really a part of it, and from the specific night when her memories began (ice against window, lost bunny, snow), the traditions of the world were foreign to her. She picked up what she could from books and television shows, noting carefully the existence of two-parent families, houses, schools, family dogs, memorizing intriguingly home-specific phrases like latchkey kid and back garden and state-of-the-art kitchen appliances and basement. She moved over the surface of life the way figure skaters move, fast and choreographed, but she never broke through the ice, she never pierced the surface and descended into those awful beautiful waters, she was never submerged and she never learned to swim in those currents, these currents: all the shadows and light and splendorous horrors that make up the riptides of life on earth.

Then as a young woman she receives a letter from Montreal - come and I will tell you what you don't remember. It's information wanted for information to give. There will be remembering and wishing for never knowing. One person will emerge okay. One person will not. One person will be spun out by the chaotic turbulence unleashed.

Ultimately for me it's a sad novel, but well worth reading. I really felt for all of the characters in these pages; add to that success the wonderful writing and I was completely hooked into this one.
… (mais)
lelandleslie | 80 outras críticas | Feb 24, 2024 |


2021 (1)
Canada (1)


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