Nina Allan in The Guardian:
In her second novel, 2009’s The Singer’s Gun, Emily St John Mandel tells the story of Anton Waker, a young man desperate to make a break from his criminal family. His plans are thwarted by his cousin Ari, whose hard-nosed talent for operating outside the law has become a way of life. A decade later in The Glass Hotel, a painting called Swan Dive that hangs in the lobby of the luxury retreat stands as a symbol of escape from a trap that is closing. You will not need to have read either of these earlier novels to enjoy Mandel’s seventh, Exit Party, though their loose intertwining of narrative threads will provide extra pleasure and a sense of homecoming for those who have. It is also interesting to observe Mandel’s evolution from a writer of quirky tales of offbeat protagonists to a novelist whose world-spanning, politically resonant narratives now attract a wide and devoted following.
More here.
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