Emily St. John Mandel on Fact, Fiction, and the Familiar

When Tyler requested an interview with novelist Emily St. John Mandel, he didn’t expect that reality would have in some ways become an eerie mirror of her latest books. And Emily didn’t expect that it’d be boosting sales: “Why would anybody in their right mind want to read Station Eleven during a pandemic?” she wondered to Tyler. Her reaction was pure bafflement until she found herself renting Contagion and thought about why. “There’s just such a longing in times of uncertainty to see how it ends.” Narratives, especially familiar ones, soothe us. It’s fitting then that her latest book has been suggested as “the perfect novel for your survival bunker.”

She joined Tyler to discuss The Glass Hotel, including why more white-collar criminals don’t flee before arrest, the Post Secret postcard that haunts her most, the best places to hide from the Russian mob, the Canadian equivalent of the “Florida Man”, whether trophy wives are happy, how to slow down time, why she disagrees with Kafka on reading, the safest place to be during a global pandemic, how to get away with faking your own death, how A Canticle for Leibowitz influenced her writing, the permeability of moral borders, what surprised her about experiencing a real pandemic, how her background in contemporary dance makes her a better writer, adapting The Glass Hotel for a miniseries, her contrarian take on Frozen II, and more.

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