Instances of fraud and inauthenticity are prevalent throughout The Glass Hotel. The most prominent example of fraud is the Ponzi scheme orchestrated by Jonathan Alkaitis and enabled by his complicit staffers, but there are many subtler instances of fraud present throughout the novel as well. Vincent and Jonathan Alkaitis pretend to be married in order to project an air of stability to potential investors; Paul, Vincent’s half-brother, steals Vincent’s catalog of video footage and passes it off as his own work in an effort to jumpstart his music career; and Vincent herself creates a “light,” fun public persona to embody the woman Jonathan wants her to be around his potential investors. The prominence of fraud throughout the novel poses broader questions about the nature of truth and reality, such as whether there exists such a thing as an essential, permanent core of truth beneath a person’s performed identity and subjective interpretation of the world. In The Glass Hotel, fraud is the default state. Identity is a tenuous, performed activity rather than an absolute, authentic essence; correspondingly, there is no such thing as objective truth, but instead a myriad of subjective interpretations.
While outsiders might think Jonathan Alkaitis is financially and interpersonally successful, the reality is that he’s failing and unfulfilled on both fronts. Everything about Alkaitis is self-fashioned to appear as he wants it to appear. For example, Jonathan constructs the appearance of a legitimate, highly successful investing fund, when in reality, the business is a Ponzi scheme that stays afloat by defrauding its investors. Jonathan gains the confidence of investors by maintaining an outward appearance of success and stability, but neither of these things are real: though he might appear confident and at ease on the outside, inside, he suffers with unresolved grief for his older brother, Lucas, and first wife, Suzanne. While to outsiders Alkaitis’s marriage to Vincent might project an air of stability and contentment, Vincent and Jonathan aren’t actually married, and their relationship is based entirely on lies and superficial appearances. They enjoy each other’s company, and Jonathan finds Vincent to be charming and attractive, but neither truly cares for the other in an intimate, genuine way. Like everything else in Jonathan’s life, the relationship is not just performative but manipulative—designed to convince people that Jonathan is someone to whom they should give their money.
Once Jonathan is imprisoned for his crimes and denied access to the people and business endeavors he used to create his public persona, his sense of self deteriorates, and he begins to lose his grip on reality—suggesting that there is nothing to Jonathan beneath his constructed, external self. In prison, Jonathan no longer has access to the investment fund that provided him with an exterior sense of financial worth. Further, his imprisonment deprives him of any real (or even fraudulent) relationships: Vincent, through whom he achieved the illusion of exterior stability, abandons him after his Ponzi scheme implodes, as does his daughter, Claire, who feels betrayed by her father’s lies. In the absence of the financial success and familial and interpersonal relationships that formerly gave him a sense of worth and purpose in the word, Alkaitis begins to lose touch with reality. He loses the desire (or, perhaps, the ability) to exist in the present moment and instead spends his time immersed in hypothetical musings about the alternate paths he could’ve taken through life, which he refers to as his “counterlives.” Alkaitis’s increasingly obvious confusion leads him to be sent to the doctor to be assessed for dementia. While the doctor examines him, Alkaitis compares the mental fog he is experiencing to “a creeping sense of unreality, a sense of collapsing borders, reality seeping into counterlife and the counterlife seeping into memory.” Jonathan’s descent into psychological confusion, and his increasing inability to exist in the present moment, reasserts the novel’s position that identity is primarily a performed activity and lacks a stable, underlying essence. The characters of the novel do not have stable “real selves” hidden beneath the performances they put on for others. Instead, they become defined by their performances—making the content of those performances all the more critical.
Fraud and Constructed Identity ThemeTracker
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Fraud and Constructed Identity Quotes in The Glass Hotel
But does a person have to be either admirable or awful? Does life have to be so binary? Two things can be true at the same time, he told himself. Just because you used your stepmother's presumed death to start over doesn’t mean that you're not also doing something good, being there for your sister or whatever.
It was a new century. If he could survive the ghost of Charlie Wu, he could survive anything. It had rained at some point in the night and the sidewalks were gleaming, water reflecting the morning’s first light.
“Very few people who go to the wilderness actually want to experience the wilderness. Almost no one.” Raphael leaned back in his chair with a little smile, presumably hoping that Walter might ask what he meant, but Walter waited him out. “At least, not the people who stay in five-star hotels,” Raphael said. “Our guests in Caiette want to come to the wilderness, but they don’t want to be in the wilderness. They just want to look at it, ideally through the window of a luxury hotel. They want to be wilderness-adjacent. The point here—” he touched the white star with one finger, and Walter admired his manicure—“is extraordinary luxury in an unexpected setting. There’s an element of surrealism to it, frankly. It’s a five-star experience in a place where your cell phone doesn’t work.”
Alkaitis was interesting only in retrospect. He’d come to the Hotel Caiette with his wife, now deceased. He and his wife had fallen in love with the place, so when it’d come up for sale he’d bought the property, which he leased to the hotel’s management company. He lived in New York City and came to the hotel three or four times a year. He carried himself with the tedious confidence of all people with money, that breezy assumption that no serious harm could come to him. He was generically well dressed, tanned in the manner of people who spend time in tropical settings in the wintertime, reasonably but not spectacularly fit, unremarkable in every way. Nothing about him, in other words, suggested that he would die in prison.
Sanity depends on order.
“The point is she raised herself into a new life by sheer force of will,” Vincent’s mother had said, and Vincent wondered even at the time—she would have been about eleven—what that statement might suggest about how happy Vincent’s mother was about the way her own life had gone, this woman who’d imagined writing poetry in the wilderness but somehow found herself sunk in the mundane difficulties of raising a child and running a household in the wilderness instead. There’s the idea of wilderness, and then there’s the unglamorous labor of it, the never-ending grind of securing firewood; bringing in groceries over absurd distances; tending the vegetable garden and maintaining the fences that keep the deer from eating all the vegetables; […] managing the seething resentment of your only child who doesn’t understand your love of the wilderness and asks every week why you can’t just live in a normal place that isn’t wilderness; etc.”
“What I’m suggesting,” Caroline said softly, “is that the lens can function as a shield between you and the world, when the world’s just a little too much to bear. If you can’t stand to look at the world directly, maybe it’s possible to look at it through the viewfinder.”
Ghosts of Vincent’s earlier selves flocked around the table and stared at the beautiful clothes she was wearing.
“It’s interesting,” he said, “she’s got a very particular kind of gift.”
“What’s that?”
“She sees what a given situation requires, and she adapts herself accordingly.”
“So she’s an actress?” The conversation was beginning to make Olivia a little uneasy. It seemed to her that Jonathan was describing a woman who’d dissolved into his life and become what he wanted. A disappearing act, essentially.
“Not acting, exactly. More like a kind of pragmatism, driven by willpower. She decided to be a certain kind of person, and she achieved it.”
He doesn’t tell Julie Freeman this, but now that it’s much too late to flee, Alkaitis finds himself thinking about flight all the time. He likes to indulge in daydreams of a parallel version of events—a counterlife, if you will—in which he fled to the United Arab Emirates. Why not? He loves the UAE and Dubai in particular, the way it’s possible to live an entire life without going outdoors except to step into smooth cars, floating from beautiful interior to beautiful interior with expert drivers in between.
She had a significant financial stake in maintaining the appearance of happiness.
In the counterlife, Claire visits him in Dubai. She is happy to see him. She disapproves of his actions, but they can laugh about it. Their conversations are effortless. In the counterlife, Claire isn’t the one who called the FBI.
“It’s possible to both know and not know something.”
“I mean, here’s the question,” Joelle said, “and I’d be genuinely interested to hear your thoughts: How did he know we’d do it? Would anyone do something like this, given enough money, or is there something special about us? Did he look at me one day and just think, That woman seems conveniently lacking in a moral center, that person seems well suited to participate in a—"
One of our signature flaws as a species: will risk almost anything to avoid looking stupid.
“You know what’s permanent? You’re a person with a really excellent cocktail story. Ten, twenty years from now, at a cocktail party, you’ll be holding a martini in a circle of people, and you’ll be like, ‘Did I ever tell you about the time I worked for Jonathan Alkaitis?’ […] You get to walk away untarnished.”
You can know that you’re guilty of an enormous crime, that you stole an immense amount of money from multiple people and that this caused destitution for some of them and suicide for others, you can know all this and yet still somehow feel you’ve been wronged when your judgment arrives.
“Well, look at it this way. I believe we’re in agreement that it should have been obvious to any sophisticated investor that you were running a fraudulent scheme. […] So in order for your scheme to succeed for as long as it did, a great many people had to believe in a story that didn’t actually make sense. But everyone was making money, so no one cared, except Ella Kaspersky.”
But they were citizens of a shadow country that in his previous life he’d only dimly perceived, a country located at the edge of an abyss. He’d been aware of the shadowland forever, of course. He’d seen its more obvious outposts: shelters fashioned from cardboard under overpasses, tents glimpsed in the bushes alongside expressways, houses with boarded-up doors but a light shining in an upstairs window. He’d always been vaguely aware of its citizens, people who’d slipped beneath the surface of society, into a territory without comfort or room for error; they hitchhiked on roads with their worldly belongings in backpacks, they collected cans on the streets of cities, they stood on the Strip in Las Vegas wearing T-shirts that said GIRLS TO YOUR ROOM IN 20 MINUTES, they were the girls in the room. He’d seen the shadow country, its outskirts and signs, he’d just never thought he’d have anything to do with it.
“I’m sorry,” he says. “I’m sorry for all of it.,”
“I was a thief too,” I tell him, “we both got corrupted.”