Vicious cycles of greed and self-delusion are prevalent throughout The Glass Hotel and serve to illustrate the many ways people are willing to absolve themselves and others of morally dubious behaviors if it benefits their own self-interest. When Oskar Novak, one of Alkaitis’s staffers who knowingly participates in the Ponzi scheme, is interrogated in court over his involvement in the scheme, he defends his involvement on the grounds that “it’s possible to both know and not know something.” Oskar’s rather cryptic response becomes one of the novel’s major themes, which is that people will do anything to justify their own greed. As he sits in prison toward the end of his life, Alkaitis, for example, entertains the notion that, while he did dishonestly swindle his investors out of their money, he only did so because the investors expected to see big returns on their investments; in other words, Alkaitis’s is here trying out the idea that his securities fraud can be (at least partially) justified on the grounds that his greed was motivated by the greed of self-deluded others. The novel doesn’t support this notion. However, through Alkaitis’s thoughts the novel suggests that greed and the allure of upward mobility can persuade even the most altruistic, well-intentioned people to hurt or exploit others when it is in their self-interest to do so. Simultaneously unable to avoid self-serving behaviors or to honestly face their own moral failings, then, characters resort to self-delusion to justify their lapses in personal moral integrity.
Jonathan Alkaitis tries to absolve himself of his complicity in the deaths and ruin of his bankrupted investors by spinning an alternate narrative in which the investors are partially to blame for their demise. In one interview with Julie Freeman, a journalist who is writing a book about Alkaitis, Alkaitis claims that the reason he kept up his fraudulent scheme for so long was that he was “embarrassed” and “didn’t want to let everyone down.” He calls his investors “greedy” and claims that, while he does accept responsibility for his central role in the fraud, the fact that “[the investors] expected a certain level of returns” that Alkaitis “felt compelled to deliver” at least in part absolves him of some responsibility. Alkaitis’s description paints himself as powerless to say no or disappoint his eager investors, but in reality, this formulation attributes greed exclusively to the investors, and not to Alkaitis himself. Thus Alkaitis’s self-deluding narrative ignores his own greed and minimizes his responsibility in the immense economic and personal suffering his greed has brought upon others.
Vincent similarly practices a kind of self-delusion in order to maximize her own comfort. One night, when out to dinner with Alkaitis and his biggest investor, Lenny Xavier, Lenny comments that he recognized the opportunity of investing with Alkaitis “when [he] figured out how his fund worked.” Alkaitis responds by rather forcefully changing the subject. Yet Vincent turns a blind eye to the possible sketchiness at play in Alkaitis’s business in order to allow herself to continue to enjoy her place in Alkaitis’s “ kingdom of money.” That Vincent always understood, to some degree, that she was engaged in this selfish self-delusion is made clear at the very end of the book, when, after falling overboard the Neptune Cumberland, she visits Paul as a ghost and admits that she and Paul were both “thieves” in their lives. It’s in this admission that she abandons self-delusion and takes responsibility for consequences that arose as a result of her delusion.
Paul engages in a different sort of self-justification for his own selfish actions and hurtful actions toward Vincent, particularly his decision to steal Vincent’s collection of videos she’s recorded over the years and pass them off as his own work. Vincent, who hasn’t seen Paul in years, attends his show and realizes what Paul has done, but is too troubled by the realization to approach him. Unbeknownst to Vincent, Paul recognizes her, but he, too, fails to reach out or apologize to Vincent. A decade later, in 2018, he imagines the hypothetical conversation he and his half sister never got the chance to have in which he attempts to justify his theft of Vincent’s tapes, reasoning that they were up for grabs since she abandoned them in her childhood bedroom. Paul’s reasoning redirects the blame from himself, for stealing and using the videos without Vincent’s consent, to Vincent for not putting her videos to good use. But Paul’s logic is thin and unconvincing, even to himself. It is clear that Paul’s betrayal of his half sister was in fact a product of the unjustified grudge he holds against Vincent for the role her very existence played in his parents’ divorce: when Paul was young, his father fell in love with Vincent’s mother, who soon became pregnant with Vincent, which led to Paul’s parents’ breakup. Paul’s attempt to excuse the bad behavior he exhibits in stealing Vincent’s work is just another example of his tendency to manipulate and lie to himself to recast his moral shortcomings in a more forgiving light. In this case, he creates a narrative of victimhood in order to justify his anger at Vincent, excuse his mistreatment of her, and absolve himself of his guilt.
Greed, Delusion, and Self Interest ThemeTracker
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Greed, Delusion, and Self Interest 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.
I don’t hate Vincent, he told himself, Vincent has never been the problem, I have never hated Vincent, I have only ever hated the idea of Vincent.
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.”
“She had real potential. Real potential. But an inability to recognize opportunity? That right there is a fatal flaw.”
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.
“The thing with Paul,” her mother said, while they were waiting for the water taxi on the pier at Grace Harbour, “is he’s always seemed to think that you owe him something.” Vincent remembered looking up at her mother, startled by the idea. “You don’t,” her mother said. “Nothing that happened to him is your fault.”
“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.
It turned out that never having that conversation with Vincent meant he was somehow condemned to always have that conversation with Vincent.
There are so many ways to haunt a person, or a life.
“I’m sorry,” he says. “I’m sorry for all of it.,”
“I was a thief too,” I tell him, “we both got corrupted.”