Summary in at tweet. “Gentleman” is eloquent, witty, thought provoking, poetic, and meaningful. It is a welcome relief from and an antidote to a world drowning in tweets, click journalism, hypocrisy, and selfies. Novelists shouldn’t he held more accountable to historic accuracy than the President. Slithering Bishop, perfect antagonist. Stripped wine labels, a metaphor for the revolution. Count won’t countenance escape to America. Count’s rules of civility internally forged. Tinker Grey’s Rules of Civility externally imposed. Both are on the run.
Character development and plot. The plot was as subtle as his word craft. Gentlemanly. All the characters were wonderfully developed, but the one who stands out is the Bishop, the Count’s foil. Since protagonists are measured in contrast to their antagonists, the Bishop serves an essential role. Slithering on the bias rather than moving by rank and file, the Bishop embodies the qualities of the “anti-gentleman”. His decision to reorganize the Metropol’s wine cellar is one of the more memorable scenes in the book. As a tip of the hat to egalitarianism (but more likely in the spirit of retribution), the Bishop orders that all wine labels be removed from the one hundred thousand bottles in the Metropol’s inventory. This is possibly the most symbolic of the Bishop’s acts in that in one afternoon it eradicated the individuality of each bottle, by distilling untold permutations of climate, grape and vintner into but two categories “white” or “red”. If one wanted to toy with symbolism, individuality was sacrificed to provide a simple choice, Royalist (white), versus Bolshevik (red).
“Whichever wine was within, it was decidedly not identical to its neighbors. On the contrary, the contents of the bottle in his hand was the product of a history as unique and complex as that of a nation, or a man. In its color, aroma, and taste, it would certainly express the idiosyncratic geology and prevailing climate of its home terrain. But in addition, it would express all the natural phenomena of its vintage. In a sip, it would evoke the timing of that winter's thaw, the extent of that summer's rain, the prevailing winds, and the frequency of clouds. Yes, a bottle of wine was the ultimate distillation of time and place; a poetic expression of individuality itself.”
Historical accuracy? Who cares? Douglas Smith’s the Former People (2012) provides an accurate and acclaimed historical account of the nobility’s plight. The Count should have been terrified given that his fate was determined by class. The Red Terror’s form of “justice” was quite simple,”Do not look in the file of incriminating evidence to see whether or not the accused rose up against the Soviets with arms or words. Ask him instead to which class he belongs, what is his background, his education, his profession. These are the the questions that will determine the fate of the accused. “ (Martin Latsis in Douglas Smith, the Forgotten People). So it is odd that the Count escapes with his life while in full view of the Metropol’s patrons, some of whom are party officials. So, how does the Count survive? Towles employs a gimmick, i.e., the emergency committee is moved by a revolutionary poem attributed to the Count. I have read the poem a number of times and fail to see its power, especially when you contrast it with competing revolutionary verses. Had he written the following Song of the Peasant, he might have stood a chance of escaping the gallows.
…We’ve suffered insults long enough, and submitted too long to the nobles! … Altogether now let’s plunder …And from the bitter aspens shall we hang every last lackey of the VampireTsar. (1917)
Now, that is a rallying cry!
Because of this, it was difficult for some readers to suspend belief. In my view (which is also Towles’ view) such insistence on historical accuracy misses the point. Gentleman is not an historical novel. It is a novel loosely set in a period, but its emphasis is firmly set on inner life of the Count and the relationships he fosters over the course of thirty years of internal exile. The criticism that “Gentleman” is somehow flawed because of a few historical short cuts is particularly irritating to Towles. In an interview he quipped, “why should a novelist he held to a higher standard of truth than the President of the United States.” You could take his point one step further and ask why modern literature should be held to a higher standard than Shakespeare’s Henry V in which certain facts (e.g., the King of France was insane) are suppressed and others emphasized. In so doing, Shakespeare crafted the tale he wished, one that is purely English and extolling the virtue of English courage.
In Towles case, adding graphic detail about the “Red Terror” would have produced a completely different book. It would have detracted from his intent which was to engage his characters, toy with phraseology, and philosophize about the human condition. Characters are his focus, not external events.
Where do these elegant lines come from? Towles revealed in an interview that the phrases and musings materialize on the page as if the characters were authoring them and he is simply a witness to his art. He says as much in voicing the Count’s response to a question posed by emergency committee at the beginning of the book. “Vyshinsky: Why did you write the poem? Rostov: It demanded to be written. I simply happened to be sitting at the particular desk on the particular morning when it chose to make its demands.”
Allegory for our time? Towles claims this book is not a parable, but that leaves open the possibility that it might be an allegory. Like the hotel, the book has secret passages, or at least passages that invite interpretation. What strikes me most about Gentleman is how much his writing struck a chord. Most everyone who has read the book is in agreement that his style is mesmerizing. It is lyrical and poetic. But, I have a feeling that people are drawn to the book for deeper reasons, one being that it serves as an antidote to an unending drone of tweets, click journalism, hypocrisy and lies.
Towles plays with sentences, even a sentence about sentences. In some cases he plays for the sake of it. For example,
“Here, indeed, was a formidable sentence--one that was on intimate terms with a comma, and that held the period in healthy disregard.”
He could have written “That was a long sentence.” Glad he didn’t.
Another,
“But, alas, sleep did not come so easily to our weary friend. Like in a reel in which the dancers form two rows, so that one of their number can come skipping brightly down the aisle, a concern of the Count’s would present itself for his consideration, bow with a flourish, and then take its place at the end of the line so that the next concern could come dancing to the fore.”
He could have written, “He fell asleep counting troubles instead of sheep.” Glad he didn’t.
Then there are passages that have no straight forward translation, but leave you to ponder, and then ponder some more.
"...a gentleman should turn to a mirror with a sense of distrust. For rather than being tools of self-discovery, mirrors tended to be tools of self-deceit."
“That sense of loss is exactly what we must anticipate, prepare for, and cherish to the last of our days; for it is only our heartbreak that finally refutes all that is ephemeral in love.”
Perhaps Towles most important achievement is reminding us that we are not immune to change, either as individuals or as a nation. In fact, change is a theme that recurs throughout the book. It is either glacial (on the personal level), circular (cannons melted for church bells and bells for cannons), or dramatic (in the case of the revolution). It was the Count’s view that change was both inevitable and disquieting, and for Russia’s nobility terrifying. His deep sense of purpose that took root during his exile in the Metropol was born of humility. Once stripped of his possessions and his link to the past severed, he was forced to confront his fate with a freshness of purpose. That was the preparation he needed in order to invite Sophia into his life and chart a new direction, one propelled by childlike innocence.
On a grander scale, one might argue that dramatic change was long overdue in Russia. The feudal system had produced a backward economy populated by the illiterate and poor. “Red Terror” was the result, and its henchman ruthlessly purged institutions that were even tangentially connected to Tsarist Russia. That meant the nobility, works of art, religion, historic buildings, writers, painters, and poets all were destroyed or exiled in the pursuit of a more egalitarian state.
I believe that this wanton destruction of institutions in the name of egalitarianism is what has gotten readers attention, and is partly responsible for driving the book’s popularity. For aren’t we seeing something similar today. Scientific institutions, social norms, the legal system, logical discourse, and religious tolerance are under attack. Aren’t we now feeling some remorse for ignoring the plight of the poor in America (as in 1917, the Russian nobility regretted too late the plight of the serfs). Admittedly, the scale of the attack is nowhere near as vicious as the Bolshevik’s leveled against the Russian nobility, but it is similar in form. Perhaps we are witnessing more of an Orange Horror than a Red Terror. Regardless, Towles reminds us that well intended change will be disquieting. If Towles did nothing else, he at least gave us the Count as a guide for how to navigate the uncertainties produced by the onslaught of change!
Could the Count countenance an escape to the U.S.? Where did he go? America is portrayed ambiguously in the book. It’s music suggests its free wheeling life affirming nature, but on a dark note, Osip (former colonel and party member, studying English and American culture under the Count’s tutelage) suggests that change is as destructive in America as in the Soviet Union. In short, the dialogue between the Osip and the Count reveals America’s contradictions. In a few short paragraphs Towles lays out the ambiguity of American society, a few of which are borrowed from Tocqueville’s impression of America.
The freshness of jazz
“And yet, the art form had grown on him. Like the American correspondents, jazz seemed a naturally gregarious force – one that was a little unruly and prone to say the first thing that popped into its head, but generally of good humor and friendly intent. In addition, it seemed decidedly unconcerned with where it had been or where it was going – exhibiting somehow simultaneously the confidence of the master and the inexperience of the apprentice. Was there any wonder that such an art had failed to originate in Europe?”
Destruction of the past (creatively in the U.S., administratively in the Soviet Union)
"but do you think the achievements of the Americans-envied the world over-came without a cost? Just ask their African brothers. And do you think the engineers who designed their illustrious skyscrapers or built their highways hesitated for one moment to level to lovely little neighborhoods that stood in their way?...we and the Americans will lead the rest of this century because we are the only nations who have learned to brush the past aside instead of bowing before it. But where they so do in service of their beloved individualism, we are attempting to do so in service of the common good."
American’s need for comfort
“There is not a single country in the civilized world where less attention is paid to philosophy than the United States” And, The minds of Americans, he says, are universally preoccupied with meeting the body’s every need and attending to life’s little comforts.”
The darker side of American capitalism
“they seemed to depict an America in which corruption and cruelty lounged on the couch; in which justice was a beggar and kindness a fool; in which loyalties were fashioned from paper, and self-interest was fashioned from steel. In other words, they provided an unflinching portrayal of Capitalism as it actually was.”
I suspect that the Count would welcome some aspect of American culture and might even be willing to tolerate an American economic dynamism fueled by a cycle of creation and destruction. What he could not countenance is the darker side of American capitalism and its people’s preoccupation with comfort. The Count’s view is just the opposite. He says, “But in the end, it has been the inconveniences that have mattered to me most.” Nor would he feel at home with a people so preoccupied with themselves. He says,”…a gentleman should turn to a mirror with a sense of distrust. For rather than being tools of self-discovery, mirrors tended to be tools of self-deceit." I will leave it up to the reader to guess which end of the spectrum the Count occupies and which end tends to be more American. Lastly, I would add that the pace of life in America would not suit the Count well, for time in America is meted in seconds rather than the clang of the twice tolling clock. If for no other reason than that, America would appear to be a poor choice. Instead, I opt for his escape to Paris where he occupies a small back room in Sophia’s flat. I can envision him living his last days simply un-intrusively, sipping fresh coffee at a nearby cafe, conversing with the regulars, … after the twice tolling clock’s first chime.
The Gentleman and Rules of Civility. Towle’s Rules of Civility gets its name from a list of rules George Washington developed to guide persons of culture to comport themselves in high society (the American nobility). No doubt, the Count exhibited many of the behaviors the rules were intended to foster. However, the rules were not causative. In the Count’s case he was guided by an internal compass (his own rules) forged over the course of a life. It was the intertwined helix of love and loss that shaped him and gave him direction. By way of contrast, Tinker Grey, a main character in Rules of Civility, makes a conscious effort to shed the “Rules” in his search for ephemeral freedom. The only thing they share in common is, they are both on the run.
A Gentleman in Moscow: A Novel
4.6 | 133,521 ratings
Price: 19.69
Last update: 06-20-2024
Top reviews from the United States
Zeester
perfect antagonist. Stripped wine labels
Reviewed in the United States on February 21, 2018
Booksalottle
A Modern Masterpiece! My BEST and FAVORITE Book Read in 2018!
Reviewed in the United States on July 14, 2018
Booksalottle
Reviewed in the United States on July 14, 2018
I read this delightful novel during the hellish, three-digits heatwave in southern California in July of 2018. If you know anything about southern California heat, it is anything but fun or smile-inducing. Yet, despite the Dante's inferno hellscape that I was physically in while reading this delicious literary treat, this extraordinary book had me smiling and magically whisked away to a non-colluding Russia of the 1920s that would enchant even the most crotchety. Batting my eyes, sighing, lightly tapping my chest, and saying the words "be still my heart" is the feeling this exceptional piece of literature invokes in me every time I think about it. Long after turning the last page, 'A Gentleman In Moscow' is still with me, beating my heart to a pleasant mush.
The novel tells the fantastical tale and chronicles the life of a Russian Count, Alexander Ilyich Rostov, who was once part of the Russian aristocracy with close ties to the Tsar and Tsarina prior to the revolution. Due to his familial and political ties pre-revolution, plus his life of opulence that is now deemed symbolic of the old Russia, he is exiled. The full extent of the Count's punishment however is that he is placed under house arrest in the attic of the world renowned Metropol Hotel in Moscow "for the rest of his days," in lieu of being shot. While at the Metropol, he "masters his circumstances before his circumstances get the better of him." He befriends and interacts with a kaleidoscope of hotel associates and hotel guests, each of who are just as unique, lovable, quirky, funny, eccentric, curious, and extraordinary as the Count himself.
As my review's title indicates, 'A Gentleman In Moscow' is the BEST book I've read in 2018 and despite five months remaining in the year, I doubt that any book will topple its distinction in my mind. This is the first book by author Amor Towles that I'm reading and he is now firmly planted as one of my favorite authors. According to his bio, Towles graduated from Yale University and received an MA in English from Stanford University and boy does this academic prowess show in his writing. Towles' choice of story structure, his intelligent diction and syntax, his masterful crafting of the brilliant plot, and the poetic, sometimes dreamlike storytelling is unlike anything else I've read in a long while. All of the characters introduced are broad and serve an intrinsic purpose.The Count, the titular gentleman in Moscow, is an in-depth character study of a man in exile who does not let the fancy hotel prison get the better of his wits as life goes on around him.
The entire time while reading, there was hardly a moment that I was not smiling at the words in front of me. Cerebral, charming, delightful, and so wonderfully jovial, with moments of sadness and deep contemplation, 'A Gentleman In Moscow' is in my opinion a literary masterpiece. The first 167 pages have a slightly caliginous, obscure tone. In the vein of magical realism, the reader will be delighted but might find themselves unsure of the state of the main and supporting characters during this section. By this I mean that I on several occasions between pages 1-167, thought the characters were all dead and were simply ghosts revisiting their previous social lives. To be clear, they are not ghosts and are in fact more alive than you and I. Right on page 171, like a blooming flower in Spring, the book opens up with a beautiful and bright flourish that tickles the senses thereafter. As the plot moved along in perfect pitch and pace, my heart would swell and my smile widen ear to ear each time Count Rostov interacted with the characters Sofia, Anna, Nina, and the two additional members of the Triumvirate. Even the Bishop, an irascible and frustrating character provides moments of levity.
The setting of the novel is a world famous opulent hotel that sees all manner of events taking place with scrumptious, delicious food being served with all the pomp and circumstance of proper fine dining. In that regard, Towles gave the Count the heart and mind of a seasoned, well traveled bon vivant who knows high-end cuisine with an exceptionally refined taste. I am a classically trained chef and I've worked in many high-end hotels and high-end kitchens and I must say, I was thoroughly impressed with the snappy and clever level to which the author imparted food and wine into the count's tale. From the preparation and serving of authentic dishes, to the wine varietals, to the top-notch appellations and vintages, to the detailed pairings, I was wide-eyed and dazzled because it was all on point. Without pretension, the descriptions were a truthful account of the etiquette of respectable cuisine. Because of my own culinary acumen and epicurean sensibilities, I am always looking for the use of food and wine symbolism in books I read and in movies/TV shows I watch. 'A Gentleman In Moscow' is perhaps one of the best iterations I've encountered in a long time. This book will be pure delight for the lover of fancy food and for the gastronomes and epicures like me who are in the know.
Along with the exceptionally intriguing plot, lovable characters, and artful display of food & wine, another masterful and much appreciated talent the author exhibited in the book was his writing of women. Towles treats each of his female characters with care, respect, and reverence. So much so that the precociousness of Nina and Sofia is never tiresome or irksome, but instead, the young ladies are witty, smart, and can hold their own against any adult in the book. Sofia will achingly break your heart with pride and adoration of her, while Nina will have you in stitches due to her droll wit. Equally as commendable is the respect and dignity Towles gives the Anna and Marina characters, without ridicule or making them into caricatures or bores. Anna ages and matures with grace and an air of regality, while still retaining her sexiness and zest for life.
At the exception of Shakespeare's 'Romeo & Juliet,' when it comes to critically acclaimed works of literature, I don't usually like love stories that consume a book's entire plot. However, the love affair between Count Rostov and Anna Urbanova was beautifully done. Delicate and sweet without over-saturation and without being all consuming, their love was just the right amount of sentimentalism that was needed for it to be believable to the book's plot. This is important, especially taking into consideration that the Count is in fact in prison. The Count and Anna are two adults who banter and playfully laugh at the others' weaknesses, all while displaying affection and deep admiration for the other. I smile right now just thinking about their coy, yet amazingly sexy rendezvous throughout the book. Trust me, it's good and will make you giggle and smile with bashful contentment. Their lovemaking is tender and packs a smashing punch. Good stuff!
In the middle, in between, and around all this magic and wonderment in Moscow, is Count Rostov. A fictional man who my schoolgirl heart thinks is darn near perfect. The Count is intelligent, witty, traveled, assertive, and generous, with a sly but kind sense of humor. He is nostalgic but sensible, without harboring ill will or bitterness around his circumstances. He is also very funny. Above all, the Count is a man who knows and tests his own limits, with his head held up high in honesty and appreciation of those around him. Simply put, Count Alexander Rostov is my kind of guy and my kind of character. He can lyrically make love to a woman in a manner that would make Casanova smile and concurrently make Cupid blush, while two hours later, he can recite the best vintages of Chateau d'Yquem and Chateauneuf-du-Pape. Come now, what's not to love? The Count may not be real, but if he were, best believe I'd be fighting Anna Urbanova for his affections.
By now, I'm sure you can deduce that I LOVED this book and everything about it. I adored it cover to cover, page in page out and I had a lovely time reading it. Through brilliant prose that has captured and enchanted my soul, Amor Towles has achieved something special, something masterful. Something extraordinary. From my perspective, writing like Towles' is exceptional and rare. It is intelligent without being pretentious, it is vivid without being suffocatingly overwrought, and it is relatable without being cloyingly sweet or cliched. Everything about 'A Gentleman In Moscow' is what I look for in good reads and this book was a winner in all sense of the word. Mr. Towles in my opinion is a magnificent author and I could not recommend this novel enough as an entry into his talent as a writer and masterful storyteller. I have zero negatives to say about the book and I plan on reading it repeatedly for years to come.
For serious readers of literary fiction, readers who have an appreciation for historical fiction, lovers of books that have solid character portrayals, serious readers who love an ensemble mix of characters that are each wonderful in their own way - 'A Gentleman in Moscow' is for each and every one of you. I highly, highly, highly recommend it and would give it 10-Stars if permitted. It thoroughly deserves the full 5-Stars. Get to reading and if you are over 21, sip an aromatic brandy or savor a robust, well rounded glass of French red wine while doing so. Cheers!
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NB
Overall very well written but occasionally flat or contrived
Reviewed in the United States on January 1, 2024