by Amor Towles
And the books? All of them! he had said with such bravado. But in the light of day, he had to admit that this instruction had been prompted less by good sense than by a rather childish impulse to impress the bellhops and put the guards in their place. For the books were not even to the Count’s taste. His personal library of majestic narratives by the likes of Balzac, Dickens, and Tolstoy had been left behind in Paris. The books the bellhops had lugged to the attic had been his father’s and, devoted as they were to studies of rational philosophy and the science of modern agriculture, each promised heft and threatened impenetrability.
Without a doubt, one more winnowing was called for.
So, having broken his fast, bathed, and dressed, the Count went about the business. First, he tried the door of the adjacent room. It must have been blocked on the inside by something quite heavy, for under the force of the Count’s shoulder it barely budged. In the next three rooms, the Count found flotsam and jetsam from floor to ceiling. But in the last room, amidst tiles of slate and strips of flashing, an ample space had been cleared around a dented old samovar where some roofers had once taken their tea.
Back in his room, the Count hung a few jackets in his closet. He unpacked some trousers and shirts into the back right corner of his bureau (to ensure that the three-legged beast wouldn’t topple). Down the hall he dragged his trunk, half of his furniture, and all of his father’s books but one. Thus, within an hour he had reduced his room to its essentials: a desk and chair, a bed and bedside table, a high-back chair for guests, and a ten-foot passage just wide enough for a gentleman to circumambulate in reflection.
With satisfaction the Count looked toward the cat (who was busy licking the cream from his paws in the comfort of the high-back chair). “What say you now, you old pirate?”
Then he sat at his desk and picked up the one volume that he had retained. It must have been a decade since the Count had first promised himself to read this work of universal acclaim that his father had held so dear. And yet, every time he had pointed his finger at his calendar and declared: This is the month in which I shall devote myself to the Essays of Michel de Montaigne! some devilish aspect of life had poked its head in the door. From an unexpected corner had come an expression of romantic interest, which could not in good conscience be ignored. Or his banker had called. Or the circus had come to town.
Life will entice, after all.
But here, at last, circumstance had conspired not to distract the Count, but to present him with the time and solitude necessary to give the book its due. So, with the volume firmly in hand, he put one foot on the corner of the bureau, pushed back until his chair was balanced on its two rear legs, and began to read:
By Diverse Means We Arrive at the Same End
The commonest way of softening the hearts of those we have offended, when, vengeance in hand, they hold us at their mercy, is by submission to move them to commiseration and pity. However, audacity and steadfastness—entirely contrary means—have sometimes served to produce the same effect. . . .
It was at Idlehour that the Count had first formed the habit of reading in a tilted chair.
On those glorious spring days when the orchards were in bloom and the foxtails bobbed above the grass, he and Helena would seek out a pleasant corner to while away the hours. One day it might be under the pergola on the upper patio and the next beside the great elm that overlooked the bend in the river. As Helena embroidered, the Count would tilt back his chair—balancing himself by resting a foot lightly on the lip of the fountain or the trunk of the tree—in order to read aloud from her favorite works of Pushkin. And hour upon hour, stanza upon stanza, her little needle would go round and round.
“Where are all those stitches headed?” he would occasionally demand at the end of a page. “Surely, by now, every pillow in the household has been graced by a butterfly and every handkerchief by a monogram.” And when he accused her of unwinding her stitches at night like Penelope just so that he would have to read her another volume of verse, she would smile inscrutably.
Looking up from the pages of Montaigne, the Count rested his gaze on Helena’s portrait, which was leaning against the wall. Painted at Idlehour in the month of August, it depicted his sister at the dining room table before a plate of peaches. How well Serov had captured her likeness—with her hair as black as a raven’s, her cheeks lightly flushed, her expression tender and forgiving. Perhaps there had been something in those stitches, thought the Count, some gentle wisdom that she was mastering through the completion of every little loop. Yes, with such kindheartedness at the age of fourteen, one could only imagine the grace she might have exhibited at the age of twenty-five. . . .
The Count was roused from this reverie by a delicate tapping. Closing his father’s book, he looked back to find a sixty-year-old Greek in the doorway.
“Konstantin Konstantinovich!”
Letting the front legs of his chair land on the floor with a thump, the Count crossed to the threshold and took his visitor’s hand.
“I am so glad you could come. We have only met once or twice, so you may not remember, but I am Alexander Rostov.”
The old Greek gave a bow to show that no reminder was necessary.
“Come in, come in. Have a seat.”
Waving Montaigne’s masterpiece at the one-eyed cat (who leapt to the floor with a hiss), the Count offered his guest the high-back chair and took the desk chair for himself.
In the moment that ensued, the old Greek returned the Count’s gaze with an expression of moderate curiosity—which was to be expected, perhaps, given that they had never met on a matter of business. After all, the Count was not accustomed to losing at cards. So the Count took it upon himself to begin.
“As you can see, Konstantin, my circumstances have changed.”
The Count’s guest allowed himself an expression of surprise.
“No, it is true,” said the Count. “They have changed quite a bit.”
Looking once about the room, the old Greek raised his hands to acknowledge the doleful impermanence of circumstances,
“Perhaps you are looking for access to some . . . capital?” he ventured.
In making this suggestion, the old Greek paused ever so briefly before the word capital. And in the Count’s considered opinion, it was a perfect pause—one mastered over decades of delicate conversations. It was a pause with which he expressed an element of sympathy for his interlocutor without suggesting for even an instant that there had been a change in their relative stations.
“No, no,” assured the Count with a shake of the head to emphasize that borrowing was not a habit of the Rostovs. “On the contrary, Konstantin, I have something that I think will be of interest to you.” Then, as if from thin air, the Count produced one of the coins from the Grand Duke’s desk, balancing it upright on the tip of a finger and thumb.
The old Greek studied the coin for a second and then, in a sign of appreciation, slowly exhaled. For while Konstantin Konstantinovich was a lender by trade, his art was to see an item for a minute, to hold it for a moment, and to know its true worth.
“May I . . . ?” he asked.
“By all means.”
He took the coin, turned it once, and handed it back with reverence. For not only was the piece pure in the metallurgical sense, the winking double eagle on the reverse confirmed to the experienced eye that it was one of the five thousand coins minted in commemoration of Catherine the Great’s coronation. Such a piece purchased from a gentleman in need could be sold at a reasonable profit to the most cautious of banking houses in the best of times. But in a period of upheaval? Even as the demand for common luxuries collapsed, the value of a treasure like this would be on the rise.
“Excuse my curiosity, Your Excellency, but is that a . . . lonely piece?”
“Lonely? Oh, no,” replied the Count with a shake of the head. “It lives like a soldier in
a barracks. Like a slave in a galley. Not a moment to itself, I’m afraid.”
The old Greek exhaled again.
“Well then . . .”
And in a matter of minutes the two men had struck an arrangement without a hem or haw. What is more, the old Greek said it would be his pleasure to personally deliver three notes, which the Count penned on the spot. Then they shook hands like familiars and agreed to see each other three months hence.
But just as the old Greek was about to step through the door, he paused.
“Your Excellency . . . May I ask a personal question?”
“By all means.”
He gestured almost shyly to the Grand Duke’s desk.
“Can we expect more verses from you?”
The Count offered an appreciative smile.
“I am sorry to say, Konstantin, that my days of poetry are behind me.”
“If your days of poetry are behind you, Count Rostov, then it is we who are sorry.”
Tucked discreetly into the northeast corner of the hotel’s second floor was the Boyarsky—the finest restaurant in Moscow, if not in all of Russia. With vaulted ceilings and dark red walls reminiscent of a boyar’s retreat, the Boyarsky boasted the city’s most elegant décor, its most sophisticated waitstaff, and its most subtle chef de cuisine.
So renowned was the experience of dining at the Boyarsky that on any given night one might have to elbow one’s way through a crowd of hopefuls just to catch the eye of Andrey, as he presided over the large black book in which the names of the fortunate were set down; and when beckoned ahead by the maître d’, one could expect to be stopped five times in four languages on the way to one’s table in the corner, where one would be served flawlessly by a waiter in a white dinner jacket.
That is, one could expect this until 1920 when, having already sealed the borders, the Bolsheviks decided to prohibit the use of rubles in fine restaurants—effectively closing them to 99 percent of the population. So tonight, as the Count began to eat his entrée, water glasses clinked against cutlery, couples whispered awkwardly, and even the best of waiters found himself staring at the ceiling.
But every period has its virtues, even a time of turmoil. . . .
When Emile Zhukovsky was lured to the Metropol as chef de cuisine in 1912, he was given command of a seasoned staff and a sizable kitchen. In addition, he had the most celebrated larder east of Vienna. On his spice shelves was a compendium of the world’s predilections and in his cooler a comprehensive survey of birds and beasts hanging from hooks by their feet. As such, one might naturally leap to the conclusion that 1912 had been a perfect year in which to measure the chef’s talents. But in a period of abundance any half-wit with a spoon can please a palate. To truly test a chef’s ingenuity, one must instead look to a period of want. And what provides want better than war?
In the Revolution’s aftermath—with its economic declines, failed crops, and halted trade—refined ingredients became as scarce in Moscow as butterflies at sea. The Metropol’s larder was depleted bushel by bushel, pound by pound, dash by dash, and its chef was left to meet the expectations of his audience with cornmeal, cauliflower, and cabbage—that is to say, with whatever he could get his hands on.
Yes, some claimed Emile Zhukovsky was a curmudgeon and others called him abrupt. Some said he was a short man with a shorter temper. But none could dispute his genius. Just consider the dish the Count was finishing at that very moment: a saltimbocca fashioned from necessity. In place of a cutlet of veal, Emile had pounded flat a breast of chicken. In place of prosciutto de Parma, he had shaved a Ukrainian ham. And in place of sage, that delicate leaf that binds the flavors together? He had opted for an herb that was as soft and aromatic as sage, but more bitter to the taste. . . . It wasn’t basil or oregano, of that the Count was certain, but he had definitely encountered it somewhere before. . . .
“How is everything this evening, Your Excellency?”
“Ah, Andrey. As usual, everything is perfect.”
“And the saltimbocca?”
“Inspired. But I do have one question: The herb that Emile has tucked under the ham—I know it isn’t sage. By any chance, is it nettle?”
“Nettle? I don’t believe so. But I will inquire.”
Then with a bow, the maître d’ excused himself.
Without a doubt Emile Zhukovsky was a genius, reflected the Count, but the man who secured the Boyarsky’s reputation for excellence by ensuring that all within its walls ran smoothly was Andrey Duras.
Born in the south of France, Andrey was handsome, tall, and graying at the temples, but his most distinguishing feature was not his looks, his height, or his hair. It was his hands. Pale and well manicured, his fingers were half an inch longer than the fingers of most men his height. Had he been a pianist, Andrey could easily have straddled a twelfth. Had he been a puppeteer, he could have performed the sword fight between Macbeth and Macduff as all three witches looked on. But Andrey was neither a pianist nor a puppeteer—or at least not in the traditional sense. He was the captain of the Boyarsky, and one watched in wonder as his hands fulfilled their purpose at every turn.
Having just led a group of women to their table, for instance, Andrey seemed to pull back their chairs all at once. When one of the ladies produced a cigarette, he had a lighter in one hand and was guarding the flame with the other (as if a draft had ever been felt within the walls of the Boyarsky!). And when the woman holding the wine list asked for a recommendation, he didn’t point to the 1900 Bordeaux—at least not in the Teutonic sense. Rather, he slightly extended his index finger in a manner reminiscent of that gesture on the Sistine Chapel’s ceiling with which the Prime Mover transmitted the spark of life. Then, excusing himself with a bow, he crossed the room and went through the kitchen door.
But before a minute could pass, the door swung open again—and there was Emile.
Five foot five and two hundred pounds, the chef glanced quickly about the room then marched toward the Count with Andrey trailing behind. As he crossed the dining room, the chef knocked into a customer’s chair and nearly toppled a busboy with his tray. Coming to an abrupt stop at the Count’s table, he looked him up and down as one might measure an opponent before challenging him to a duel.
“Bravo, monsieur,” he said in a tone of indignation. “Bravo!”
Then he turned on his heels and disappeared back into his kitchen.
Andrey, a little breathless, bowed to express both apologies and congratulations.
“Nettle it was, Your Excellency. Your palate remains unsurpassed.”
Though the Count was not a man to gloat, he could not repress a smile of satisfaction.
Knowing that the Count had a sweet tooth, Andrey gestured toward the dessert cart.
“May I bring you a slice of plum tart with our compliments . . . ?”
“Thank you for the thought, Andrey. Normally, I would leap at the chance. But tonight, I am otherwise committed.”
Having acknowledged that a man must master his circumstances or otherwise be mastered by them, the Count thought it worth considering how one was most likely to achieve this aim when one had been sentenced to a life of confinement.
For Edmond Dantès in the Château d’If, it was thoughts of revenge that kept him clear minded. Unjustly imprisoned, he sustained himself by plotting the systematic undoing of his personal agents of villainy. For Cervantes, enslaved by pirates in Algiers, it was the promise of pages as yet unwritten that spurred him on. While for Napoleon on Elba, strolling among chickens, fending off flies, and sidestepping puddles of mud, it was visions of a triumphal return to Paris that galvanized his will to persevere.
But the Count hadn’t the temperament for revenge; he hadn’t the imagination for epics; and he certainly hadn’t the fanciful ego to dream of empires restored. No. His model for mastering his circumstances would be a different sort of captive al
together: an Anglican washed ashore. Like Robinson Crusoe stranded on the Isle of Despair, the Count would maintain his resolve by committing to the business of practicalities. Having dispensed with dreams of quick discovery, the world’s Crusoes seek shelter and a source of fresh water; they teach themselves to make fire from flint; they study their island’s topography, its climate, its flora and fauna, all the while keeping their eyes trained for sails on the horizon and footprints in the sand.
It was to this end that the Count had given the old Greek three notes to deliver. Within a matter of hours, the Count had been visited by two messengers: a young lad from Muir & Mirrielees bearing fine linens and a suitable pillow; and another from Petrovsky Passage with four bars of the Count’s favorite soap.
And the third respondent? She must have arrived while the Count was at dinner. For waiting on his bed was a light blue box with a single mille-feuille.
An Appointment
Never had the chime of twelve been so welcome. Not in Russia. Not in Europe. Not in all the world. Had Romeo been told by Juliet that she would appear at her window at noon, the young Veronan’s rapture at the appointed hour could not have matched the Count’s. Had Dr. Stahlbaum’s children—Fritz and Clara—been told on Christmas morning that the drawing-room doors would be opened at midday, their elation could not have rivaled the Count’s upon the sounding of the first toll.
For having successfully fended off thoughts of Tverskaya Street (and chance encounters with young ladies of fashion), having bathed, dressed, and finished his coffee and fruit (today a fig), shortly after ten the Count had eagerly taken up Montaigne’s masterpiece only to discover that at every fifteenth line, his gaze was drifting toward the clock . . .
Admittedly, the Count had felt a touch of concern when he’d first lifted the book from the desk the day before. For as a single volume, it had the density of a dictionary or Bible—those books that one expects to consult, or possibly peruse, but never read. But it was the Count’s review of the Contents—a list of 107 essays on the likes of Constancy, Moderation, Solitude, and Sleep—that confirmed his initial suspicion that the book had been written with winter nights in mind. Without a doubt, it was a book for when the birds had flown south, the wood was stacked by the fireplace, and the fields were white with snow; that is, for when one had no desire to venture out and one’s friends had no desire to venture in.
