A Gentleman in Moscow

by Amor Towles

  Moving quietly across the room, the Count put an ear to the door, where he could hear the voices of the manager, Arkady, and a third party talking outside. Though muted, their tones suggested they were still a few steps from resolution. Quickly, the Count returned to the wall with the etchings and counted two panels beyond the depiction of “The Chase.” Placing his hand in the center of the panel, he gave a firm push. The panel depressed slightly. When a click sounded, the Count pulled back his fingers and the panel popped open, revealing a hidden cabinet. Inside, just as the Grand Duke had described, was an inlaid box with brass fittings. Reaching into the cabinet, the Count gently lifted the lid of the box and there they were, perfectly crafted and peacefully at rest.

  “Marvelous,” he said. “Simply marvelous.”

  Archeologies

  Pick a card,” the Count was saying to the smallest of the three ballerinas.

  When he had entered the Shalyapin for his reinstated nightly aperitif, the Count had discovered them standing in a row, their delicate fingers resting on the bar as if they intended to plié. But for a solitary drinker hunched over his consolation, the young ladies were alone in the bar; so it seemed only appropriate that the Count should join them in a bit of conversation.

  In an instant, he could tell that they were new to Moscow—three of the doves that Gorsky recruited from the provinces every September to join the corps de ballet. Their short torsos and long limbs were of the classical style preferred by the director, but their expressions had yet to acquire the aloofness of his more seasoned ballerinas. And the very fact that they were drinking at the Metropol unaccompanied hinted at a youthful naïveté. For while the proximity of the hotel to the Bolshoi made it a natural choice for young ballerinas who wished to slip away at the end of rehearsal, the same proximity also made it a favored spot of Gorsky’s whenever he wished to discuss matters of art with his prima ballerina. And should these doves be discovered by the director sipping muscat, they would soon be doing the pas de deux in Petropavlosk.

  With that in mind, perhaps the Count should have warned them.

  But freedom of the will has been a well-established tenet of moral philosophy since the time of the Greeks. And though the Count’s days of romancing were behind him, it goes against the nature of even the well-meaning gentleman to recommend that lovely young ladies leave his company on the basis of hypotheses.

  So, instead, the Count remarked on the young ladies’ beauty, inquired what brought them to Moscow, congratulated them on their achievements, insisted upon paying for their wine, chatted with them about their hometowns, and eventually offered to perform a sleight of hand.

  A deck of cards with the Metropol’s insignia was produced by the ever-attentive Audrius.

  “It has been years since I have done this trick,” the Count admitted, “so you must bear with me.”

  As he began to shuffle the pack, the three ballerinas watched him closely; but like demigods of ancient myth, they watched in three different ways: the first through the eyes of the innocent, the second through the eyes of the romantic, and the third through the eyes of the skeptic. It was the dove with the innocent eyes whom the Count had asked to pick a card.

  As the ballerina was making her selection, the Count became aware of someone standing behind his shoulder, but this was to be expected. In the setting of a bar, a sleight of hand will inevitably attract a curious onlooker or two. But when he turned to his left to offer a wink, he found not a curious onlooker, but unflappable Arkady—looking unusually flapped.

  “Pardon me, Count Rostov. I am sorry to interrupt. But may I have a moment?”

  “Certainly, Arkady.”

  Smiling apologetically to the ballerinas, the desk captain led the Count a few paces away, then let the facts of the evening speak for themselves: At half past six, a gentleman had knocked at the suite of Secretary Tarakovsky. When the esteemed Secretary opened the door, this gentleman demanded to know who he was and what he was doing there! Taken aback, comrade Tarakovsky explained that he was the current resident of the suite and that was what he was doing there. Unconvinced by this logic, the gentleman insisted he be admitted at once. When comrade Tarakovsky refused, the gentleman brushed him aside, crossed the threshold, and commenced searching the rooms one by one, including, ahem, the salle de bain—where Mrs. Tarakovsky was seeing to her nightly toilette.

  This was the point at which Arkady had arrived on the scene, having been summoned urgently by phone. In an agitated state, comrade Tarakovsky waved his cane and demanded “as a regular guest of the Metropol and senior member of the Party” to see the manager at once.

  The gentleman, who was now sitting on the couch with his arms crossed, replied that this suited him perfectly—as he had been about to summon the manager himself. And as to Party membership, he asserted that he had been a member of the Party since before comrade Tarakovsky was born—which seemed a rather incredible claim given that comrade Tarakovsky is eighty-two. . . .

  Now, the Count, who had listened with interest to every word that Arkady had related, would be the first to admit that this was an enthralling tale. In fact, it was just the sort of colorful incident that an international hotel should aspire to have as part of its lore and that he, as a guest of the hotel, would be likely to retell at the first opportunity. But what he could not understand was why Arkady had chosen this particular moment to share this particular story with him.

  “Why, because comrade Tarakovsky is staying in suite 317; and it is you for whom the gentleman in question was looking.”

  “Me?”

  “I am afraid so.”

  “What is his name?”

  “He refused to say.”

  . . .

  “Then where is he now?”

  Arkady pointed toward the lobby.

  “He is wearing out the carpet behind the potted palms.”

  “Wearing out the carpet . . . ?”

  The Count stuck his head out of the Shalyapin as Arkady leaned cautiously behind him. And sure enough, there on the other side of the lobby was the gentleman in question, making quick business of the ten feet between the pair of plants.

  The Count smiled.

  Though a few pounds heavier, Mikhail Fyodorovich Mindich had the same ragged beard and restless pace that he had had when they were twenty-two.

  “Do you know him?” asked the desk captain.

  “Only like a brother.”

  When the Count and Mikhail Fyodorovich first met at the Imperial University in St. Petersburg in the fall of 1907, the two were tigers of a very different stripe. While the Count had been raised in a twenty-room mansion with a staff of fourteen, Mikhail had been raised in a two-room apartment with his mother. And while the Count was known in all the salons of the capital as one who could be counted on for his wit, intelligence, and charm, Mikhail was known hardly anywhere as one who preferred to read in his room rather than fritter away the evening on frivolous conversations.

  As such, the two young men hardly seemed fated for friendship. But Fate would not have the reputation it has if it simply did what it seemed it would do. Sure enough, while Mikhail was prone to throw himself into a scrape at the slightest difference of opinion, regardless of the number or size of his opponents, it just so happened that Count Alexander Rostov was prone to leap to the defense of an outnumbered man regardless of how ill conceived his cause. Thus, on the fourth day of their first year, the two students found themselves helping each other up off the ground, as they wiped the dust from their knees and the blood from their lips.

  While the splendors that elude us in youth are likely to receive our casual contempt in adolescence and our measured consideration in adulthood, they forever hold us in their thrall. Thus, in the days that followed their meeting, the Count listened with as much amazement to Mikhail’s impassioned expression of ideals, as Mikhail did to the Count’s descriptions of the city’s sa
lons. And within the year, they were sharing rented rooms above a cobbler’s shop off Sredny Prospekt.

  As the Count would later observe, it was fortuitous that they ended up above a cobbler—for no one in all of Russia could wear out a shoe like Mikhail Mindich. He could easily pace twenty miles in a twenty-foot room. He could pace thirty miles in an opera box and fifty in a confessional. For simply put, pacing was Mishka’s natural state.

  Say the Count secured them invitations to Platonov’s for drinks, the Petrovskys’ for supper, and Princess Petrossian’s for a dance—Mishka would invariably decline on the grounds that in the back of a bookshop he had just discovered a volume by someone named Flammenhescher that demanded to be read from beginning to end without delay. But once alone, having torn through the first fifty pages of Herr Flammenhescher’s little monograph, Mikhail would leap to his feet and start pacing from corner to corner in order to voice his fervid agreement or furious dissent with the author’s thesis, his style, or his use of punctuation. Such that by the time the Count returned at two in the morning, though Mishka had not advanced beyond the fiftieth page, he had worn out more shoe leather than a pilgrim on the road to St. Paul’s.

  So, the storming of hotel suites and the wearing out of carpets was not particularly out of character for his old friend. But as Mishka had recently received a new appointment at their alma mater in St. Petersburg, the Count was surprised to have him appear so suddenly, and in such a state.

  After embracing, the two men climbed the five flights to the attic. Having been told what to expect, Mishka took in his friend’s new circumstances without an expression of surprise. But he paused before the three-legged bureau and tilted his head to give its base a second look.

  “The Essays of Montaigne?”

  “Yes,” affirmed the Count.

  “I gather they didn’t agree with you.”

  “On the contrary. I found them to be the perfect height. But tell me, my friend, what brings you to Moscow?”

  “Nominally, Sasha, I am here to help plan the inaugural congress of RAPP, which is to be held in June. But of greater consequence . . .”

  Here Mishka reached into a shoulder satchel and produced a bottle of wine with an image of two crossed keys embossed in the glass above the label.

  “I hope I am not too late.”

  The Count took the bottle in hand. He ran his thumb over the surface of the insignia. Then he shook his head with the smile of the deeply moved.

  “No, Mishka. As always, you are right on time.” Then he led his old friend through his jackets.

  As the Count excused himself to rinse a pair of glasses from the Ambassador, Mishka surveyed his friend’s study with a sympathetic gaze. For the tables, the chairs, the objets d’art, he recognized them all. And well he knew that they had been culled from the halls of Idlehour as reminders of Elysian days.

  It must have been in 1908 that Alexander began inviting him to Idlehour for the month of July. Having traveled from St. Petersburg by a series of consecutively smaller trains, they would finally arrive at that little halt in the high grass on the branch line, where they would be met by a Rostov coach-and-four. With their bags on top, the driver in the carriage, and Alexander at the reins, they would charge across the countryside waving at every peasant girl until they turned onto the road lined with apple trees that led to the family seat.

  As they shed their coats in the entry hall, their bags would be whisked to the grand bedrooms of the east wing, where velvet cords could be pulled to summon a cold glass of beer, or hot water for a bath. But first, they would proceed to the drawing room where—at this very table with its red pagoda—the Countess would be hosting some blue-blooded neighbor for tea.

  Invariably dressed in black, the Countess was one of those dowagers whose natural independence of mind, authority of age, and impatience with the petty made her the ally of all irreverent youth. She would not only abide, but enjoyed when her grandson would interrupt polite conversation to question the standing of the church or the ruling class. And when her guest grew red and responded in a huff, the Countess would give Mishka a conspiratorial wink, as if they stood arm in arm in the battle against boorish decorum and the outmoded attitudes of the times.

  Having paid their respects to the Countess, Mishka and Alexander would head out the terrace doors in search of Helena. Sometimes they would find her under the pergola overlooking the gardens and sometimes under the elm tree at the bend in the river; but wherever they found her, at the sound of their approach she would look up from her book and offer a welcoming smile—not unlike the one captured in this portrait on the wall.

  With Helena, Alexander was always his most outlandish, claiming as he collapsed on the grass that they had just met Tolstoy on the train; or that he had decided after careful consideration to join a monastery and take an eternal vow of silence. Immediately. Without a moment’s delay. Or, as soon as they’d had lunch.

  “Do you really think that silence would suit you?” Helena would ask.

  “Like deafness suited Beethoven.”

  Then, after casting a friendly glance at Mishka, Helena would laugh, look back at her brother, and ask, “What is to become of you, Alexander?”

  They all asked that question of the Count. Helena, the Countess, the Grand Duke. What is to become of you, Alexander? But they asked it in three different ways.

  For the Grand Duke the question was, of course, rhetorical. Confronted with a report of a failed semester or an unpaid bill, the Grand Duke would summon his godson to his library, read the letter aloud, drop it on his desk, and ask the question without expectation of a response, knowing full well that the answer was imprisonment, bankruptcy, or both.

  For his grandmother, who tended to ask the question when the Count had said something particularly scandalous, What is to become of you, Alexander? was an admission to all in earshot that here was her favorite, so you needn’t expect her to rein in his behavior.

  But when Helena asked the question, she did so as if the answer were a genuine mystery. As if, despite her brother’s erratic studies and carefree ways, the world had yet to catch a glimpse of the man he was bound to become.

  “What is to become of you, Alexander?” Helena would ask.

  “That is the question,” the Count would agree. And then he would lie back in the grass and gaze thoughtfully at the figure eights of the fireflies as if he too were pondering this essential enigma.

  Yes, those were Elysian days, thought Mishka. But like Elysium they belonged in the past. They belonged with waistcoats and corsets, with quadrilles and bezique, with the ownership of souls, the payment of tribute, and the stacking of icons in the corner. They belonged in an age of elaborate artifice and base superstition—when a lucky few dined on cutlets of veal and the majority endured in ignorance.

  They belong with those, thought Mishka, as he turned his gaze from Helena’s portrait to the nineteenth-century novels that lined the familiar little bookcase. All those adventures and romances spun in the fanciful styles that his old friend so admired. But here, on top of the bookcase in its long narrow frame, was a genuine artifact—the black-and-white photograph of the men who signed the Treaty of Portsmouth to end the Russo-Japanese War.

  Mishka picked up the picture and surveyed the visages, sober and assured. Standing in formal configuration, the Japanese and Russian delegates all wore high white collars, moustaches, bow ties, and expressions suggestive of some grand sense of accomplishment—having just concluded with the stroke of a pen the war that their likes had started in the first place. And there, just left of center, stood the Grand Duke himself: special envoy from the court of the Tsar.

  It was at Idlehour in 1910 that Mishka first witnessed the Rostovs’ long-standing tradition—of gathering on the tenth anniversary of a family member’s death to raise a glass of Châteauneuf-du-Pape. Two days after the Count and he had arrived for their holida
y, the guests began to appear. By four in the afternoon the drive was lined with surreys, britzkas, droshkies, and gigs from Moscow and St. Petersburg and all the neighboring districts. And when the family gathered in the hall at five, it was the Grand Duke who was given the honor of raising the first glass in memory of the Count’s parents, who had died just hours apart.

  What a formidable figure the Grand Duke had been. Seemingly born in full dress, he rarely sat, never drank, and died on the back of his horse on the twenty-first of September 1912—ten years ago to the day.

  “He was a right old soul.”

  Mishka turned to find the Count standing behind him with two Bordeaux glasses in hand. “A man of another time,” Mishka said, not without reverence, returning the picture to its shelf. Then the bottle was opened, the wine was poured, and the two old friends raised their glasses on high.

  “What a group we have gathered, Sasha. . . .”

  Having toasted the Grand Duke and reminisced of days gone by, the old friends shifted their attention to the upcoming congress of RAPP, which turned out to be the Russian Association of Proletarian Writers.

  “It will be an extraordinary assembly. An extraordinary assembly at an extraordinary time. Akhmatova, Bulgakov, Mayakovksy, Mandelstam—the sort of writers who not long ago couldn’t have dined at the same table without fear of arrest—will all be there. Yes, over the years they have championed their differing styles, but in June they will gather to forge novaya poeziya, a new poetry. One that is universal, Sasha. One that doesn’t hesitate and needn’t kowtow. One that has the human spirit as its subject and the future as its muse!”

  Just before uttering his first One that, Mishka had leapt to his feet and now paced the Count’s little study from corner to corner, as if formulating his ideas in the privacy of his own apartment.

  “You remember, no doubt, that work by the Dane Thomsen. . . .”

  (The Count did not remember that work by the Dane Thomsen. But he would no sooner have interrupted Mikhail on his feet than Vivaldi on his violin.)