reviews of a gentleman in moscow

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A New York Times “Readers’ Choice: Best Books of the 21st Century” Pick

The mega-bestseller with more than 2 million readers—Now a Paramount+ with Showtime series starring Ewan McGregor as Count Alexander Rostov

From the #1 New York Times-bestselling author of The Lincoln Highway and Table for Two, a beautifully transporting novel about a man who is ordered to spend the rest of his life inside a luxury hotel

In 1922, Count Alexander Rostov is deemed an unrepentant aristocrat by a Bolshevik tribunal, and is sentenced to house arrest in the Metropol, a grand hotel across the street from the Kremlin. Rostov, an indomitable man of erudition and wit, has never worked a day in his life, and must now live in an attic room while some of the most tumultuous decades in Russian history are unfolding outside the hotel’s doors. Unexpectedly, his reduced circumstances provide him entry into a much larger world of emotional discovery.

Brimming with humor, a glittering cast of characters, and one beautifully rendered scene after another, this singular novel casts a spell as it relates the count’s endeavor to gain a deeper understanding of what it means to be a man of purpose.

From the Publisher

Publisher ‏ : ‎ Penguin Books (March 26, 2019)
Language ‏ : ‎ English
Paperback ‏ : ‎ 496 pages
ISBN-10 ‏ : ‎ 0143110438
ISBN-13 ‏ : ‎ 978-0143110439
Item Weight ‏ : ‎ 2.31 pounds
Dimensions ‏ : ‎ 1.3 x 5.4 x 8.2 inches
Reviewer: Zeester
Rating: 5.0 out of 5 stars
Title: perfect antagonist. Stripped wine labels
Review: 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.

Reviewer: Capricorn One
Rating: 5.0 out of 5 stars
Title: A Best Book of the Year candidate - Truly Marvelous and eminently readable
Review: Upon reading the first few pages, you know immediately that this is going to be a special book, one of those "I'm really going to enjoy this and give it the time, attention, and understanding it deserves." It is educational, but in a very entertaining and sometime humorous way, even thought set against the backdrop of a difficult time in Russia (early post-revolution), and that our protagonist, an erudite, articulate, and true gentleman, Count Alexander Ilyich Rostov. has been placed under "house arrest" for a controversial poem he authored. But that house arrest happens to keep him in the wonderfully elegant confines of the Hotel Metropol in the cultural center of Moscow. The only tangible change to his life situation is that he must move from his expansive, elegant suite of rooms to the upper story storage rooms, where he makes the best of creating some semblance of elegance and culture in cramped spaces, and proceeds to continue living in the refined and gentlemanly manner that has been the hallmark of his life. The only caveat is that he can't leave the hotel (with minor exceptions), so his life, and the novel, center around the day-to-day routines of his life of the Hotel, his observations on the cultural reforms of the revolution, and his interaction with the hotel staff - all intimate friends. The "story" begins to take a plot form when he meets a young 13 year old girl, Nina, who is on a long term stay at the Hotel. She is wise beyond her years, and she and the Count form a friendly and congenial relationship. She teaches him things he never knew - the secret places and rooms in the hotel, and also secures a Master Key which she ultimately provides him a copy. As she grows older she becomes involved in counter-revolutionary activity, and decides to leave the hotel to further her activities. The surprise is that she now has a 6 year old daughter, Sofia, that she can't take with her, and pleads with the Count to care for her "for a short time." The "short time" turns into forever - Nina never returns and is never heard from again, so the Count become Sofia's "father" and cares for her as she grows up - in the Hotel - and becomes a fine young concert pianist. The excellence of the book that puts it head and shoulders above other contemporary novels is the Count himself. We marvel at his intellect, gift of language, sense of style, presence, cultivation of close friendships, adept commentaries on the loss of his old beloved Russia to the new Socialist regimes and leaders, and how he copes with all of that, is truly marvelous. You will come to admire and like him; he is a memorable character. The book has a wonderful, and believable, ending. This is one of the best books of the year, and is well deserving of your time. You will enjoy it immensely, and learn some things, both factual and about living life well, that will be gratifying. I highly recommend this excellent read.

Reviewer: F. Moyer
Rating: 4.0 out of 5 stars
Title: Great writing, great characters, constrained circumstances
Review: Shortly after the Russian revolution, a Russian aristocrat (Count Alexander Rostov) is condemned to house arrest (okay, really hotel arrest) for life. But, though the Bolsheviks no doubt saw it as a condemnation, the Count clearly made the decision to live his life as best he could, given the circumstances thrust upon him. And, given such extreme limitations on the Count’s movements, it is no surprise that some of the hotel staff (and some of the hotel guests) are the other major characters in this story. With the hotel being the locale for essentially the entire story, author Amor Towles is giving us readers a character-based drama, but it is a character-based drama par excellence.The story takes place over decades. And so threaded throughout the story is how the way-of-life in Russia changed as different Russian political leaders came to power. I thought that aspect added something to the story, but another reviewer pointed out that the reality during those years would have been much harsher (and bloody) than depicted in the book.I thought the book had a nice ending, even though it seemed to me that a similar ending could have been constructed at almost any time of the author’s choosing.Bottom Line: A very good character drama. But if you like to focus more on the plot than on the characters, inconsistences may bother you a bit.

Reviewer: Jimena
Rating: 5.0 out of 5 stars
Title:
Review: Una clase de elegancia y modales. Una lección del lenguaje inglés y una novela interesantísima. Léelo con un kindle o un diccionario a la mano para sacarle más jugo.

Reviewer: Merle H
Rating: 5.0 out of 5 stars
Title:
Review: A wonderful read. Beautifully written and exquisitely crafted.

Reviewer: Nilanjana
Rating: 5.0 out of 5 stars
Title:
Review: This I must say is a masterpiece.The author speaks of a count who is charged at a Bolshevik tribunal. He is spared the death sentence and sentenced to house arrest for life, instead inside Hotel Metropol in Central Moscow.The eloquent writing of the author is one of the best I have ever come across. The character sketch of the Count is wonderful and the author does brilliantly to describe his uprightness in the story. One comes to recognise what it means to be a true gentleman. The nitty gritty details of the Count’s life inside the hotel room are described very well. Every feeling and thought that one in such a house arrest could go through are explained. The story includes the relations the Count develops while inside the hotel, one of which is a little girl. There is humour at many places in the novel many of which did make me laugh. I was struck by both the eloquence and simplicity of the language used. I never thought that I would come to love a story confined within the four walls of a hotel so very much.I truly thank the author for this beautiful piece. I recommend it to all. There are many historical references made here and there in the book I must add, which were equally beautiful.

Reviewer: Glen Hodgson
Rating: 5.0 out of 5 stars
Title:
Review: What an amazing book

Reviewer: Client d'Amazon
Rating: 5.0 out of 5 stars
Title:
Review: Très bonne lecture