A Gentleman in Moscow (25 page)

“All correct.”

“And you have traveled broadly, I gather.”

The Count shrugged.

“Paris. London. Firenze.”

“But when you last left the country in 1914, you went to France?”

“On the sixteenth of May.”

“That's right. A few days after the incident with Lieutenant Pulonov. Tell me, why did you shoot the fellow? Wasn't he an aristocrat like yourself?”

The Count showed an expression of mild shock.

“I shot him
because
he was an aristocrat.”

The colonel laughed and waved his fork again.

“I hadn't thought of it that way. But yes, that's an idea that we Bolsheviks should understand. So you were in Paris at the time of the Revolution, and shortly thereafter you made your way home.”

“Exactly.”

“Now, I think I understand why you hurried back: to help your grandmother safely from the country. But having arranged for her escape, why did you choose to stay?”

“For the cuisine.”

“No, I am serious.”

. . .

“My days of leaving Russia were behind me.”

“But you didn't take up arms with the Whites.”

“No.”

“And you don't strike me as a coward. . . .”

“I should hope not.”

“So why didn't you join in the fray?”

The Count paused, then shrugged.

“When I left for Paris in 1914, I swore I would never shoot another one of my countrymen.”

“And you count the Bolsheviks as your countrymen.”

“Of course I do.”

“Do you count them as gentlemen?”

“That's another thing entirely. But certainly some of them are.”

“I see. But even from the manner in which you say that, I can tell that you do not count
me
a gentleman. Now, why is that?”

The Count responded with a light laugh, as much as to say that no gentleman would ever answer such a question.

“Come now,” the colonel persisted. “Here we two are dining together on the Boyarsky's roasted duck with a bottle of Georgian wine, which
practically makes us old friends. And I am genuinely interested. What is it about me that makes you so sure that I am not a gentleman?”

As a sign of encouragement, the colonel leaned across the table to refill the Count's glass.

“It isn't any one thing,” the Count said after a moment. “It is an assembly of small details.”

“Like in a mosaic.”

“Yes. Like in a mosaic.”

“So, give me an example of one of these smaller details.”

The Count took a sip from his glass and replaced it on the table at one o'clock.

“As a host, it was perfectly appropriate for you to take up the serving tools. But a gentleman would have served his guest before he served himself.”

The colonel, who had just taken a bite of duck, smiled at the Count's first example and waved his fork.

“Continue,” he said.

“A gentleman wouldn't gesture at another man with his fork,” said the Count, “or speak with his mouth full. But perhaps most importantly, he would have introduced himself at the beginning of a conversation—particularly when he had the advantage over his guest.”

The colonel put his utensils down.

“And I ordered the wrong wine,” he added with a smile.

The Count put a finger in the air.

“No. There are many reasons for ordering a particular bottle of wine. And memories of home are among the best.”

“Then allow me to introduce myself: I am Osip Ivanovich Glebnikov—former colonel of the Red Army and an officer of the Party, who as a boy in eastern Georgia dreamed of Moscow, and who as a man of thirty-nine in Moscow dreams of eastern Georgia.”

“It is a pleasure meeting you,” said the Count, reaching across the table. The two men shook hands and then resumed eating. After a moment, the Count ventured:

“If I may be so bold, Osip Ivanovich: What is it exactly that you
do
as an officer of the Party?”

“Let's just say that I am charged with keeping track of certain men of interest.”

“Ah. Well, I imagine that becomes rather easy to achieve when you place them under house arrest.”

“Actually,” corrected Glebnikov, “it is easier to achieve when you place them in the ground. . . .”

The Count conceded the point.

“But by all accounts,” continued Glebnikov, “you seem to have reconciled yourself to your situation.”

“As both a student of history and a man devoted to living in the present, I admit that I do not spend a lot of time imagining how things might otherwise have been. But I do like to think there is a difference between being resigned to a situation and reconciled to it.”

Glebnikov let out a laugh and gave the table a light slap.

“There you go. That's just the sort of nuance that has brought me begging to your door.”

Setting his silverware down, the Count looked to his host with interest.

“As a nation, Alexander Ilyich, we are at a very interesting juncture. We have had open diplomatic relations with the French and British for seven years, and there is talk that we will soon have them with the Americans. Since the time of Peter the Great, we have acted the poor cousin of the West—admiring their ideas as much as we admired their clothes. But we are about to assume a very different role. Within a matter of years, we will be exporting more grain and manufacturing more steel than any other country in Europe. And we are leaps ahead of them all in ideology. As a result, for the first time, we are on the verge of taking our rightful place on the world stage. And when we do so, it will behoove us to listen with care and speak with clarity.”

“You would like to learn French and English.”

Osip raised his glass in confirmation.

“Yes, sir. But I don't simply want to learn the languages. I want to understand those who speak them. And most especially, I would like to understand their privileged classes—for that's who remains at the helm. I would like to understand how they view the world; what they are likely to count as a moral imperative; what they would be prone to value and
what to disdain. It's a matter of developing certain diplomatic skills, if you will. But for a man in my position, it is best to foster one's skills . . . discreetly.”

“How do you propose that I help?”

“Simple. Dine with me once a month in this very room. Speak with me in French and English. Share with me your impressions of Western societies. And in exchange . . .”

Glebnikov let his sentence trail off, not to imply the paucity of what he could do for the Count, but rather to suggest the abundance.

But the Count raised a hand to stay any talk of exchanges.

“If you are a customer of the Boyarsky, Osip Ivanovich, then I am already at your service.”

A
s the Count approached the Shalyapin at 12:15, what emanated from this onetime chapel of prayer and reflection was a sound that would have been unthinkable ten years before. It was a sound characterized by fits of laughter, a mélange of languages, the bleat of a trumpet, and the clinking of glasses—in other words, the sound of gay abandon.

What development could have brought about such a transformation? In the case of the Shalyapin, there were three. The first was the rather breathless return of the American musical form known as jazz. Having squelched the craze on the grounds of its intrinsic decadence, in the mid-1920s the Bolsheviks had begun to countenance it again. This was presumably so that they could study more closely how a single idea can sweep the globe. Whatever the cause, here it was zipping and zinging and rat-a-tat-tatting on its little stage at the back of the room.

The second development was the return of foreign correspondents. In the aftermath of the Revolution, the Bolsheviks had ushered them straight to the door (along with divinities, doubts, and all the other troublemakers). But correspondents are a wily bunch. Having stashed their typewriters, crossed the border, changed their clothes, and counted to ten, they began slipping back into the country one by one. So in 1928, the Foreign Press Office was opened anew on the top floor of a six-story walk-up conveniently located halfway between the Kremlin and the offices of the secret police—a spot that just happened to be across the street from the Metropol. Thus, on any given night you could now find fifteen members of the international press in the Shalyapin ready to bend your ear. And when there were no listeners to be found, they lined up at the bar like gulls on the rocks and squawked all at once.

And then there was that extraordinary development of 1929. In April of that year, the Shalyapin suddenly had not one, not two, but three hostesses—all young, beautiful, and wearing black dresses hemmed above
the knee. With what charm and elegance they moved among the patrons of the bar, gracing the air with their slender silhouettes, delicate laughter, and hints of perfume. If the correspondents at the bar were inclined to talk more than they listened, in an instance of perfect symbiosis the hostesses were inclined to listen more than they talked. In part, of course, this was because their jobs depended upon it. For once a week, they were required to visit a little gray building on the corner of Dzerzhinsky Street where some little gray fellow behind a little gray desk would record whatever they had happened to hear word for word.
*

Did this obligation of the hostesses cause the journalists to be more cautious or tight-lipped for fear that some careless remark would be passed along?

On the contrary. The foreign press corps had a standing wager of ten American dollars to any of their number who could get summoned to the Commissariat of Internal Affairs. To that end, they crafted outrageous provocations and wove them into their chatter. One American let
slip that in the backyard of a certain dacha a disenchanted engineer was building a balloon from specifications he'd found in Jules Verne. . . . Another relayed that an unnamed biologist was crossing a peep of chickens with a flock of pigeons to breed a bird that could lay an egg in the morning and deliver a message at night. . . . In sum, they would say anything within earshot of the hostesses—that is, anything that might be underscored in a report and land with a thud on a desk in the Kremlin.

As the Count stood at the Shalyapin's entrance, he could see that tonight there was even more cavorting than usual. The jazz ensemble in the corner, which was charged with setting the tempo, was scrambling to keep up with the eruptions of laughter and the slaps on the back. Working his way through the hubbub, the Count approached the more discreet end of the bar (where an alabaster pillar fell from the ceiling to the floor). A moment later, Audrius was leaning toward the Count with his forearm on the bar.

“Good evening, Count Rostov.”

“Good evening, Audrius. It seems like quite a celebration tonight.”

The bartender gestured with his head toward one of the Americans.

“Mr. Lyons was taken to the office of the OGPU today.”

“The OGPU! How so?”

“It seems that a letter written in his hand was found on the floor of Perlov's Tea House—a letter that included descriptions of troop movements and artillery placements on the outskirts of Smolensk. But when the letter was laid on the desk and Mr. Lyons was asked to explain himself, he said that he'd simply been transcribing his favorite passage from
War and Peace
.”

“Ah, yes,” said the Count with a smile. “The Battle of Borodino.”

“For this accomplishment, he collected the kitty and now he's buying everyone a round. But what can we do for you this evening?”

The Count tapped twice on the bar.

“You wouldn't happen to have any absinthe, would you?”

Ever so slightly, Audrius raised an eyebrow.

How well this tender of bar knew the Count's preferences. He knew that before dinner the Count enjoyed a glass of champagne or dry vermouth. He knew that after dinner he enjoyed a snifter of brandy until the average nightly temperature fell below 40˚, at which point he would
switch to a glass of whiskey or port. But absinthe? In the decade that they had known each other, the Count had not asked for a single glass. In fact, he rarely indulged in any of the syrupy liqueurs—and certainly not those that were colored green and reported to cause madness.

But ever the professional, Audrius confined his surprise to the movement of his eyebrow.

“I believe I may have one bottle left,” he said. Then opening a seamless door in the wall, he disappeared into the cabinet where he kept his more expensive and esoteric spirits.

On the platform in the opposite corner of the bar, the jazz ensemble was playing a perky little tune. Admittedly, when the Count had first encountered jazz, he hadn't much of an affinity for it. He had been raised to appreciate music of sentiment and nuance, music that rewarded patience and attention with crescendos and diminuendos, allegros and adagios artfully arranged over four whole movements—not a fistful of notes crammed higgledy-piggledy into thirty measures.

And yet . . .

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?

The Count's reverie was broken by the sound of a bottle being placed on the bar.

“Absinthe Robette,” said Audrius, tilting the bottle so that the Count could read the label. “But I'm afraid there's only an ounce or two left.”

“It will have to do.”

The bartender emptied the bottle into a cordial glass.

“Thank you, Audrius. Please add it to my account.”

“No need. It is on Mr. Lyons.”

As the Count turned to go, an American who had commandeered the piano began performing a jaunty little number that celebrated a lack of bananas, a lack of bananas today. A moment later, all the journalists
were singing along. On another night, the Count might have lingered to observe the festivities, but he had his own celebration to attend to. So with his precious cargo in hand, he navigated through the crowd of elbows, being careful not to spill a drop.

Yes, thought the Count as he climbed the stairs to the second floor, this evening the Triumvirate has its own cause for celebration. . . .

The Plan had been hatched almost three years before, springing from a wistful comment of Andrey's, which had been echoed by Emile.

“Sadly, it's impossible,” the maître d' had lamented.

“Yes,” the chef had conceded with a shake of the head.

But was it?

All told, there were fifteen ingredients. Six of them could be plucked from the pantry of the Boyarsky at any time of year. Another five were readily available in season. The nut of the problem was that, despite the overall improvement in the general availability of goods, the last four ingredients remained relatively rare.

From the outset, it was agreed that there would be no skimping—no shortcuts or substitutions. It was the symphony or silence. So the Triumvirate would have to be patient and watchful. They would have to be willing to beg, barter, collude, and if necessary, resort to chicanery. Three times the dream had been within their grasp, only to be snatched away at the last moment by unforeseen circumstances (once by mishap, once by mold, and once by mice).

But earlier that week, it seemed that the stars were wheeling into alignment once again. With nine elements already in Emile's kitchen, four whole haddock and a basket of mussels meant for the National Hotel had been delivered to the Metropol by mistake. That was ten and eleven in a single stroke. The Triumvirate convened and conferred. A favor could be called in by Andrey, a swap negotiated by Emile, and Audrius approached by the Count. Thus, the twelfth, thirteenth, and fourteenth ingredients. But the fifteenth? This would require access to a store with the rarest of luxuries—that is, one which served the highest members of the Party. A discreet inquiry was made by the Count of a certain actress with certain connections. And
mirabile dictu
, an unsigned envelope had been slipped under his door. With all fifteen ingredients now at hand,
the Triumvirate's patience was on the verge of being rewarded. Within the hour, they would once again experience that intricacy of flavors, that divine distillation, that impression as rich and elusive as—

“Good evening, comrade.”

The Count stopped in his tracks.

For a moment he hesitated. Then he slowly turned around—as from the shadows of an alcove the hotel's assistant manager emerged.

Like his counterpart on the chessboard, the Bishop of the Metropol never moved along the rank or file. With him it was always on the bias: slipping diagonally from corner to corner, skirting past a potted plant, sliding through a crack in the door. One caught sight of him at the periphery of one's vision, if one caught sight of him at all.

“Good evening,” replied the Count.

The two men took each other in from heel to hair—both practiced at confirming in a glance their worst suspicions of each other. Leaning a little to his right, the Bishop adopted an expression of idle curiosity.

“What do we have here . . . ?”

“What do we have where?”

“Why, there. Behind your back.”

“Behind my back?”

The Count slowly brought his hands in front of him and turned his palms upright to show that they were empty. The right upper corner of the Bishop's smile twitched, turning it ever so briefly into a smirk. The Count reciprocated in kind and with a polite bow of the head turned to walk away.

“Headed to the Boyarsky . . . ?”

The Count stopped and turned back.

“Yes. That's right. The Boyarsky.”

“Isn't it closed . . . ?”

“It is. But I think I may have left my pen in Emile's office.”

“Ah. The man of letters has lost his pen.
Where is it now . . . ,
hmm? If not in the kitchen, perhaps you should look in the blue pagoda of your fine Chinoiserie.” And turning with his smirk, the Bishop slipped diagonally down the hall.

The Count waited until he was out of sight, then hurried in the opposite direction, muttering as he went:

“
Where is it now . . . ? Perhaps in your blue pagoda. . . .
Very witty, I'm sure. Coming from a man who couldn't rhyme
cow
with
plow
. And what's with all that dot-dot-dotting?”

Ever since the Bishop had been promoted, he had taken to adding an ellipsis at the end of every question. But what was one to infer from it . . . ? That this particular punctuation mark should be fended off . . . ? That an interrogative sentence should never end . . . ? That even though he is asking a question, he has no need of an answer because he has already formed an opinion . . . ?

Of course.

Coming through the Boyarsky's doors, which Andrey had left unbolted, the Count crossed the empty dining room and passed through the swinging door into the kitchen. There he found the chef at his counter slicing a bulb of fennel, as four stalks of celery lying in an orderly row waited like Spartans to meet their fate. To the side were the filets of haddock and the basket of mussels, while on the stove sat a great copper pot from which small clouds of steam graced the air with other intimations of the sea.

Looking up from the fennel, Emile met the eye of the Count and smiled. In an instant the Count could see that the chef was in rosy form. Having sensed at two that all might not be lost, at half past midnight the chef hadn't the slightest doubt that the sun would shine tomorrow, that most people were generous at heart, and that, when all was said and done, things tended to work out for the best.