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A Gentleman in Moscow: The worldwide bestseller, now a major TV Series starring Ewan McGregor Paperback – 2 Nov. 2017
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The mega-bestseller with more than 2 million readers
Soon to be a Showtime/Paramount+ series starring Ewan McGregor as Count Alexander Rostov
From the number one New York Times-bestselling author of The Lincoln Highway and Rules of Civility, a beautifully transporting novel about a man who is ordered to spend the rest of his life inside a luxury hotel
'A wonderful book' - Tana French
'This novel is astonishing, uplifting and wise. Don't miss it' - Chris Cleave
'No historical novel this year was more witty, insightful or original' - Sunday Times, Books of the Year
'[A] supremely uplifting novel ... It's elegant, witty and delightful - much like the Count himself.' - Mail on Sunday, Books of the Year
'Charming ... shows that not all books about Russian aristocrats have to be full of doom and nihilism' - The Times, Books of the Year
On 21 June 1922, Count Alexander Rostov - recipient of the Order of Saint Andrew, member of the Jockey Club, Master of the Hunt - is escorted out of the Kremlin, across Red Square and through the elegant revolving doors of the Hotel Metropol.
Deemed an unrepentant aristocrat by a Bolshevik tribunal, the Count has been sentenced to house arrest indefinitely. But instead of his usual suite, he must now live in an attic room while Russia undergoes decades of tumultuous upheaval.
Can a life without luxury be the richest of all?
A BOOK OF THE DECADE, 2010-2020 (INDEPENDENT)
THE TIMES BOOK OF THE YEAR 2017
A SUNDAY TIMES BOOK OF THE YEAR 2017
A MAIL ON SUNDAY BOOK OF THE YEAR 2017
A DAILY EXPRESS BOOK OF THE YEAR 2017
AN IRISH TIMES BOOK OF THE YEAR 2017
ONE OF BARACK OBAMA'S BEST BOOKS OF 2017
ONE OF BILL GATES'S SUMMER READS OF 2019
NOMINATED FOR THE 2018 INDEPENDENT BOOKSELLERS WEEK AWARD
- Print length512 pages
- LanguageEnglish
- PublisherWindmill Books
- Publication date2 Nov. 2017
- Dimensions19.8 x 12.9 x 2.87 cm
- ISBN-100099558785
- ISBN-13978-0099558781
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From the Publisher
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Product description
Review
A comic masterpiece . . . very funny, tender and as laughably accurate an account of the dismal nature of life in Soviet Russia as one could hope for . . . Quite apart from the ingeniously ludicrous plot and the acutely drawn characters, what adds to the joy of this book is the precision of Towles’ style. Again and again he conveys exactly the right impression with a deliciously surprising choice of words . . . a sheer delight. -- William Hartson ― Daily Express
Elegant sentences, wonderful characters and inventive storytelling . . . This is everything a novel should be: charming, witty, poetic and generous. An absolute delight. ― Mail on Sunday
This novel is astonishing, uplifting and wise. Don’t miss it. ― Chris Cleave
I just reread A Gentleman in Moscow ... It's a wonderful book at any time, and this time it brought home to me how people find ways to be happy, make connections, and make a difference to one another's lives, even in the strangest, saddest and most restrictive circumstances. -- Tana French ― Good Housekeeping
I think the world feels so disordered right now. The count’s refinement and genteel nature are exactly what we’re longing for. His world was also in shambles but he maintained his grace and humor.
There is so, so much to love in this book as we keep company with the endlessly entertaining Count . . .[This] novel is wistful, whimsical and wry and elegantly captures that most apposite of lessons: 'By the smallest of one's actions, one can restore some sense of order to the world'. Brilliant ― Sunday Express
A Gentleman in Moscowis a tale abundant in humour, history and humanity, with a poignant message about time passing. That Towles also makes this rollicking good fun is no mean feat. ― Sunday Telegraph
WINNING . . . GORGEOUS . . . SATISFYING . . . TOWLES IS A CRAFTSMAN ― New York Times Book Review
Towles’ use of language is an absolute pleasure to read and you can’t help but savour every last word . . . What makes it a great work of historical fiction is the apt creations the author builds outside the hotel walls in a truly tumultuous time. Towles creates such a memorable character in Rostov and this book brings something for everyone - humour, history, friendship and philosophy ― Irish Times
Review
From the Inside Flap
But instead of being taken to his usual suite, he is led to an attic room with a window the size of a chessboard. Deemed an unrepentant aristocrat by a Bolshevik tribunal, the Count has been sentenced to house arrest indefinitely.
While Russia undergoes decades of tumultuous upheaval, the Count, stripped of the trappings that defined his life, is forced to question what makes us who we are. And with the assistance of a glamorous actress, a cantankerous chef and a very serious child, Rostov unexpectedly discovers a new understanding of both pleasure and purpose.
From the Back Cover
Deemed an unrepentant aristocrat by a Bolshevik tribunal, the Count has been sentenced to house arrest indefinitely. But instead of his usual suite, he must now live in an attic room while Russia undergoes decades of tumultuous upheaval.
Can a life without luxury
About the Author
Product details
- Publisher : Windmill Books; 1st edition (2 Nov. 2017)
- Language : English
- Paperback : 512 pages
- ISBN-10 : 0099558785
- ISBN-13 : 978-0099558781
- Dimensions : 19.8 x 12.9 x 2.87 cm
- Best Sellers Rank: 454 in Books (See Top 100 in Books)
- 2 in Civil War Biographies
- 10 in Women's Biographies
- 85 in Historical Fiction (Books)
- Customer reviews:
About the author

Amor Towles is the author of New York Times bestsellers RULES OF CIVILITY, A GENTLEMAN IN MOSCOW, and THE LINCOLN HIGHWAY, as well as the short story collection TABLE FOR TWO. His books have collectively sold more than six million copies and have been translated into more than thirty languages. Towles lives in Manhattan with his wife and two children.
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Over some 460 pages, the author sustains a flowery prose with fanciful digressions and far-fetched incidents which chime with the Count’s ebullient eccentricity, all likely to charm some readers but irritate others. Falling at first into the latter category, I abandoned this novel until forced to resume it by a pressing book group deadline which caused me to revise my initial prejudice, although I never came to terms with the intrusive narrator, and the useful but distracting footnotes to explain the history.
After a somewhat turgid start, the author manages to entertain the reader with his ingenuity, provide a very articulate expression of the Count’s thoughts and develop a farce which proves quite effective in revealing the flaws and contradictions of the Soviet system. As party officials begin to wine and dine at the hotel, it is simply a case of one privileged élite replacing another. The ignorant and incompetent are over-promoted for their loyalty to the Party, and bureaucratic measures intended to impose equality have ludicrous consequences. Following a complaint from the waiter whom the Count has imprudently humiliated as regards knowing the correct wine to drink with Latvian stew, an order comes from on high for all the labels to be removed from the bottles in the hotel cellar to destroy any concept of some wines being superior to others – an outrage to a connoisseur of fine wines like the Count, who can of course still detect a superior favourite by the trademark design of the bottle.
This is essentially a soft-centred, escapist read, which gives more space to the count’s eternal word games (“name famous threesomes”, “ a black and white creature”) than to the sufferings of individuals, glossing over the true grimness of life for millions under Stalin. The fate of the young prince who has been reduced to playing for diners in a string quartet is relegated to a footnote: he is questioned in the Lubyanka prison for having committed the crime of possessing a picture of the deposed Tsar which happened to be in one of his books, and banned from ever entering any of the country’s six main cities, while the eminent musician who hired him suffers the worse fate of being sent to a labour camp.
One could argue that this tale of how the count manages to pass thirty years in the hotel, unable to walk through the swing doors of the entrance through which he can glimpse the outside world, is an exploration of the resilience of the human spirit, and a consideration of how one can make something positive out of adversity. Perhaps a period of lockdown is a particularly relevant time to read it!
Since, the Russians have tended to restore and value some of their great buildings from the past, or emulate them “for the people” as in the Moscow metro system, it is interesting to look up online images of the Metropol hotel as it is today.
This was made somewhat easier for him since the staff of the hotel continued to honour him and to address him as “Your Excellency” (an order to stop using such honorifics had been ignored), and since he was able to receive visitors and to send people out to deliver letters and make purchases for him. He spends 34 years in the hotel, and in due course became head waiter in its most luxurious dining room and, with the chef and the maître d’hôtel, formed a triumvirate to plan the still top-rate menus. For, during that time, the Metropol retained its splendour, was visited by foreign diplomats and journalists, and, whatever might have been happening in the Soviet Union, continued impeccably to serve exquisitely prepared dishes, wines and liqueurs. These figure prominently throughout the novel, as do the restaurants and bars, the chefs, waiters and bar-tenders of the hotel.
At one point, the Bolsheviks decided that the wine connoisseurship (in which the Count was an expert) was an example of bourgeois decadence; so they had ordered that the labels on all the bottles of the Metropol’s famous wine-cellar be removed, and that all wines were to be sold at the same price. The order was later revoked, after the French ambassador could not be served with the wine of his choice. (The book does not relate how it was possible to re-label the unlabelled bottles.)
Of the other characters in the novel, the two most important ones are two women with whom the Count becomes involved. The first is Nina, a resident in the hotel whom we initially meet as a pert eleven-year old, and with whom the Count develops an affectionate relationship. He sees her, off and on, for many years, while Nina grew up, married, and had a six year old daughter Sofia. But in 1938, during the Terror, her husband was sentenced to five years collective labour in the Far East. Nina was going to follow him there, to find work near-by; but she begged the Count to look after the little girl in the Metropol until Nina had found a job and could come back to collect her daughter. It is touching how the now 48-year old Count coped with the earnest little girl in his cramped quarters and arranged for some female staff of the hotel to look after her while he was at work. Like her mother, Sofia had an extensive knowledge of the labyrinthine geography of the hotel, and this plays a significant part in the novel. Nina vanishes from the narrative and never came back to collect Sofia; and the Count came to regard Sofia as his daughter; and she came to call him Papa. This relationship, too, lasted for many years. Sofia became a brilliant pianist, went to the Moscow Conservatoire, and in 1954 was chosen to go abroad on a European tour, including Paris, with the Conservatoire’s orchestra.
What is so strange about the book is that the violence of the Bolshevik regime had relatively little impact on the story, and the war with Germany none at all. True, the manager of the hotel was in due course replaced by a sinister government agent; the order was given not to address the Count by his honorifics (but was only partially observed); we have seen Nina’s husband sent to Siberia (no reason given), and a friend of the Count’s suffered a similar fate for some years because he had protested at the excision of a paragraph from a collection of Chekhov’s letters which he was editing; a film actress, with whom the Count had an affaire temporarily lost her job because Stalin objected to the films in which she appeared (but she was soon able to resume her acting career). Even so, these incidents are a small part of the story.
Many of the Count’s encounters with old and new acquaintances are rather inconsequential: their main significance seems to be that they trigger the Count to reminisce about the past. There are, as throughout the novel, reflections about philosophy, literature, things that change and things that do not, the kind of country Russia is and has been. Other incidents – one involving geese - don’t go anywhere at all, and I wondered why they had been included.
The departure in 1954 of Sofia for Paris at last jerks the Count out of his passive acceptance of his house-arrest. He behaves in a way very uncharacteristic of him. The book ends with dramatic scenes and in Paris and in Moscow which I found as unbelievable as I found many other aspects of the novel. And the final few pages I found totally enigmatic.
So, though I found the 480 pages very readable, I found it, on the whole, unsatisfying.
Top reviews from other countries
In anime, we have a term for this genre and it’s called “slice of life.” Unlike plots driven by conflict and heroes, "slice of life" narratives focus on the richness of characters and their everyday existence.
As Bill gates puts it, “It’s a little bit of everything. There’s fantastical romance, politics, espionage, parenthood, and poetry.” It will make you smile more than once or twice, even as it discusses one of the most brutal periods and places in Western History: Russia under the Red Terror and during Stalin’s reign.I loved reading about Russia too. I wish to visit Moscow once to see what I have imagined the count to be in. Some of the things I learned about Russia are -
Shukhov - Radio tower
Bolshoi - Opera house
Samovar - Metal container used to boil tea The places around Moscow,
Red square - Square in Moscow
Kremlin - The official residence of the president of the Russian Federation since 1991.
Cathedral of St. Basil - A church that has a unique and magnificent architectural display, each of its 10 domes differing in design and colour.

















