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Please use this thread to discuss your Initial Thoughts & other reflections for Book 1 .

Like its central character, the author is comfortable with traditional modes of writing. Towles would no more mix up timelines or points of view than the Count would wear a t-shirt to dinner. It is refreshing, and helps to build the world of the novel.

The timeline of the book is very interesting. Worth paying attention to.

Tea73 wrote: "The timeline of the book is very interesting. Worth paying attention to."

Looking forward to additional comments and what you may be observing, Tea73.

(I greatly enjoyed this novel and its lead character (as well as some of the secondary ones) during the time I read it -- and I still have some strong positive feelings about that. Subsequent discussions about the book have taken me some divergent directions -- which I currently intend to figure out how to share here, but "when" is still my open question. Your comment, Tea73, on timeline is making me wonder if there were clues in the text both those other discussions and I overlooked, but which are relevant to the direction they took.)

I will need to reread the book to give better comments, but this was my favorite book of 2017. I know people who felt it wasn't realistic, but I felt they rather missed the point.

I am almost up to pg 200, but I was really hooked in Part 1. I'm really enjoying this book as a whole. It has such a charming mood, and I think the Count is very sympathetic and I feel for him and his predicament.

Mark, I totally agree about the author's sense of time and attention to detail.

I'm really enjoying it so far.

I began last night--maybe 30 pages in or so.

I am curious as to what direction this book is heading. Initially, it is a very pleasant read--I like the Count and his savoir faire and his unflappability, and I like that he is standing up for what he believes is the correct way to behave in the face of stupidity and force.

What I'm curious about is to see how Towles develops the narrative with these things in place. There can never be enough books about grace under difficult conditions, but I'm hoping for a little more than that.

One annoyance: contrary to my appreciation of Towles' traditional approach to the narrative, my edition uses bold type in idiosyncratic and inconsistent ways. Sometimes it's a replacement for quotes, sometimes the expected emphasis, sometimes replacing italics. Like coping with a friend that loves! exclamation points, I cringe slightly when I notice a bold word approaching in the page. It's slightly distracting, but not enough to detract from the story.

Tea73 wrote: "I will need to reread the book to give better comments, but this was my favorite book of 2017. I know people who felt it wasn't realistic, but I felt they rather missed the point."

My favorite of 2018. one of the more endearing and delightful characters I have come across.

I am loving this book so far. I had read many good things about it, but I didn't know what to expect. I was pleasantly surprised by what a refreshing read it is. The Count is such a charming character and he seems to bring the best out of his situation and everyone that he meets.

Also, I am so captivated by the Metropol and I keep day dreaming about being there and enjoying the restaurants.

I am trying to pay attention to the timeline too, but I am sure I will miss something. So far it's getting more and more interesting.

Read Book 1 yesterday and so far I am enjoying it - it is more believable that I would have thought from the blurb, but I am still a little sceptical. I have read a lot of books about the early days of the Soviet regime, so much of the background is familiar.

Poem & Prologue
The novel begins with the initial lines of Where are they now. It is suspected to be written by Count Rostov in 1913, before the official elimination of the noble class by the Bolsheviks. In this poem, a central question is asked, where is our purpose now, thought to have dwelt amongst us and where purpose cannot be found…in Peter’s square, amongst the ashes of the Greek trash cans, or in Chinese saddlebags. I think the poem is important because the narrative follows this idea of purpose rather acutely. While we will delve into this a little later, it would also behoove us to make note of the fact that our fine aristocrat, the Count, was able to sign his name to the poem because of his upper-class standing since freedom of speech was not applicable to people of the lower classes; thus, one of the more influential reasons for the revolution, to fight against inequality.

Perhaps it is only me, but the transcript reads a certain way until Secretary Ignatov interjects. All of a sudden, Ignatov enters the dialogue; the tone changes, a war of words begins and we’re going bite for bite. I loved this initial spark between Count Rostov and Ignatov�

Ignatov: I have no doubt, Count Rostov, that many in the gallery are surprised to find you so charming; but I, for one, am not surprised the least. History has shown charm to be the final ambition of the leisure class. What I do find surprising is that the author of the poem in question could have become a man so obviously without purpose (5).

Ouch, and Ouch. From disparaging the Count and his attire to these sharp words, the Secretary does make a correct observation in that the Count really serves no substantial purpose society like say, a soldier. Ignatov wants to execute him initially, thinking Rostov to be a nobility sympathizer; however, he is instead imprisoned in the hotel because

there are those within the senior ranks of the Party who count you [Rostov] among the heroes of the prerevolutionary cause (5).

Thus, our story begins. It will be through the Count’s punishment, his banishment to the Metropol where he will find purpose it seems.

The Ambassador
Exiled to the Metropol doesn’t seem like it would be so bad, initially, but taking into consideration what a social butterfly and how well the Count honors his nobility class- well, it is quickly realized Rostov’s imprisonment is not just in the hotel, but to the servant’s quarters of the hotel-a prison within a prison, so to speak. To add insult to injury, he can only take the bare minimum, the new quarters referenced to monastic cells, his remaining belongings now the property of the Bolsheviks (10). While I believe Rostov to be crushed at the sight of his new residence, the man refused to flinch in front of Ignatov, and makes the best of his new situation. Obviously, at a loss, Rostov will acquiesce and submit to his punishment, but he will do it graciously; and, his ability to do so makes sense considering the brief recollection of a young Rostov losing at playing draughts (14).

It’s been one hour since Rostov has moved into his humble abode. He is found to be bouncing on his bed to find the key of the bedsprings (G-sharp)- This scene read to me viscerally in nature, as if I would have done it myself. Rostov looks to his surroundings as a new adventure,

For such would have been the quarters of captain Nemo when he journeyed twenty thousand leagues beneath the sea. And wouldn't any young boy with the slightest gumption gladly trade a hundred nights in a palace for one aboard the Nautilus (15).

He’s experienced loss, and continues to endure it in another form whilst exiled to the hotel; but something the Grand Duke said to him after his parents� passing, I believe echoes in him like a mantra:

Adversity presents itself in many forms; and that if a man does not master his circumstances then he is bound to be mastered by them (18).

Throughout The Ambassador, I take notice of the fact that our Count is nothing if not flexible. He will no doubt apply these words to get through his confinement (28).

Desks with hidden openings revealing a hollow leg filled with gold coins-okay, that’s cool!

An Anglican Ashore-The Advent
While the Count is clever as hell, he has supporting narrative that is just as witty. There have been a couple of areas, so far, that have brought a smile to my face; but the word play in the following sentence (Rostov reminiscing about how he would spend his days) was especially sharp:

Approaching the counter, the Count would ask the young lady…for a mille-feulle (how aptly named)…the Count would take a seat in the corner where young ladies of fashion met each morning to review the previous evening’s intrigues…the three damsels would initially speak in the hushed voices of gentility; but swept away by the currents of their own emotions, their voices would inevitably rise…even the most discreet enjoyer of a pastry wold have no choice but to eavesdrop on the thousand-layered complications of their heart (20).

I love how Towles brings it back not only to the aspect of Rostov’s guilty pleasure, but to the detail that is now a double entendre.

Even the hotel staff is taken by Rostov. Despite his imprisonment, they don’t miss a beat tending to him as an important guest even if he is a prisoner amongst them. Yuri rushing to deliver hot coffee to Rostov knowing the travel time from kitchen to new dwellings is longer comes to mind. The Count remains hopeful, at least from what I can tell; the Grand Duke’s wise words coming to his mind again,

If the Count had vowed o master his circumstances through practicalities, then here was a glimpse of the means: a religiously kept appointment for a weekly trim (34).

An Acquaintanceship-Anyway�
So, here is where I fell off the Rostov wagon. The initial interaction with the yellow dress wearing young girl was endearing, however, I was far removed from their formal meeting the very next day. I’m not implying anything of a sordid nature, at all. I didn’t find it believable a Count of Rostov’s stature would want to engage in anything further with the child. Yes, Rostov is embracing his circumstances much like a child would an adventure, as he has even stated, but does that constitute forging a relationship with Nina? By the way, yellow is clearly Nina’s signature color-any symbolism behind it? I’ve always associated yellow with decay, Dickens’s Miss Havisham in “Great Expectations� influencing my reading, and she's swathed in it. Decay is not the case with Nina representing the other end of that spectrum, rather.

Their relationship deepens in the coming weeks, developing a language of their own to excuse themselves from the reality of the hotel and instead, continue with their adventures throughout it. Rostov plays with her like a friend, and the more he does this, I continue to lose interest in this aspect of the story. Perhaps, it is too early to tell the significance of their relationship? I feel blind to them, other than she and her passkey serving as an outlet for him-she is a means of Rostov experiencing freedom.

The idea of freedom fascinates me when seen through the eyes of Rostov. He feels bouts of freedom, yet he cannot genuinely enjoy it because his freedom must be experienced behind closed doors. Rostov is stifled, there cannot be any real movement within the confines of the hotel, or worse, within the four walls of his quarters. Breaking down a wall in the back of a closet gives Rostov access to a whole other room; he can breathe, even if for a moment. But, once again, he cannot relish in the fact that he has more space to occupy because it is only known to him.

Rostov is the type of man who will choose to remain dignified when everybody else around him has resorted to disregard decorum. A distinction and a precedent is established between the classes in the transcript. Yet, when Rostov and Nina are crawling around on their knees in the balcony, overlooking the gathering of dignitaries and government officials below, Rostov observes there to be a commonality in pomp and circumstance amongst the new and old government. The moment is short-lived because in the next scene the hotel manager is seeking understanding from Rostov since the staff will need to stop referring to him as His Excellency. Rostov acquiesces, he has no choice in the matter, but he does so with grace. The new regime is slowly removing any existence of the aristocracy, and by doing so, they are chipping away at everything the Count has lived by and for. I couldn’t help but feel a singe of pain for Rostov after stripping him of his title, but realizing the Secretary has taken over his old room in the hotel-well, again…Ouch.

The addition of Mishka in the narrative is exciting. He creates a new dimension within the narrative; perhaps, even as a foil character to Count Rostov. While both characters are part of the nobility, Mishka does not take to the change in times as well as Rostov has.

The effects of Bolshevism is pretty concentrated in The Advent. The progress made by the new regime has most often at times come at the expense of other freedoms: People are no longer allowed to travel to or from Russia; prohibiting use of rubles in fine restaurants; there is freedom for both speech and press, but never is it to malign the government; arresting nobility who maintain keepsakes even if unknowingly (ergo, the Prince). The narrator continues to illuminate the hypocrisy of the Bolsheviks, but also the means they will go to erasing history for their benefit. It has to be absolutely maddening, I’m in awe of Count Rostov’s resilience, I genuinely am.

Towles ends the chapter, well close to the end, directing the reader to forget about the Prince, and instead, keep our eyes open for round-faced fellow with a receding hairline. Firstly, what do you think about the heads up on certain details to come, it’s not the first time he’s directed us to do so? Normally, I don’t like it; but, Towles isn’t invasive about it like I’ve experienced with other authors. Secondly, what did we make of the this ‘fellow� before reading the next book,? I thought it ominous in nature.

Nina is a little older, she’s attending school now, her relationship with the Count at this point is digestible for me. Her Christmas gift for the Count, the passkey, was a moving gesture; perhaps, it even solidified the nature of their relationship since it’s genesis. It warmed my heart, for the first time Count Rostov was seen to be genuinely happy; yet, once again, it was short-lived because the Prince lends his voice to the narrative conveying his arrest; Nina would be engrossed in her studies, thus spending less time with the Count; and, the Count would try to commit suicide four years down the road. A little bit of an emotional roller coaster here at the end of Book 1, depending on how invested you are with the story, of course.

Mark wrote: "Like its central character, the author is comfortable with traditional modes of writing. Towles would no more mix up timelines or points of view than the Count would wear a t-shirt to dinner. It is..."

Towles would no more mix up timelines or points of view than the Count would wear a t-shirt to dinner.
HAHAHAHAHA! You are 100%, correct! The writing itself is a character in its own right, there's genuine beauty to Towles' story telling ability. It's compelling, charming, and witty, just like our main character.

Tea73 wrote: "The timeline of the book is very interesting. Worth paying attention to."

So, I happened to read your comment while I was reading Book 1 and made detailed notes about every event related to the Bolshevik Revolution as it pertained to the narrative-is this what you were referring to, by any chance?

Tea73 wrote: "I will need to reread the book to give better comments, but this was my favorite book of 2017. I know people who felt it wasn't realistic, but I felt they rather missed the point."

I know people who felt it wasn't realistic, but I felt they rather missed the point.
Did any of those people find the Count's relationship with Nina unrealistic? I did, but found the error of my way by the end of this book; however, I can't deny that I still find it a little odd. I had to work my way through the beginnings of this story to find the value in their relationship, it wasn't there for me from the onset.

Franky wrote: "I am almost up to pg 200, but I was really hooked in Part 1. I'm really enjoying this book as a whole. It has such a charming mood, and I think the Count is very sympathetic and I feel for him and ..."

It has such a charming mood, and I think the Count is very sympathetic and I feel for him and his predicament.
To me it initially appeared as if being imprisoned to the Metropol was a cushy sentence considering the alternative. However, as time goes on and the Bolsheviks are rolling out their orders, one after the next; I find them to be slowly torturing the Count. They are stripping him: of his belongings, his title, his history, leaving him a shell of a man no longer mired in his past, walking on unstable ground able in the present.

Mark wrote: "One annoyance: contrary to my appreciation of Towles' traditional approach to the narrative, my edition uses bold type in idiosyncratic and inconsistent ways. Sometimes it's a replacement for quote..."

my edition uses bold type in idiosyncratic and inconsistent ways.
I have not encountered this, Mark, in my copy and I've read through Book 2. I can see it being annoying when used as you say.

Xan Shadowflutter wrote: "Tea73 wrote: "I will need to reread the book to give better comments, but this was my favorite book of 2017. I know people who felt it wasn't realistic, but I felt they rather missed the point."

M..."

Well, I hope we get to read more commentary from you then!

I just recently read this book and it will be my favorite of 2019. I fell in love with the Count and several of the other fascinating and well-developed characters. Five * for this one.

Glenda wrote: "I just recently read this book and it will be my favorite of 2019. I fell in love with the Count and several of the other fascinating and well-developed characters. Five * for this one."

Sounds great, Glenda! Glad that you enjoyed it so much. Tell me something, all of the chapters in this book begin with the letter “A,� any thoughts on why?

Ami wrote: "Mark wrote: "One annoyance: contrary to my appreciation of Towles' traditional approach to the narrative, my edition uses bold type in idiosyncratic and inconsistent ways."...I have not encountered this, Mark, in my copy"

That's good to hear. I hadn't noticed it the first time I read it, so it may just be a quirk of the large type edition.

Some of the best scenes in Book 1 have revolved around the subject matter of food and wine. Our personal gourmand in these pages, the Count, has this ability to submerge us into his world with various vivid descriptions of soul-satisfying dishes and libations that would make any reader at least think to themselves, it’s worth tasting! I read a while back, when I was putting together our Background and Resources thread, Amor Towles is a culinary connoisseur himself and a great cook. In fact, the Latvian Stew the Count had me salivating over, the recipe is from Towles� personal repertoire. Per Amor Towles,

For those interested in cooking something for their book group, I highly recommend the Latvian stew that the Count enjoys in the Piazza during the Advent chapter. You can find a recipe for the stew : As to the wine, you needn’t hunt down a Russian vintage. Any good table wine will do. ~amortowles.com

Best of luck to you in your endeavors and please report back to let us know how it turned out! I made something similar over Thanksgiving, a Chicken Marbella dish, but with Pork. It was exceptionally flavorful, and worth it!

Ami wrote: "Some of the best scenes in Book 1 have revolved around the subject matter of food and wine. Our personal gourmand in these pages, the Count, has this ability to submerge us into his world with vari..."

Thanks for the recipe Ami! All the dishes in this book sound amazing. I will have to give this Latvian stew a try!

Jessica wrote: "Ami wrote: "Some of the best scenes in Book 1 have revolved around the subject matter of food and wine. Our personal gourmand in these pages, the Count, has this ability to submerge us into his wor..."

I can’t wait to hear about it! ;)

Ami wrote: "Franky wrote: "I am almost up to pg 200, but I was really hooked in Part 1. I'm really enjoying this book as a whole. It has such a charming mood, and I think the Count is very sympathetic and I fe..."

Ami, Yes, I get that sense too that with them sort of taking things from him one by one. I like the Count's general optimism about every hurdle thrown his way.

Ami, thank you for your observations. They bring an extra dimension to the story!

Mark