I want to pretend to complain about a paragraph in Amor Towles masterful A Gentleman in Moscow. There is a tiny bit of truth in my complaint, but it is mostly a vehicle to express my appreciation for one small part of Towles’ attention to the texture of the narrative.
And, as a second introduction, I would like to make this an argument for rereading books that deserve to be read many times. I have read A Gentleman in Moscow several times now and I have the plot down and the characters down and I am ready to notice other things. This post is about one other thing I noticed yesterday.
First, here is the paragraph—on p. 41 of my copy.
“By way of response [1] she wiggled back and forth to make herself comfortable, then rested her elbows on the table. Around her neck hung a small pendant on a golden chain, some lucky charm or locket. The Count looked toward the young lady’s governess with the hopes of catching her attention, but she had obviously learned from experience to keep her nose in her book.“
Everything in that paragraph leads to the Count and Nina, the “young lady” having the time and the space to begin to know each other. The response does; the elbows on the table does; the failure to engage the governess does. Everything does—except the line about the “small pendant on a golden chain,” which has no business being in this paragraph.
When you are reading this to learn how the relationship between Nina and the Count begins, you read right past that. You do not ask what function all the other sentences play, but which this sentence does not. The story is just too good for that. For the first few times.
But I am past the first few times and I can read to see what part each sentence contributes and at that point, I can pretend to be affronted that this sentence—the one about the locket—does not play nicely with others. It is, however, the most important sentence in the paragraph.
It is not “some lucky charm or locket.” It is the master key to the Metropol Hotel. This is clearly established on p. 58, when Nina:
“…raised her hands under her hair and unhooked the delicate chain she wore around her neck. Dangling at the bottom of the golden parabola was the pendant that the Count at the Piazza (p. 41), but it was neither a lucky charm nor a locket. It was a passkey for the hotel!“
It is the key that—at their parting—Nina gives the Count as a goodbye present on p. 104. It is the key with which the Count opens the office of the Bishop, the name the Count has given to Leplevsky the manager of the hotel, and which allows the Count to break into the Bishop’s office (p. 431) and hold him at gunpoint while he goes through all the personnel files. It is also the key that opens the storeroom in the basement, ( p. 456) where the Count imprisons the Bishop for several days while he, himself, makes his escape from the hotel.
Obviously, none of that could have happened had the chain with “some lucky charm or locket” not been introduced early in the book. And there is no good reason why it ought to have a paragraph to itself. It needs to be tucked into a paragraph which is about something else so that people like me will read over it time after time and discover it only when it is joined to all those other paragraphs and becomes a crucial part of the narrative.
So, as I say, I celebrate this lovely figure in the narrative in the only way that occurs to me, which is by pretending to complain about the damage it does to the paragraph about Nina’s first meeting with the Count
[1] to Count Rostov’s invitation to join him at lunch.



