Moscow

Simon Sebag Montefiore’s One Night in Winter begins in the hours immediately following the solemn victory parade that marked the Soviet Union’s victory over Nazi Germany — probably the high point of Stalinism. Two teenagers, dressed in 19th- century costume and members of a secret literary club called, aptly as it turns out, the Fatal Romantics, have chosen this moment, of all moments, to re-enact a duel from Pushkin’s Onegin on a bridge beneath the very walls of the Kremlin. Needless to say, when the duel goes fatally wrong and the dead boy and girl are revealed to be the offspring of members of the Soviet leader’s inner circle, we know there will be consequences for the families and friends they’ve left behind.

‘Unabashed luxury, elaborate displays of rich fabrics, gilt, soaring ceilings, glittering chandeliers...’ Thus does Vladimir Alexandrov describe what Moscow’s elite demanded of Maxim, the 1912 nightclub helmed by The Black Russian’s unlikely subject, the American Frederick Bruce Thomas. He was ‘the black man with a broad Russian nature’ who reinvented himself as celebrity nightclub impresario Fyodor Fyodorovich Tomas. Alexandrov’s sense of spectacle is no less keen. The Black Russian vaults breathlessly from set-piece to set-piece as it traces the journey of its hero from rural Mississippi to the opulent cabarets of Moscow, to Bolshevik-occupied Odessa and, finally, to a debtors’ prison in postwar Constantinople.