the clandestine world of "Crimea." Later, in Rome between 1965 and 1966, Father Alexander reconnects with Pantelei and Khvastishchev, embodying resistance against malevolence, grounded in his steadfast religious convictions.

Patrick Thunderjet

Patrick Thunderjet serves as a fascinating Anglo-American connection within the story. His tumultuous journey crosses paths with Malkolmov and Masha in Katanga in 1961 and includes an infamous drunken appeal for political asylum in Yalta. By the early 1970s, Thunderjet is an academic at the University of Sussex, maintaining his ties to the Moscow elite and illustrating the dynamic interactions between East and West.

Stepan Cheptsov

Stepan Cheptsov, once a formidable KGB officer, is notorious for his role in the arrests of Tolya’s mother and Sanya Gurchenko. Now retired in Moscow, he struggles with menial jobs to support his family, including his stepdaughter Nina, whom he abuses. As a relic of the Stalinist regime, Cheptsov embodies the oppressive apparatus of the state, his rough exterior symbolized by his "eyes like small, hot black cherries."

Nina Lygher-Cheptsova

Nina Lygher-Cheptsova is the daughter of Boris Yevdokimovich Lygher. Raised in Magadan during the oppressive Stalinist era, she is later adopted by Cheptsov in Moscow. Engaged romantically with Kunitser, Nina also partakes in counterrevolutionary activities, typifying the intricate political and personal entanglements that run through the novel.

Alik Neyarky

Alik Neyarky (AH-lihk neh-YAHR-kee), a former ice hockey player of considerable stature, joins forces with Academician and Patrick Thunderjet at the racetrack and on a flight to Yalta. His presence underscores the camaraderie and adventurous spirit that define the social interactions among these characters.

Tatyana Nathanovna von Steinbock

Tatyana Nathanovna von Steinbock, Tolya’s mother, becomes a poignant symbol of endurance amid the era's systemic persecutions. Initially arrested in 1937 as a counterrevolutionary, she spends a decade in Magadan before being briefly released, only to be apprehended again in 1949 by Cheptsov. Her repeated incarcerations embody the relentless oppression faced by many during this turbulent period.

Apollinary Ustinovich Bokov

Apollinary Ustinovich Bokov (ah-poh-LIH-nah-ree ew-STIH-noh-vihch BOH-kov), Tolya’s father, is woven into the dream sequences set in his native village of Fanino. His presence in the narrative highlights the interconnected, dream-like quality of the novel's structure, further enriching the complex layers of storytelling.

Martin

Martin, also known as Philip Yegorovich (yeh-GOH-roh-vihch), is a German Catholic political prisoner in Magadan who shares his life with Tolya's mother. His practice of homeopathic medicine offers insight into the survival tactics employed by prisoners, adding depth to the portrayal of life under oppressive regimes.

Boris Yevdokimovich Lygher

Boris Yevdokimovich Lygher (yehv-doh-KIH-moh-vihch LI-gur), working as a secondary cloakroom attendant at the National Hotel in Moscow, represents the complex duality of loyalty and betrayal. His name, hinting at 'war,' suggests a dubious allegiance, adding layers to the narrative’s exploration of patriotism.

Paulina Ignatievna

Paulina Ignatievna (ee-GNAH-tih-yehv-nah), once a prominent figure in Magadan society, undergoes a dramatic transformation by the 1970s, depicted as the mad wife of Cheptsov. Her trajectory illustrates the personal toll of political oppression, reflecting the broader themes of suffering and survival.

Lyudmila Guly

Lyudmila Guly, the daughter of a security forces colonel in Magadan, embodies the complex social dynamics Tolya navigates. Her disdain for him adds to his experiences of unrequited affection, highlighting the intricate web of relationships influencing the protagonist's development.

Sergeyevich Mukhachov-Bagrationsky

Sergeyevich Mukhachov-Bagrationsky (sehr-GEH-yeh-vihch moo-kah-CHOV-bah-grah-TEE-ohn-skee), or Blazer, is a confidant to Pantelei, aspiring to create screenplays for Western audiences. As an honorary Moscow police member, his immunity from arrest underscores the privileged position he occupies within the social hierarchy.

Vadim Serebyanikov

Vadim Serebyanikov (vah-DEEM seh-reh-BYA-nih-kov), once a first violinist in an orchestra of "new voices," transitions into a steadfast Party member. This shift illustrates the ideological realignments that characterize many characters, reflecting broader societal transformations.

Academician Fokusov

Academician Fokusov (foh-KEW-sov), Alisa's husband, is a distinguished tractor designer, symbolizing Moscow's intellectual elite. His status within the narrative underscores the intersections of personal and political identities.

Jan Strudelmacher

Jan Strudelmacher (SHTREW-dehl-mah-chehr), characterized by his athletic build and jesting nature, reveals the darker aspects of human behavior. During an assault on a United Nations hospital in 1961, he attempts to rape Masha, highlighting the novel's exploration of brutality and moral decay.

Marianne Coulagot

Marianne Coulagot (kew-lah-GOH), or Masha, is a Russian Frenchwoman and Swiss citizen whose relationships with numerous central figures, including Kunitser, Sabler, Malkolmov, Khvastishchev, and Pantelei, weave a complex web of romantic entanglements. Her first encounter with Malkolmov at a United Nations hospital in 1961 as a Sister of Mercy sets the stage for her intricate involvement in the narrative.

Silvester

Silvester's contribution to the novel's musical themes is significant, composing for Sabler’s jazz ensemble and aiding in the planning of a 1973 concert. His transformation from a 1950s-style crew cut to an intellectual appearance marked by long hair and a mustache symbolizes the cultural shifts explored in the narrative.

Zheka Buzdykin

Zheka Buzdykin (bewz-DEW-kihn), known as Fatface, is a jazz musician whose strained relations with Sabler, stemming from political tensions surrounding the Czechoslovakia uprising in 1968, emphasize the interplay between personal and political dynamics.

Marina Vladi

Marina Vladi (mah-REE-nah VLAH-dih) is a muse for Sabler, her presence at his 1956 Leningrad performance igniting his creative spirit. Her influence underscores the theme of inspiration and artistic expression within the novel.

Arina Belyakova

Arina Belyakova (ah-REE-nah beh-LYA-koh-vah) is Sabler’s young lover and a medical student in 1956 Leningrad. Her care for him during his battle with emphysema in 1973 highlights personal and emotional support threads within the story.

Klara Khakimova

Klara Khakimova (khah-KI-moh-vah), a wealthy Uzbek student at Moscow University, shares a past with Sabler at the Blue Bird in 1970. Her presence illustrates the novel's exploration of diverse backgrounds and relationships.

Tamora Filchenko

Tamora Filchenko, or Toma, a KGB agent, intersects with Academician Khvastishchev at the National Hotel, demonstrating the pervasive influence of the KGB within the characters' lives and the overarching narrative.

Tinatina Shevardina

Tinatina Shevardina (tih-nah-TIH-nah sheh-VAHR-dih-nah), a student of Malkolmov, engages in social interactions that illuminate the vibrant social and cultural scene depicted in the novel. Her meetings with him at parties and drives through Moscow serve as windows into the era's social dynamics.

L. P. Fruitozov

L. P. Fruitozov (frew-ih-TOH-zov), also known as Agent Silicate, conducts investigations at the Moscow Hotel National, illustrating the novel's themes of surveillance and control.

Silly Zoika

Silly Zoika (ZOY-kah), a petite, dark, and voluptuous woman, provides indulgent pleasures to Academician, Patrick, and Neyarky during a festive gathering at Afanasy’s apartment, exemplifying the novel's hedonistic undertones.

Afanasy Seven-For-Eight

Afanasy Seven-For-Eight, the untalented fiancé of Silly Zoika, is a songwriter who offers insight into the minor characters' personal lives, enriching the narrative's depth.

Petyusha

Petyusha, a young party official, exemplifies the presence of political figures interwoven within the storyline, as seen during the flight to Yalta.

Fyodorich

Fyodorich (FYOH-doh-rihch), an elder associate of Petyusha, bears a similarity to Cheptsov, symbolizing the enduring connections to the Stalinist elements pervasive in the narrative.

Natalya

Natalya's experience of exploitation and broken dreams is poignantly symbolized by an encounter with the Academician, who offers her money to throw away on a beach, highlighting themes of disillusionment and lost aspirations.

Vitaly Yegorovich Chuikov

Vitaly Yegorovich Chuikov (vih-TAH-lee yeh-GOH-roh-vihch CHEWIH-kov), the director of the Party sanatorium, is a retired major general who revels with Patrick, Neyarky, and Academician. His participation in children’s war games at Yalta underscores the political and military entanglements of the era.

Boris

Boris, a guard in Magadan, known for his involvement with Cheptsov in torturing Sanya Gurchenko, represents the brutal enforcement of power that is a constant undercurrent in the novel.

Sergeant Ryumin

Sergeant Ryumin (RYEW-mihn), overseeing prisoners in the Yalta courtroom, including the Academician and his allies, advocates for stricter penalties, reflecting the authoritarian nature of the judicial system portrayed in the narrative.

Aunt Varya

Aunt Varya is a political prisoner and ally to Tolya’s mother in Magadan, symbolizing the resistance and solidarity among the oppressed, adding depth to the novel’s exploration of political activism and resilience.

Igor Yevstigneyevich Serebro

Igor Yevstigneyevich Serebro (yehv-stih-GNEH-yeh-vihch seh-reh-BROH), a sculptor and associate of Khvastishchev, reveals his past as a KGB agent during a 1973 BBC interview after defecting, exposing the duplicity and pervasive distrust within the narrative.

Major Paly

Major Paly (PAH-lee), who assisted Cheptsov in the arrest of Tolya’s mother during her second detention in Magadan, signifies the enduring power of oppressive state mechanisms.

Zilberantsev

Zilberantsev (zihl-beh-RAHN-tsehv), a medical colleague of Malkolmov, is knowledgeable about the serum Lymph D, adding an element of medical intrigue and the quest for knowledge within the storyline.

Nikodim Vasilievich Argentov

Nikodim Vasilievich Argentov (nih-koh-DIHM va-see-LYEH-vihch ahr-GEHN-tov), associated with Kunitser, organizes a meeting at his residence in 1973 concerning a new political party in Moscow, reflecting the political ferment and aspirations for change within the narrative.

Makkar

Makkar (mah-KAHR), a young guitarist in Sabler’s new group in 1973, contributes to the portrayal of the vibrant musical landscape that threads throughout the novel.

Grisha Koltun

Grisha Koltun (grih-SHAH KOHL-toon), an army major and Nina’s new husband, took part in the 1968 Czechoslovakia invasion, grounding the story in its historical context and illustrating the interplay between personal relationships and political events.