The story opens with a peculiar domestic scene: Pashkov, a Soviet agent described as a "roly-poly zoo attendant leading a tame bear," is soothing his colleague Medvedev outside a villa near Moscow. From an open window comes the clicking of a typewriter—the robot Boris Knackenpast, a literary hoax that has become world-famous. This initial image of a guarded house, a typing robot, and a bickering pair of intelligence officers sets the tone for a narrative that moves restlessly between Moscow, Stockholm, and the Baltic sky.

Fetler's prose is brisk and dialogue-driven, with characters trading barbs and bureaucratic jargon. The structure relies on rapid scene shifts: from the villa to Pashkov's flier, to a radio conversation with his mistress and his boss, and then to a Swedish hospital where a theatrical surgeon has been reshaping faces. The recurring motif of disguise—surgical, behavioral, even vocal—anchors the story's central conceit that identity in the Cold War is a matter of performance and suspicion.

A World of Doubles and Disguises

The excerpts reveal a narrative built on doubling. Pashkov and Colonel James are professional rivals who keep impersonating each other: Pashkov is reported to be in Stockholm while he is in Moscow; later, James impersonates Pashkov in Petchareff's office. The robot Knackenpast is a double of a real author, and even the fliers are doubled—a Swedish Red Cross ambulance is stolen and blamed on Cubans, who claim they were framed by "a fat little Russian."

This pattern extends to physical appearance. The theatrical surgeon M. Fanti obsesses over Pashkov's cheekbone asymmetry, insisting that a four-centimeter difference makes the face laughable. The American agent's left cheekbone is lower than Pashkov's, a detail that becomes a crucial identifier. The story suggests that in espionage, the body itself is a text to be read and rewritten.

Movement Through Air and Space

The story's geography is defined by vertical and horizontal movement. Characters travel in fliers, poking through clouds or skimming low to avoid detection. Pashkov's habit of flying close to clouds is noted early, and later he dives into clouds to hover when he realizes Petchareff has been duped. The Baltic Sea is crossed in minutes; the Moscow beam guides the flier home.

This constant motion creates a sense of instability. No scene lasts long: the villa, the office, the hospital roof, the flier's cockpit. The narrative jumps from Moscow to Stockholm to Mir (Knackenpast's villa) without transition. The reader, like the agents, must keep up with shifting locations and identities. The flier itself becomes a mobile safe space—the only place where Pashkov can think without being overheard.

Voice and Verbal Tells

Fetler pays close attention to speech as a marker of identity. Professor Kristin warns Pashkov (disguised as Colonel James) that his "r's are still too soft for a real Russian" and that he must "watch his fricatives." This detail suggests that even a perfect surgical disguise can be undone by pronunciation. The story's dialogue is peppered with code names, bureaucratic titles, and pet names—"Seven One Three," "Gospodin Pashkov," "Nadezhda"—that create a thicket of aliases.

The verbal sparring between Pashkov and Nadezhda Brunhildova reveals a personal relationship layered over professional duty. She accuses him of lying about Stockholm; he deflects with insults about Anastina's appearance. The banter is sharp and specific, grounding the spy plot in recognizable human pettiness.

The Robot as MacGuffin and Mirror

The robot Boris Knackenpast is introduced as a typing machine in a guarded villa, but its role expands. Medvedev, the robotist, fears that everyone will guess the author is a robot; Pashkov counters that it's when spies are not like robots that they are suspected. The robot becomes a metaphor for the ideal agent: obedient, indistinguishable, and replaceable.

In the final excerpt, Pashkov finds the robot unscrewing screws from its own neck—a moment of uncanny autonomy. The robot's self-dismantling mirrors the story's theme of identity unraveling. Just as Pashkov and James trade faces, the robot enacts a literal deconstruction of its own construction. The image is both comic and unsettling, a reminder that in this world, even machines are not what they seem.

Readers should pay attention to the story's rapid shifts in location and perspective, which mirror the agents' own disorientation. The dialogue carries much of the plot, but the physical details—the height of a cheekbone, the softness of an 'r,' the color of a flier—are the real clues. Fetler's satire is dry and understated; the humor emerges from the gap between the characters' deadly seriousness and the absurdity of their situation. Enjoy the chase, but watch the fricatives.