Peter Mayle - A Year In Provence

It was gray and windy when we arrived in Lambesc. We still suffered twinges of guilt if we stayed indoors on a beautiful day, but this Sunday was bleak and miserable, the streets smeared with old snow, the inhabitants hurrying home from the bakery with bread clutched to the chest and shoulders hunched against the cold. It was perfect lunch weather.

We were early, and the huge vaulted dining room was empty. It was furnished with handsome Provençal antiques, heavy and dark and highly polished. The tables were large and so well-spaced that they were almost remote from one another, a luxury usually reserved for grand and formal restaurants. The sound of voices and the clatter of saucepans came from the kitchen, and something smelled delicious, but we had obviously anticipated opening time by a few minutes. We started to tiptoe out to finda drink in a café.

"Who are you?" a voice said.

An old man had emerged from the kitchen and was peering at us, screwing up his eyes against the light coming through the door. We told him we'd made a reservation for lunch.

"Sit down, then. You can't eat standing up." He waved airily at the empty tables. We sat down obediently, and waited while he came slowly over with two menus. He sat down with us.

"American? German?"

English.

"Good," he said, "I was with the English in the war."

We felt that we had passed the first test. One more correct answer and we might be allowed to see the menus which the old man was keeping to himself. I asked him what he would recommend.

"Everything," he said. "My wife cooks everything well."

He dealt the menus out and left us to greet another couple, and we dithered enjoyably between lamb stuffed with herbs, daube, veal with truffles, and an unexplained dish called the fantaisie du chef. The old man came back and sat down, listened to the order, and nodded.

"It's always the same," he said. "It's the men who like the fantaisie. "

I asked for a half bottle of white wine to go with the first course, and some red to follow.

"No," he said, "you're wrong." He told us what to drink, and it was a red Côtes du Rhone from Visan. Good wine and good women came from Visan, he said. He got up and fetched a bottle from a vast dark cupboard.

"There. You'll like that." (Later, we noticed that everybody had the same wine on their table.)

He went off to the kitchen, the oldest head waiter in the world, to pass our order to perhaps the oldest practicing chef in France. We thought we heard a third voice from the kitchen, but there were no other waiters, and we wondered how two people with a combined age of over 160 managed to cope with the long hours and hard work. And yet, as the restaurant became busier, there were no delays, no neglected tables. In his unhurried and stately way, the old man made his rounds, sitting down from time to time for a chat with his clients. When an order was ready, Madame would clang a bell in the kitchen and her husband would raise his eyebrows in pretended irritation. If he continued talking, the bell would clang again, more insistently, and off he would go, muttering "j'arrive, j'arrive."

The food was everything the Gault-Millau guide had promised, and the old man had been right about the wine. We did like it. And, by the time he served the tiny rounds of goat's cheese marinated in herbs and olive oil, we had finished it. I asked for another half bottle, and he looked at me disapprovingly.

"Who's driving?"

"My wife."

He went again to the dark cupboard. "There are no half-bottles," he said, "you can drink as far as here." He drew an imaginary line with his finger halfway down the new bottle.

The kitchen bell had stopped clanging and Madame came out, smiling and rosy faced from the heat of the ovens, to ask us if we had eaten well. She looked like a woman of sixty. The two of them stood together, his hand on her shoulder, while she talked about the antique furniture, which had been her dowry, and he interrupted. They were happy with each other and they loved their work, and we left the restaurant feeling that old age might not be so bad after all.

RAMON THE PLASTERER was lying on his back on a precarious platform, an arm's length below the kitchen ceiling. I passed a beer up to him, and he leaned sideways on one elbow to drink it. It looked like an uncomfortable position, either for drinking or working, but he said he was used to it.

"Anyway," he said, "you can't stand on the floor and throw stuff up. That one who did the ceiling of the Sistine Chapel-you know, that Italian-he must have been on his back for weeks."

Ramon finished the beer, his fifth of the day, handed down the empty bottle, belched lightly, and returned to his labors. He had a slow, rhythmical style, flicking the plaster on to the ceiling with his trowel and working it into a chunky smoothness with a roll of his wrist. He said that, when it was finished, it would look as though it had been there for a hundred years. He didn't believe in rollers or sprayers or instruments of any sort apart from his trowel and his eye for a line and a curve, which he said was infallible. One evening after he had gone I checked his surfaces with a level. They were all true, and yet they were unmistakably the work of a hand rather than a machine. The man was an artist, and well worth his beer ration.

A breeze was coming through the hole in the kitchen wall, and it felt almost mild. I could hear something dripping. When I went outside I found that the seasons had changed. The stone table was oozing water, and spring had arrived.

THE ALMOND TREE was in tentative blossom. The days were longer, often ending with magnificent evenings of corrugated pink skies. The hunting season was over, with hounds and guns put away for six months. The vineyards were busy again as the well-organized farmers treated their vines and their more lackadaisical neighbors hurried to do the pruning they should have done in November. The people of Provence greeted spring with uncharacteristic briskness, as if nature had given everyone an injection of sap.

The markets changed abruptly. On the stalls, fishing tackle and ammunition belts and waterproof boots and long brushes with steel bristles for amateur chimney sweeps were replaced by displays of ferocious-looking agricultural implements-machetes and grubbing tools, scythes and hoes with sharp curved prongs, spraying equipment that was guaranteed to bring the rain of death down on any weed or insect foolhardy enough to threaten the grapes. Flowers and plants and tiny new season vegetables were everywhere, and café tables and chairs sprouted on the pavements. There was a feeling of activity and purpose in the air, and one or two optimists were already buying espadrilles from the multicolored racks outside the shoe shops.

In contrast to this bustle, work on the house had come to a standstill. Following some primeval springtime urge, the builders had migrated, leaving us with some token sacks of plaster and piles of sand as proof of their intention to come back-one day-and finish what they had so nearly finished. The phenomenon of the vanishing builder is well known throughout the world, but in Provence the problem has its own local refinements and frustrations, and its own clearly defined seasons.

Three times a year, at Easter, August, and Christmas, the owners of holiday homes escape from Paris and Zürich and Düsseldorf and London to come down for a few days or weeks of the simple country life. Invariably, before they come, they think of something that is crucial to the success of their holiday: a set of Courrèges bidets, a searchlight in the swimming pool, a retiled terrace, a new roof for the servants' quarters. How can they possibly enjoy their rustic interlude without these essentials? In panic, they telephone the local builders and craftsmen. Get it done-it must be done-before we arrive. Implicit in these urgent instructions is the understanding that generous payments will be forthcoming if the work is done at once. Speed is of the essence; money isn't.