Peter Mayle - A Good Year

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From Publishers Weekly
Mayle's breezy, uncomplicated fifth novel (Chasing Cezanne, etc.) and ninth book follows 30-something Max Skinner from a sabotaged financial career in London to his adoption of the Provençal lifestyle on an inherited vineyard in France. Max spent holidays at his Uncle Henry's vineyard as a child, so when he inherits the place, the prospect of returning is tempting; a generous "bridging loan" from ex-brother-in-law Charlie seals the deal. The estate, Le Griffon, is in a dire state of disrepair and the wine cellar is filled with bottles of a dreadful-tasting swill, but it's nothing that vineyard caretaker Claude Roussel and prim housekeeper Madame Passepartout can't resolve. Max settles into his new life easily thanks to the attentions of local notary Nathalie Auzet and busty cafe owner Fanny. The arrival of young Californian "wine brat" Christie Roberts, Uncle Henry's long-lost daughter, complicates matters for Max, but her surprise offer and Charlie's arrival lessen the impact of a vicious vineyard scandal involving a delicious, high-priced, discreetly produced wine called Le Coin Perdu. Mayle's simple story provides lighthearted if unadventurous reading and a fond endorsement of the pleasures of viniculture.
From The Washington Post
Even a hyperactive terrier will sometimes melt to the floor, paws in the air and tongue alop, when he's approached by someone he trusts. But will he get a soul-satisfying belly rub this time or just a quick pat and tickle? The expectant pooch never knows.
So it is for fans of Peter Mayle, who became the adoptive bard of Provence with his phenomenally successful A Year in Provence. Will admirers open the ex-advertising man's ninth book and find the Mayle whose eye for detail and ear for language make for satisfying wallows in the south of France (the original Year, Hotel Pastis, Anything Considered) or the Mayle who sometimes slices the saucisson a bit thin in an effort to perpetuate his franchise (Toujours Provence, Encore Provence)?
The short answer is that A Good Year, Mayle's latest fictional confection, winds up slightly in the latter category. Once again we have the beleaguered Brit at an unhappy crossroad. In Hotel Pastis it was Simon Shaw being stripped bare by his newly minted ex-wife; in Anything Considered it was Bennett, the Brit on his uppers trying to score by flushing toilets in closed-up manor houses to keep an invented strain of dung beetles from invading the plumbing lines (that actually was funny). And once again the sunny south comes to the rescue, with the potential for making a living without losing one's soul, with a rasher of busty, leggy women and, of course, with good food and drink.
But, as the creators of television's "Law and Order" understand, why tamper with a winning formula? And thus are we launched into the marginal life of Max Skinner, a London investment banker suddenly deal-less and jobless on the streets of the City, where the day's weather forecast is for "scattered showers, followed by outbreaks of heavier rain, with a chance of hail."
And all this is followed, in Peter Mayle's classic caper formula, by timely good luck (inheritance, on the very day he loses his job, of a beloved uncle's big old house and vineyard in the hilly Luberon region of Provence), more good luck (dishy village maidens and a languid new lifestyle to explore), a halfway-engaging intrigue (an unknown American rival for the estate and the mysterious interest in vines that seem to produce nothing but pipi de chat – you know, cat pee) and then more good luck (they all drink happily every after). Coming soon to a movie theater near you, thanks to filmmaker Ridley Scott, whose "nose for a good story" got Mayle started on the rather thin plot and who already has "A Good Year" in production.
Are we just being cranky? Maybe. There really is a comfort factor that assures long, profitable lives to characters – fictional detectives, for instance – whose next formula book readers learn to anticipate. But when the formula is presented practically bare-bones, with only cursory attempts at embellishment, heretofore faithful readers may walk away feeling they've been snookered.
Mayle's deftness with detail – grace notes rather than entire imagery-laden passages – has been thoroughly catalogued. But there's detail that moves you right along: "He turned off the N7 toward Rognes and followed the narrow road that twisted through groves of pine and oak, warm air coming through the open window, the sound of Patrick Bruel whispering 'Parlez-moi d'amour' trickling like honey from the radio." (Okay, moves you along with a little huffing and puffing.) And then there's detail that stops you cold: " 'Air France to Marseille?' The girl at the desk didn't even bother to consult her computer. 'Out of luck there, sir. Air France doesn't fly direct to Marseille from London anymore. I could try British Airways.' "
Yes, by all means, please do.
The caper in A Good Year revolves around a mysterious small-batch cult wine that never makes it to the wine store and trades as an investment. But given that the bulk of Mayle's faithful are presumed Francophiles and therefore at least marginally interested in viticulture, the false note on page 90 is perplexing. As Max inspects his vineyard for the first time he finds a piece of his land that "sloped away gently down to the east… the surface appeared to consist entirely of jagged limestone pebbles, blinding white in the sun, warm to the touch, an immense natural radiator. It seemed unlikely that even the most undemanding of weeds could find sufficient nourishment to grow here. And yet the vines appeared to be healthy."
Perhaps Max has never read descriptions of the poor, gravelly soil in many of the finest districts of Bordeaux, source of some of the priciest wines in the world. But those who have done so are doomed to spend the next 197 pages wondering why Mayle would give the game away so early. Kindly interpretation: We're meant to read on, smiling slightly, feeling superior to poor Max. Or, darker thought: Mayle thinks we're clueless enough to fall for this.
Even as venerable a novelist as Graham Greene recognized that lighter fare – Our Man in Havana, Stamboul Train – had a role to play in his life as a writer and ours as readers. He nonetheless flinched slightly, labeling these works "entertainments." As entertaining as Peter Mayle can be, he might aim a bit higher – if not for his own entertainment, then for ours.
Wafer-thin saucisson, oui. Pipi de chat on the rocks? Non!
***
In A Good Year, Max Skinner's London career has just taken a nosedive when he suddenly inherits his uncle's vineyard in Provence. Leaving one life behind to start another, Max soon discovers that the wine made on his uncle's land is swill, but he's captivated by the village, landscape, weather, and the beautiful notaire. He can't understand why the caretaker is so eager to buy the land when the wine is so bad, and then a woman claiming to be his uncle's long-lost daughter arrives from California with her claim on the property. Max's new life threatens to fall out from under him before it can even take off. Peter Mayle (author of A Year in Provence) has written a light-hearted novel that has received positive reviews. BookPage says, "Brimming with colorful, eccentric characters, A Good Year offers both a behind-the-scenes peek at the high-stakes wine business and a voyeuristic portrait of Provencal village life. Richly evocative of the pleasures of both place and palate, Mayle's latest is sure to entertain and delight his many devotees."

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She had, of course, heard about the new owner of the big house. Anyone in Saint-Pons with ears had heard about him, either from the official village information service, the butcher’s wife, or from the wise men of the café. She watched Max walking across the square and saw that he was heading for the restaurant. She turned to a mirror, making minute adjustments to her hair and décolleté before stepping outside.

Max had started to study the framed menu that was nailed to the trunk of a plane tree.

Bonsoir, monsieur.”

Max looked up. “Hi. Oh, sorry. Bonsoir, madame.”

“Mademoiselle.”

“Of course. Excuse me.” For a few seconds they looked at one another in silence, both smiling. An observer would have guessed that they liked what they saw. “Am I too early?”

No, monsieur wasn’t too early. He had come just before the rush. Fanny placed him at a table on the small terrace, brought him a glass of wine and a saucer of sleek black olives, and left him with the menu. It was short, but filled with the kind of dishes Max liked: a choice of deep-fried sliced zucchini, vegetable terrine or a pâté to start; bavette aux échalotes, roasted cod, or brochette de poulet as a main course; cheeses, and those two reliable old standbys, tarte aux pommes and crème brûlée, for dessert. Simple food of the kind that attracted customers rather than Michelin stars.

Max made his choice and settled back in his chair, his feelings a mixture of contentment and anticipation as he watched Fanny embracing a group of four that had just arrived. Somewhere in her family, he thought, there must have been some North African blood. It would explain her coffee-colored skin, her mop of black curls, and her dark eyes. She was wearing a sleeveless, close-fitting top that accentuated the slender column of her neck and the curve of a jaunty bosom. From the waist down, she was wearing jeans and espadrilles. Max wondered if her legs were as long and well shaped as the rest of her.

She caught him looking at her, and came over to his table, smiling. “Alors, vous avez choisi?” She sat down opposite him, pad and pencil at the ready, and leaned forward to take his order.

With some difficulty, Max kept his eyes on the menu, to prevent them from their natural inclination to stray, and ordered zucchini, the steak, and a carafe of red wine.

Fanny noted down the order. “Is there anything else you’d like?”

Max looked at her for a long moment, his eyebrows raised and his imagination churning.

“Pommes frites? Gratin? Salade?”

Later, sitting over a Calvados and a second cup of coffee, Max reviewed the first day of his new life. With the optimism induced by a good dinner and the soft warmth of the evening breeze, he could see that his initial disappointment over the wine was nothing. That, according to Charlie, could be fixed; as for Roussel, he would probably require some diplomatic handling, and Max would have to tread gently. But the other discoveries of the day were all encouraging-a potentially wonderful house, a delightful village, and two of the prettiest women he’d met for months. And perhaps more important, there were the first stirrings of a sense that he could happily fit in down here in Provence. Another of Uncle Henry’s nuggets of advice to the young came drifting back into his mind from years ago: There is nowhere else in the world where you can keep busy doing so little and enjoying it so much. One day you’ll understand.

He paid the bill and overtipped. The restaurant was still busy, but Fanny found time to come over to wish him good night with a kiss on each cheek. She smelled like every young man’s dream.

“A bientôt?” she said.

Max smiled and nodded. “Try to keep me away.”

Five

картинка 11

God’s alarm clock, the sun, came streaming through the bedroom window and woke Max after the best night’s sleep he’d had in years, even though sleep had not come instantly. In London, there had always been the lullaby of distant traffic, and a glow in the sky from the city’s lights. In the country, there was total silence, and the darkness was thick and absolute. It would take some getting used to. Now, half-conscious and at first not sure where he was, he opened his eyes and looked up at the plaster and beam ceiling. Three pigeons were conducting an interminable conversation on the window ledge. The air was already warm. Glancing at his watch, he could hardly believe he’d slept so late. He decided to celebrate his first morning in Provence with a run in the sun.

Although many foreign habits, such as tennis, were now familiar to the inhabitants of Saint-Pons, the sight of a runner was still enough to cause a flicker of interest among the men who spent their lives in the vines. A small group of them, trimming off overgrown shoots, paused to watch as Max ran by. To them, voluntary physical exercise in the midmorning heat was an incomprehensible form of self-torture. They shook their heads and bent their backs and resumed their trimming.

It seemed to Max that he was running more easily than he had ever done in Hyde Park; probably, he thought, because he was breathing sweet air instead of the fumes from a million exhaust pipes. He lengthened his stride, feeling the sweat run down his chest, and moved onto the shoulder of the road as he heard a car coming up behind him.

The car slowed down to keep pace with him. Glancing over, he saw Fanny’s curly head and wide smile. She overtook him, then stopped and pushed open the passenger door.

“Mais vous êtes fou,” she said, and cocked an approving eye at his legs. “Come. Let me take you into the village. You look as if you need a beer.”

Max thanked her but shook his head, not without some reluctance. “This is what I do to get rid of the Calvados. You know what the English are like. We love to suffer.”

Fanny considered this national peculiarity for a moment, then shrugged and drove off, watching the running figure grow smaller in the rearview mirror. What an odd lot they were, English men; uncomfortable with women, most of them. But that was hardly surprising when one considered their education. The public school system had once been explained to her-all boys together, cold baths, and not a female in sight. What a way to start your life. She wondered if Max would settle in his uncle’s house, and found herself hoping he would. The selection of unattached young men in Saint-Pons was severely limited.

After the third mile, Max was beginning to regret that he’d turned down her offer. The sun seemed to be focused on the top of his head, and the air was still, with no breeze to relieve the heat. By the time he got back to the house he was melting, his shorts and T-shirt black with sweat, his legs like jelly as he climbed the stairs to the bathroom.

The shower was a classic example of late-twentieth-century French plumbing, a monument to inconvenience, no more than a vestigial afterthought attached to the bath taps by a rubber umbilical cord. It was a handheld model, thus leaving only one hand free for the soap and its application to various parts of the body. To work up a satisfactory two-handed lather, the shower had to be placed, writhing and squirting, in the bottom of the bath, and then retrieved for the rinsing process, one body part at a time. In London, it had been a simple matter of standing under a torrent; here, it was an exercise that would tax the ingenuity of a contortionist.

Max stepped out gingerly onto the flooded tile floor and dripped dry while he was shaving. Among the Band-Aids and aspirin in the medicine cabinet above the basin, he found a small flask, still half-full of Uncle Henry’s eau de cologne. It was a relic from the old Turkish baths in Mayfair, with a label like an ornate banknote and a scent that made Max think of silk dressing gowns. He splashed some on, combed his hair, and went to choose something suitable to wear for lunch with Maître Auzet.

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