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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The capping of the pen and the closing of the notebook acted as a signal to the Frenchman. With many a pat on the shoulder and squeeze of the arm, he shepherded the group out of the room and down the corridor before giving his farewell address in the hall.

“I must congratulate you on the wisdom of your decisions,” he said, “decisions I know you won’t regret. Your orders will be dispatched very shortly.” He raised a hand and tapped his nose. “Perhaps I could offer you a little advice. First, that you restrict this wine to your most trusted clients, those who prefer to keep their drinking habits to themselves. Publicity would inevitably spoil the intimacy of the relationship that we have built up. And second, I would suggest that you keep a few of your cases in reserve.” He smiled at his partners in future prosperity. “Prices have a habit of going up.” On that reassuring note, with the bowing and shaking of hands completed, the group filed through the front door and into the bright sunlight of the street.

Hurrying back to the tasting room, the Frenchman found Mademoiselle de Salis seated at the table, her blond head lowered over her notebook and a calculator. He came up and stood behind her, and began to massage her shoulders. “ Alors, chouchou? What’s the score?”

“Chen took six cases, Shimizu took a dozen, Deng took four, Ikumi eight, Watanabe and Yun Fat…”

“The total?”

Mademoiselle de Salis gave the calculator a final stab with a crimson-tipped finger. “Altogether, forty-one cases. Just over one and a half million dollars.”

The Frenchman smiled and looked at his watch. “Not too bad for a morning’s work. I think we’ve earned our lunch.”

Ten

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This sunny morning, Madame Passepartout had chosen to attack the sitting room, in particular the cobwebs that festooned the lofty vaulted ceiling. A fear of heights ruled out the use of a stepladder, but to compensate for this she had added to her armory a new, improved feather duster with a telescopic handle. She was using it like a lance, bringing down great swags of dusty gray filament, when she heard the sound of a car pulling up outside the house. Pausing in mid-thrust, she cocked her head.

“Monsieur Max! Monsieur Max!” Her screech echoed through the room and out into the hallway.

In response there was a muffled reply, and then the sound of hurried footsteps on the stairs. Max appeared in the doorway, one side of his face covered with shaving cream. “Are you all right, madame? Is something wrong?”

She pointed the feather duster in the general direction of the outdoors. “There is a person.”

“A person?”

The duster pointed again. “Outside. I heard a car.”

Max nodded. From the panic-stricken sound of her voice, he had thought that she had met with a terminal domestic accident, or at least been menaced by a mouse. But, as he was beginning to find out, every aspect of life for Madame Passepartout was steeped in drama. “Don’t worry,” he said. “I’ll go and see who it is.”

The car was small and nondescript and unoccupied. Max walked through the courtyard, reached the end of the house, turned the corner, and bumped into something soft and surprised. A girl.

“Oh!” she said, stepping backwards. And then, “Hi.” She was in her midtwenties, sweet-faced, blue-eyed, golden-haired, and golden-skinned. And when she smiled, she revealed her nationality. The only country where they issued teeth like that-so regular, so blindingly white-was America. Max stared at her, his mouth open.

“Do… you… speak… English?” She asked the question with the slow, exaggerated clarity that is often used with children and foreigners.

Max pulled himself together. “Absolutely,” he said. “Like a native.”

The girl was visibly relieved. “Great. My French is about that much?” She held up one hand, the thumb and index finger curled to make a zero. “Maybe you can help me? I’m looking for the owner of the property? Mr. Skinner?” The American intonation turned every sentence into a question.

“That’s me.”

The girl laughed and shook her head. “You’re kidding. You can’t be.”

“Why not?”

“I don’t think you’re old enough to qualify.”

Max rubbed his chin and found his fingers coated with foam. “Ah. I was shaving.” He wiped his hand on the back of his shorts. “Old enough to qualify for what?”

“Mr. Skinner’s my dad.”

“Henry Skinner?”

The girl nodded. “You missed a bit.” She tapped her cheek. “Right there.”

They looked at one another in silence while Max wiped his face. “Better?”

The girl was shifting her weight from one leg to the other. “Look, this is kind of embarrassing, but it’s been a long drive and I really need a bathroom. Can I…”

“Right. Of course. A bathroom.” He led the girl into the house, and pointed up the stairs. “Second on the left. The door’s open.”

Madame Passepartout emerged from the sitting room, her face a question mark as she watched the girl take the stairs two at a time. She turned to Max. “Eh alors?”

“Coffee,” said Max. “That’s what we need.”

Madame Passepartout, feeling that this could provide a fascinating break from the cobwebs, led the way into the kitchen and started to fuss with the kettle and the cafetière, laying out three cups and saucers on the table. “An unexpected friend,” she said, and gave Max an arch look. “Perhaps a copine ?”

“Never met her in my life.”

Madame Passepartout sniffed. In her experience, young women never turned up at the homes of young men by accident. There was always une histoire. She poured boiling water over the ground coffee, impatient for the return of the stranger. She sensed the prospect of revelations.

Which there were, but unfortunately for Madame Passepartout they were in English, a language that she found almost completely impenetrable. Nevertheless, she sat at the table as the two began to talk, her head swiveling from one to the other like a spectator at a tennis match.

“Right,” said Max, “first things first. This is Madame Passepartout. And my name’s Max.”

The girl stretched across the table to shake hands. “Christie Roberts. From St. Helena, California.”

That would explain the teeth and the tan, thought Max. “You’re a long way from home. Is this a holiday for you?”

“A vacation? Not exactly. Well, it’s kind of a long story.” She dropped two sugar lumps into her cup and stirred her coffee while she collected her thoughts. “I was raised by my mother. She never talked much about my dad, but she did tell me he died in a car crash when I was a baby. Then a couple of years ago, she got sick, and last year she died. A stroke.” Christie shook her head. “Does it bother you if I have a cigarette?”

“Go ahead. You’re in France, smoker’s heaven.” Max fetched an old Suze ashtray and pushed it across the table while Christie took a pack of cigarettes from her bag and lit one. “Dumb habit. I’ve got to be the only person in California who does nicotine instead of dope.” She blew a plume of smoke up at the ceiling. “So. After the funeral, I had to go through all my mom’s papers-bank statements, insurance policies, the usual stuff. Anyway, I found this letter, really old, from some guy called Henry, saying he missed her and wanted her to come out to be with him in France. And in the same envelope was a fuzzy photograph of him-well, I guess it was him-sitting outside a bar in the sun.”

“Really? Do you have it with you?”

“It’s in my bag in the car. But it got me curious, and I started asking around in St. Helena, people who’d known my mom when she was young. Well, it turns out that this Henry had spent some time in California, and he and mom were, you know, seeing each other.” She finished her coffee, smiling her thanks when Madame Passepartout refilled her cup. “That made me even more curious, so the next thing I did was get a copy of my birth certificate from Sacramento. And there was my father’s name.”

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