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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“Henry Skinner?”

She nodded. “That’s why I’m here. I thought it was about time I met my dad.” Stubbing out her half-smoked cigarette, she shrugged. “But I guess I’m too late.”

Max shook his head. “Afraid so. I’m very sorry. He died last month. Tell me, how did you know where to come?”

“An old friend of my mom’s works in Washington, for the State Department. It took a few weeks, but those guys can find out anything.”

Max stood up, still shaking his head. “Let me show you something.” He went to the sitting room, and came back with a silver photograph frame. Removing the back, he took out the concealed second photograph, brown and cracked with age, and placed it on the table in front of Christie.

She studied it for a long moment. “Wow. This is really weird.” She looked up at him, and back at the photograph. “That’s my mother. And I guess that’s my father.”

“My uncle,” said Max.

Madame Passepartout used the pretext of clearing away the coffee cups to lean over and peer at the photograph, which only added to her frustration. “Monsieur Max,” she said, “qu’est-ce que se passe?”

Max scratched his head. “I’m not sure.” Turning to Christie, he began to tell her his side of the story-his boyhood visits to the house, the death of his uncle, the will. And as he mentioned the will, something that Nathalie Auzet had told him came into his head.

He picked up the old photograph and stared at it. “My God, I’d forgotten all about that. I wonder…” He looked at Christie. “Listen, I have to make a phone call.”

Christie smiled. “Go ahead.”

Max got through to the notaire ’s office, only to be told by the secretary that Maître Auzet was in Paris for a few days. He put down the phone and slumped back in his chair. “The thing is,” he said to Christie, “there’s this inheritance law in France. When you die, your property has to go to your next of kin-your husband, your wife, your children. You have no choice. Now, when Uncle Henry made his will, he thought that I was his only surviving relative. He didn’t know about you.” Max frowned. “That’s strange, isn’t it? Why didn’t he know about you?”

“Mom married-a guy called Steve Roberts-but it didn’t work out. After that, I guess she felt she couldn’t… you know, come back to your uncle with a surprise package. Or maybe she didn’t love him. Who knows?”

Max looked at his watch-the Englishman’s inevitable reflex before the first drink of the day-and got up to fetch glasses and a bottle of rosé from the refrigerator. “You see what I’m getting at, don’t you? If you’re Uncle Henry’s daughter, it might make his will invalid.” He poured the wine and gave Christie a glass. “Which would mean that the property would legally have to go to you.”

“That’s crazy.” Christie laughed. “Just crazy.” She took a sip from her glass, holding the wine in her mouth before swallowing. “Hey, this is good. Nice and dry. What’s the mix? Grenache and Syrah?” She reached for the bottle and looked at the label. “Makes our Zinfandel taste like cough syrup.”

“You know a bit about wine?”

“Sure. I grew up in the Napa Valley, and I work in a winery. Public relations. I do the winery tours.”

Max nodded, his thoughts elsewhere. It was dawning on him that what he had just said to the girl-even if she didn’t believe it-was more than likely true. According to the serpentine dictates of French law, an illegitimate daughter would quite possibly take precedence over a legitimate nephew. All at once, just as he was beginning to ease into the life of gentleman vigneron, his future began to look uncertain. Extremely uncertain. And it was a fundamental uncertainty. He couldn’t ignore it, and it wouldn’t go away. Did he have a future here, or didn’t he?

“Look,” he said, “we’re going to have to sort this out.” He got up, went to a drawer of the dresser, pulled out a phone directory, and started leafing through the Yellow Pages. “Better to do it now, before things get any more complicated.”

Christie watched, a puzzled half smile on her face. “I don’t understand. What’s going on?”

“I think we should get a legal opinion.” Max found what he was looking for, and reached for his phone.

“Oh, come on. Do you really think…”

“I’m serious. Do you have anything against lawyers?”

“Doesn’t everyone?”

As Max tapped in the number, Madame Passepartout, saucer-eyed and bursting with frustrated incomprehension, looked at Christie and shrugged. Christie could do nothing but shrug back. They waited for Max to finish his call.

“OK. We’ve got an appointment in Aix at two o’clock.”

Lunch was a swift, informal affair of bread and cheese and salad in the kitchen. Max was preoccupied, his head filled with depressing possibilities: losing the house, having to go back to London and find a job, scraping together the money to pay back Charlie. Christie was thoughtful, a little bewildered, and saddened by the realization that she never would meet her father. Madame Passepartout had given up the linguistic struggle and had gone home, promising to return to do battle with the cobwebs in the afternoon.

They were about to get into the car when Christie paused as she was opening the door. “Max? Do we really need to do this?”

Max looked at her across the roof of the car. “I do. I couldn’t stay not knowing if the house were mine or yours. Suppose you did something silly, like marry a Frenchman? You might want to come and live here.”

She shook her head. “Not on my agenda.”

“You never know. Agendas have a habit of changing.”

The drive down to Aix was marked by the kind of safe, impersonal conversation two people resort to when they don’t want to discuss what is really on their minds. They compared jobs: Max’s time in the City, Christie’s in the winery. They shared an admiration for the spectacular countryside they were driving through-like Napa, but greener and somehow older-looking-and by the time they had found a parking spot in Aix they were starting to feel as comfortable with one another as they could under the curious circumstances.

One of the most attractive corners of Aix is the Place d’Albertas, a miniature eighteenth-century cobbled square built around a fountain. Once an architectural prelude to the palace behind it, the square is now largely taken over by discreet offices filled with more or less discreet members of the legal profession. Maître Bosc, the lawyer Max had chosen at random from the extensive selection in the Yellow Pages, occupied the ground floor of one of the best-kept buildings, his brass plaque twinkling in the sun.

The secretary placed Christie and Max on two hard chairs while she disappeared to announce their arrival. Five minutes passed, then ten. Finally, when enough time had passed to establish that the maître was a busy and important man, the secretary reappeared and ushered them into his office.

It was a large, beautifully proportioned room-a high ceiling, tall windows, and delicately molded cornices-desecrated by the kind of modern office furniture one finds in catalogs that offer a discount for buying in bulk. Maître Bosc stood up behind his faux-rosewood desk and gestured at them to sit down. He was a thickset, rumpled man, shirtsleeves pushed up above his elbows, hair awry, his reading glasses dangling from a cord around his neck, a cigar smoldering between his fingers. He looked at them with a pleasant smile. “ Alors? What can I do for you?”

Max described the odd situation in which he and Christie found themselves while Bosc made notes, interrupting from time to time with a murmured question. Christie’s exposure to lawyers had been limited to the California variety, sharply dressed and aggressive. Bosc, although she couldn’t understand him, seemed cozy and sympathetic. But he had a lawyer’s instinct for a lengthy and lucrative assignment, something that was apparent from his first words after Max had finished speaking.

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