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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“That’s crap, and you know it. Both those companies are ripe. This deal is as good as sewn up.”

Amis looked up at him, a fleck of yellow cream on his chin. “You’ve got that right, anyway.”

“What do you mean?”

“I’m taking it over.” Amis spooned in another mouthful, crunching the caramelized sugar between his teeth.

Max took a deep breath. “We’ll see what the Lawtons have to say about that. They’re…”

“Too late, sunshine. They’re sorted. I got the green light from them this morning.”

Max saw months of work wiped out. Even worse, he saw his bonus disappearing into Amis’s bank account as his unpaid bills piled up and the bank moved in to tighten the noose around his neck. “You can’t do that. It’s bloody daylight robbery. It’s stealing.”

“Where have you been living? It’s business, that’s what it is. Business. Nothing personal, no hard feelings. And I’ll tell you what I’ll do. I’ve had a tip about a little engineering firm, but I won’t have time for that now. You can take it over.”

A memory came back to Max from many years ago, when his uncle Henry was giving him a lecture about life: Better to die on your feet than live on your knees. Max came to a decision. “I can take it over, can I? I can work it up, and then, when it’s all set, I can get screwed again. Is that what you’re saying?” Max leaned across the table. “Well, you can stuff your little engineering firm, and you can stuff your job. I’m not going to work for a thieving prick like you.”

Amis felt a glow of satisfaction as Max pushed back his chair. Lunch had gone according to plan; in fact, it couldn’t have gone better. He’d received a detailed, up-to-date brief on the deal, and, since Max had resigned, there wouldn’t be any severance to pay. Perfect. “Suit yourself,” he said. “Your decision. Make sure your desk is cleared out by this evening, OK?”

Max stood up, but Amis hadn’t finished with him. “Aren’t you forgetting something, my friend? The company vehicle?” He held out his hand. “I’ll have the car keys, if you don’t mind.”

Max took the keys from his pocket and hesitated for a moment before dropping them carefully into Amis’s half-eaten crème brûlée.

Amis watched him go. He reached for his cell phone and punched in Tracy ’s number.

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During the walk back to the office, Max’s emotions were a mixture of apprehension at what he’d just done and elation at having done it. This was a bad moment to be out of a job, it was true. But the thought of life without Amis and his constant needling was something of a consolation; unfortunately, it was not nearly enough to make up for the lost bonus. He was in trouble, and he needed to find something else. He decided to spend his last afternoon at Lawtons making a few calls. Might even try New York.

When he got back, however, he found he could barely squeeze into his cubicle. Tracy and two security guards were waiting for him.

“Jesus,” said Max. “What do you think I’m going to do, nick the carpet?”

“Standard termination procedure,” said Tracy. She turned to the guards. “Stay with him until he’s finished, and then report back to me.” She stopped in front of Max as she was leaving the cubicle and smiled sweetly. “How was lunch?”

Max looked around the space where he had spent most of his waking hours over the past eighteen months. What did he want to take with him? What would he be allowed to take? His diskettes? Certainly not. His official Lawton Brothers desk diary? God forbid. What else was there? Nothing much. He shrugged at the guards. “Help yourselves, boys.”

Out on Threadneedle Street, he saw an empty cab throwing up a miniature bow wave as it came toward him through the rain. He raised an arm to hail it, remembered that he had just joined the ranks of the unemployed, and waved it on. He couldn’t remember the last time he’d been on the London Underground. This was going to be a novel experience. He splashed toward the Bank station, feeling the moisture soaking through the soles of his shoes.

There was no solace to be found in his apartment. Max kicked off his shoes and peeled off his socks. A leaden afternoon light, more like winter than summer, seeped through the windows. The answering machine blinked its red eye.

“You bastard! Where were you last night? I’ve never been so humiliated in my life. All those ghastly men trying to touch me up. Don’t bother ever…”

Max winced and shut off the diatribe before it had finished. Working late the night before, he’d completely forgotten that he’d arranged to meet his caller in the bar of the Chelsea Arts Club. Knowing some of his fellow members, he could imagine that their desire to make a pretty stranger feel welcome might have been expressed too enthusiastically. Oh God. Better send flowers and an abject note.

He stripped off his tie and jacket and slumped on the couch, all energy and optimism gone. The apartment was a mess. His life was a mess. As an alternative to housework or vodka, he turned on the television. A cookery program. A documentary about salamanders. A man with blow-dried hair presenting the news from CNN. Golf, the instant soporific. Max dozed off, and dreamed of drowning Amis in a vat of crème brûlée.

It was evening when the phone woke him. The golfers on the screen didn’t seem to have made any progress since Max had dropped off several hours before. Perhaps it was a long hole. He turned off the TV and picked up the phone.

“There you are, you old bugger. I tried you at the office, but they said you’d left early. Are you all right?”

It was Charlie, his closest friend and ex-brother-in-law.

Max yawned. “I’m fine. No, actually, I’m not fine. It’s been one of those days.”

“It’s going to start getting better. Tonight, you and I are celebrating the promotion of Charles Willis, real estate’s rising star. It happened this afternoon. Bingham & Trout have made me a full partner. Time for young blood, they said. The property business is changing, we must move with the times, a strong hand on the tiller, all that stuff.”

“Charlie, that’s terrific. Congratulations.”

“Well, don’t just sit there. Come and help me out with this bottle of Krug.”

“Where are you?”

“An old client of mine just opened this place off the Portobello Road. Pinot, it’s called-great bar, great wine list, and even as I speak it is crawling with crumpet. All the Notting Hill lovelies, dressed in flimsy garments. I’m fighting them off.”

Max was smiling as he put the phone down and went into the bedroom to change. Ever since they had met at school, Charlie had always been good for morale. And looking out of the window, Max saw that the rain had stopped. His spirits lifted, and he found himself whistling as he went downstairs.

Passing through the lobby on his way out, he stopped to check his mailbox. There was the usual collection of final demands and circulars and one or two of the dinner-party invitations that come the way of every London bachelor; but there was also an intriguing envelope with a French stamp. In the top left-hand corner was a small, stylized image of the statue of Justice, and below was printed the sender’s name: Cabinet Auzet, Notaires, Rue des Remparts, 84903 St.-Pons. Max started to open it, then decided to save it to use as a distraction from the horrors of the tube. He slipped the envelope in his pocket, stuffed the rest of his mail back in the box, and headed for the South Kensington Underground station.

Two

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Standing in the crush of humanity as the tube rattled away from South Kensington toward Notting Hill, Max was rediscovering the face of public transport. Almost everyone around him, it seemed, had undergone the modern tribal ritual of piercing. Pierced nostrils, pierced eyebrows, pierced lips, pierced ears, several pallid but prominently displayed pierced navels. Other visible body parts, those that hadn’t been pierced, were tattooed. A handful of older, more conservative passengers, without nose jewelry or ear trinkets, looked like relics from a distant, unadorned age. They buried their faces in books or newspapers, carefully avoiding eye contact with those members of the pierced generation jammed up against them.

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