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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Fitzgerald’s expression changed to amused astonishment. “Incroyable,” he said to Max. “I thought I’d never live to see a peasant who is also an optimist.” He patted Roussel on the shoulder. “I wish you luck, monsieur, with your giant grapes. Or better still, a miracle. And now, I really must go.”

While Max was translating the exchange for Christie, Fitzgerald strode off in the direction of the house, with Roussel a few paces behind. Clearly, as far as they were concerned, the reconnaissance was over.

“Well,” Max said to Christie, “that wasn’t too encouraging.”

“You know something?” she said. “I think that guy understands English. I was watching his face, and when I asked about the grapes, he couldn’t stop himself from looking at them. Just a glance, but I’m sure he knew what I was saying.”

Had there been a flicker of understanding, quickly disguised? Max couldn’t say; he’d been looking at Christie when she asked the question. “I don’t know,” he said. “But he didn’t seem to be all that interested. It might be a good idea to get a second opinion. I’ll talk to Roussel.”

“Wouldn’t hurt,” said Christie. “There’s something not right about that guy. I’ve never seen a real wine man with a manicure before.”

Fourteen

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Sitting in his office high above the harbor, Mr. Chen lit a cigarette and reached for the phone. He was about to confirm his reputation as Hong Kong’s most exclusive wine merchant, the négociant to know if you were looking for rare vintages or special bottles, and had the deep pockets to afford them. At the mention of his name, the secretary on the other end of the line put him straight through.

Chen wasted no time on pleasantries. “This is a lucky day for you,” he said to his client. “I did well in Bordeaux. I got six cases, and I can promise you they’re the only cases in Hong Kong. Now, in view of our long relationship, not to mention our deep friendship, I’ve put aside two cases for you at $75,000 per case. That’s U.S. dollars, of course.”

He paused to let the news of his generosity sink in. “What? How does it taste? What’s that got to do with it? Come on, my friend. You know as well as I do this isn’t wine for drinking; it’s for buying and selling. An investment. My other clients here would sell their mothers for this wine. Hold it for a year, two years. The way it’s going, you could double your money. No, I’m afraid that’s not possible. Just the two cases. The others are promised to Beijing and Seoul. Yes? Good. You won’t regret it.”

Chen put the phone down, blew a celebratory smoke ring, and crossed a name off the short list on his desk. Perhaps he should raise the price to $80,000. This was going to be an interesting couple of days. He put in a call to Beijing.

картинка 28

On the other side of the world, Roussel had, as usual, returned to his pink palace for lunch. He was a preoccupied man, picking at the salt pork and lentils of his favorite petit salé, saying little, hardly touching his wine. His wife, Ludivine, accustomed to seeing a clean plate and an empty glass at mealtimes, came to the natural conclusion.

“It’s your stomach, isn’t it?” she said, with the conviction of a wife long familiar with the vagaries of her husband’s digestive system. “Too much cheese last night. You need a purge.”

Roussel shook his head and pushed his plate away. “My stomach? No, that’s fine.”

“So what is it?” She reached across the table and patted his hand. “Come, Clo-Clo, tell me.”

He sighed, and let his body slump back in the chair. “It’s the vines. You know, the little patch.” Ludivine nodded. “Well, yesterday we had the oenologue from Bordeaux come to look at the property, un monsieur très snob, someone arranged by Nathalie Auzet.”

“What did he say?”

“Oh, nothing much. Nothing good, anyway. I think that was the problem, because this morning Monsieur Max told me he was going to find someone else and get a second opinion. And you realize what that means?” Roussel traced circles on the table with his wineglass, his face the picture of dejection.

Ludivine did indeed realize what it meant, and had been half-expecting it for years. She came around the table and stood behind him, massaging his shoulders. “Chéri,” she said, “it was bound to end sooner or later. We’ve had some good years because of those vines-the house, the cars, more than we could have imagined when we first got married.” She bent to kiss the top of his head. “I hate to see you like this.” With a final squeeze of his shoulders, she cleared away the plates and was about to take them to the sink when she stopped, setting the plates back on the table with a rattle that made her husband start. She tapped a finger with considerable emphasis on the table. Her voice was equally emphatic. “You must tell him, Clo-Clo. You must.”

Roussel sat staring at her, chewing his lip and saying nothing.

She reached out for his hand, and her tone softened. “He seems very sympa, the young man. He’ll understand. Better that he should find out from you than from someone else, no?” She answered her own question by nodding vigorously. “Much better.”

картинка 29

The midafternoon air was still, and thick with heat. Max was on a ladder, wrestling with a tangle of wisteria that was trying to creep uninvited into the house through an upstairs window. Christie had gone off in search of an English-language newspaper, and Madame Passepartout, her cat crisis over, was hanging out the wash on a makeshift line she had strung up in a corner of the tennis court.

The calm of the moment was broken by the clatter of Roussel’s van coming to a stop in the courtyard. As was his invariable habit, Tonto was the first to get out, rushing across to bark at the ladder before sniffing it with great deliberation and cocking his leg against it. Roussel scolded him halfheartedly as he peered up at the figure perched above him, silhouetted against the sun-bleached pale blue of the sky.

“Monsieur Max, do I disturb you?”

Max came down the ladder, and the two men shook hands, Roussel tugging at one ear while he searched for words. “I must speak to you,” he said, “and there is something I must show you. It’s about the vines.” He jerked his head toward the van. “We can go together now, if you have the time.”

They drove without speaking in the direction of the village, and then turned off to follow a narrow track that ended in front of a long, windowless barn built into the side of a gentle fold in the land, its double doors barred and padlocked. “The cave, ” said Roussel. “You haven’t seen it before.”

Max shook his head. “I thought you took the grapes straight down to the co-opérative.

“Not all of them,” said Roussel. “That’s what I want to talk to you about.”

He parked the van in front of the barn, and Max stood watching Tonto roll in the dust, squirming with pleasure as he rubbed his back on the grit while Roussel unlocked the barn doors and slid them open. He went into the gloom and turned on a light before beckoning Max to follow.

The temperature inside the cave was cool, almost chilly after the heat outside, and the air smelt slightly humid; tannic and musty. The floor was rough concrete, divided down the middle by a wine-stained drainage channel. On either side of the channel, raised up on plinths of concrete, were rows of barrels, marked in chalk with a scribbled code meaningless to anyone except the wine grower. Standing in one corner next to the door was a rickety tin table with a scattering of papers, a couple of dingy glasses, and a long glass syringe with a rubber bulb the size of a fist at one end. On the wall, hanging from a rusty nail, was a calendar illustrated with photographs of young women in the throes of some private ecstasy, draped over tractors.

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