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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“Mais quand même!” Madame Passepartout chose to be unconvinced, looking at her watch and almost pawing the ground in her eagerness to prepare for Charlie’s coming. “It would oblige me, Monsieur Max, if you and mademoiselle were to remove yourselves from the house today, so that I can work without distraction. The weather is most agreeable. I suggest a pique-nique. ” The suggestion was delivered in a tone of voice that did not invite any discussion.

To Max’s surprise, the thought appealed to Christie, who had come down to the kitchen and was groping her way toward her first cup of coffee. “Great,” she said, from the depths of her early-morning coma. “Love picnics.” Within ten minutes, they had been ejected from the house and were standing by the car, equipped with a map, a corkscrew, and absolutely no clear idea of where they were going.

Inspiration came while they were in the village. They had bought the ingredients for a simple lunch and were getting bread when Christie’s eye was caught by something pinned to the baker’s notice board. There, among the photographs of missing cats and details of secondhand domestic and agricultural articles for sale at prix d’ami, was the card of a farm outside the village offering horses to rent for what were described as pique-niques hippiques in the Luberon.

“Is this what I think it is?” Christie asked Max. “ Pique-nique I can just about work out, and there’s a picture of a horse, so I guess it’s horseback picnics, right? How terrific.”

“Can you ride?”

“Sure. Can’t you?”

Max shared Oscar Wilde’s view that horses were dangerous at each end and uncomfortable in the middle, and remembered his first and, so far, last attempt at riding. The horse had shrugged him off even before he was settled in the saddle, and had then stood looking down at him, lips drawn back in a ghastly yellow-toothed smile utterly devoid of sympathy. “I tried it once,” he said. “But the horse won.”

“Come on,” said Christie. “It’s just like riding a bicycle. Nothing to it.”

Half an hour later they were standing in the paddock next to two amiable and outwardly docile horses. The farmer had given Max a rough, hand-drawn map of the bridle paths-although, as he said, the horses knew them so well they could find their way blindfolded. Christie swung up into the saddle, smooth and easy, as Max put a tentative foot in the stirrup.

“No, Max. Other side. You always mount on the left.”

“Why?” The horse turned his head and gave Max a reproachful look.

“I’m not exactly sure,” said Christie. “But you just do. I think it’s got something to do with your sword. You know? So it doesn’t get tangled up with your legs?”

“Of course,” said Max. “My sword. Silly of me.” He scrambled into the saddle, and, without any urging, the horse set off at an unhurried, stately walk.

It wasn’t very long before Max had forgotten his apprehension and was feeling, if not relaxed, then slightly less tense, and was even beginning to enjoy the unfamiliar but increasingly pleasant sensation of sitting on a large, living creature in motion. He breathed in the smell of warm horse and old leather, shifted his weight in the creaking saddle, tried to appear nonchalant, and started to pay more attention to the scenery. They were in single file, going upward all the time, the horses picking their way slowly along the narrow stony path through a tangle of broom and boxwood, their hooves crushing the rosemary and thyme that seemed to grow out of every rock. The views, carpeted in different shades of green, became more and more spectacular as they climbed toward the top.

Two hours of gentle riding took them to the highest point on the Luberon, marked on the farmer’s map as the Mourre Nègre, more than thirty-five hundred feet above sea level. The loudest sound was the soft whiffle of the horses’ breath. They hadn’t seen or heard a soul since they started off.

Christie tethered the horses in the shade of a scrub oak while Max unpacked the bread and sausage, the cheese and fruit, and a bottle of red wine, warmed by its proximity to the horse until it had reached the temperature of a well-heated room. He stretched to ease the stiffness in a back that had been held more or less rigid during the ride up, and looked around.

It was impossible not to be affected by the extraordinary peace and beauty of the surroundings, the total absence of human sounds, the enormously long views. To the north, he could see Mont Ventoux, the blinding white gravel on its crest looking like a permanent snowcap; to the south, the massive bulk of Mont Sainte-Victoire; and far beyond that, the silvery glint of the Mediterranean. Christie joined him, and they stood for a few moments without speaking, listening to the breeze.

“Roussel comes up here when he’s hunting. He told me he’s often seen eagles,” said Max. “Wonderful, isn’t it? London seems a million miles away.”

“Don’t you miss it?”

“ London?” He thought for a moment before shaking his head. “No, not a bit. Odd, isn’t it? I’d forgotten how much I liked it here. Before, when I used to come out, I never really wanted to leave, and it’s the same now. It feels like home.” He grinned at her. “And I used to think I was a city boy.”

They found a spot where they could sit side by side looking south, their backs against a sun-warmed rock, and Max opened the wine and poured it into paper cups while Christie made primitive sandwiches. “So,” she said, passing him half a baguette bulging with slices of sausage, “are you going to stay?”

“I hope so. I don’t know that I’ll be able to, but I’d love to. It suits me down here-the lack of pressure, the little details of ordinary life, the chance to spend so much of the year out of doors; I even like the French-well, you know that…” He shrugged, contemplating the huge sandwich that he was holding with both hands. “We’ll see. How about you?”

Christie took her time to reply, and when she did there was an almost apologetic tone to her voice. “I’m not ready for that yet. There’s too much of the world I haven’t seen. You won’t believe this, but until a couple of years ago, I was one of the ninety percent of the American population that doesn’t have a passport. You know? We travel, but we stay at home. And I guess we miss a lot. London, Paris, Prague, Venice, Florence -you name it, I haven’t been there. I’d really like to see as much as I can while I’m over here.” She took a mouthful of wine and stared into her paper cup. “So I guess I’ll be moving along pretty soon.”

Half-dreading the answer, Max asked the question that had been on his mind almost from the moment Christie arrived. “So what do you think we should do about the house?”

“I’ve thought about it a lot. I guess you have too.” She put up a hand to stop Max from replying. “First of all, I didn’t come here for a house; I already have my mother’s old house, and that’s now worth about ten times what she paid for it. No, I came because I wanted to get away for a bit after breaking up with Bob-and, you know, to see if I had a long-lost dad. But I’m not ready to settle down yet, and certainly not in France.” She saw Max begin to smile. “I mean, it’s great, but it’s not for me. Perhaps it’s an acquired taste. In any case, your uncle wanted you to have the house. So you know what?” She raised her paper cup in a toast. “It’s all yours.” It was her turn to smile at the look on Max’s face. “Actually, it’s just a way of getting out of spending good money on that creep of a lawyer with his waggling eyebrows and his dirty mind. I mean, the nerve of the guy.”

Max cast his mind back to that afternoon in Aix-it seemed so long ago now-when they had been to see the lawyer, and the remark that had outraged Christie. Something about romance. “Don’t be too hard on him. The French always think that sex conquers all. Look at Madame Passepartout-she’s been trying to get us into the same bedroom from the moment you arrived, and it wasn’t to cut down on the laundry.” He fished a startled grasshopper out of his wine with his finger before taking another mouthful. “They don’t mean to be offensive, but it’s like a national sport. It’s in their genes.”

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