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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“Well?” said Charlie. “What do you think?” He had come out of the front door and was standing in the courtyard, arms spread wide, waiting for comments. His hair was still wet from the shower, brushed straight back, and he was wearing a short-sleeved shirt, decorated with bright green marijuana plants, outside a pair of white cotton trousers. “I picked this up last year in Martinique,” he said, smoothing down the collar, “from a guy on the beach. It’s called a spliff shirt. Très cool, he said-at least, I think that’s what he said.”

“Cool’s the word, Charlie,” said Max. “No doubt about it. And you can roll it up and smoke it, too. What a shirt.”

Max returned his attentions to the bottle, twisting off the wire around the neck and easing the cork up a fraction. Keeping his hand over it, he could feel it pressing up against his palm, almost as though it were alive and trying to escape. Little by little, he allowed it to push upward, until it came out of the bottle with no more than a muffled, bubbly sigh.

Charlie had been watching, nodding with approval. “That’s the way to do it,” he said. “I can’t stand people who wave the bottle around and pop the cork like a bloody Scud missile. Terrible waste of champagne. What have you got there, anyway?”

Max pulled the beaded bottle from the bucket. “An ’83 Krug. I found it hidden away in a corner-Uncle Henry must have forgotten about it.”

“Good for him.” Max poured the wine, releasing its delicate, slightly toasty bouquet. Charlie inhaled deeply, with closed eyes, then held the glass up to his ear. “It’s the only wine in the world you can hear,” he said. “The music of the grape. Cheers.”

They sipped for a moment in silence, the rush of bubbles prickling their tongues. “Seriously,” said Charlie, “you think the shirt’s OK? Nonchalant but not too loud-that’s what we’re after. Casual elegance, Cary Grant on his day off, that sort of thing.”

Max nodded toward the front door. “Here’s your date. Ask her.”

Christie was wearing the same black dress-pressed to perfection by Madame Passepartout-that she had worn to the Roussel dinner, and the same exhilarating scarlet high heels, this time with matching scarlet toenails peeping through the cutout at the front of each shoe. Charlie let out a long, appreciative whistle.

Christie bobbed her head in acknowledgment. “Like the shirt, Charlie,” she said. “Very cool.”

Max handed her a glass of champagne. “A toast,” he said. “Here’s to the man who made this possible: Uncle Henry, God bless him.” Their glasses raised, the three of them looked at one other-smiling, each with private and delightful expectations of the evening to come.

The level in the bottle and the setting sun dropped at an approximately equal pace, and it was dusk-a soft and rosy dusk-by the time the three of them reached the village. The square was crowded, a cheerful hum of greeting and conversation mingling with the music coming from the loudspeakers. Extra tables had been set out on the café terrace, and the accordion band, four impressively mustached gentlemen in their best black trousers, embroidered waistcoats, and white shirts, were drinking a pre-performance pastis. Children chased each other around, and sometimes through, the forest of adult legs. Dogs loitered, more in hope than expectation, beside the long open barbecue where a méchoui of spit-roasted lamb and merguez sausages the color of dried blood were sizzling above the coals, watched over by the chef from Chez Fanny.

Max made his way through the crowd to the makeshift bar where Fanny herself, protected from collarbone to knee by a demure apron, was pouring glasses of the vin d’honneur with a liberal hand. “This is a bit of a change for you,” he said, pointing to the apron.

Without speaking, Fanny performed a slow turn and looked at him over one shoulder, her eyebrows raised. Beneath the apron was an almost backless wisp of lavender-colored silk, with little more than a suggestion of a skirt below. “Better?” she said.

Max swallowed hard and ordered three glasses of wine. “I hope you’re not going to be stuck behind the bar all evening,” he said. “A girl’s got to eat. Can I save you a place?”

“Eh, Fanny! The drinks are flowing like glue.” Guichard the postman and his wife, both heavily scented, had pushed up to the bar and were panting for refreshment. “ Bonsoir, Monsieur Skinner. Are we going to see an Englishman dance tonight?”

Max picked up the glasses and went off, encouraged by a parting wink from Fanny, to find Christie and Charlie, who had been watching him from a table in front of the café.

“What’s so funny?” Max said, looking from one smirking face to the other.

“Nothing,” said Charlie. “Nothing at all.”

“They’ve been circling each other for days,” said Christie. “You should watch out, Max. I think she’s decided to go for it tonight.”

“You two,” said Max, shaking his head. “Vulgar speculation. I was merely being polite to a charming young lady who, I might say…”

“… is wearing a dress the size of a handkerchief,” Charlie added. “I think Christie’s right.”

They sipped their wine-which Charlie pronounced to be young and playful, but essentially good-hearted-while they watched the parade passing in front of them. The evening had attracted people from surrounding villages as well as some other, more distant foreigners: Germans the color of polished mahogany, their speech sounding harsh and guttural against the background of softer, more mellifluous French; the American cyclists they had seen in the market, now dressed like wealthy teenagers in that particular kind of cotton that never seems to wrinkle, with silver-tipped belts, pristine pneumatic sneakers, and, of course, baseball caps with sporting or military motifs; a group of Gypsies, lean and swarthy and all in black, slithering through the crowd like sharks among a shoal of tropical fish; a sprinkling of Parisians, pastel cashmere sweaters draped over their shoulders to ward off the eighty-degree evening chill. But, as Christie remarked, there didn’t seem to be any English.

“Ah,” said Max, with the knowledgeable air of an old local inhabitant of ten days’ standing, “they’re mostly on the other side of the Luberon-Gordes, Ménerbes, Bonnieux, the golden triangle. I’m told it’s a lot more social over there than it is here, soirées every soir. Right up your street actually, Charlie. Apparently they love talking about property prices.”

A few tables away, the accordion band, fortified by a final pastis, had gathered up their instruments and were now filing onto the stage. The rap singer being broadcast over the loudspeakers was cut off in mid-expletive, and the space in front of the stage began to clear. Over behind the bar, Fanny had removed her apron and was slipping it over the head of the relief bartender, an ancient, diminutive man who stood motionless, hypnotized by the proximity of the décolleté being presented to him at nose level.

Charlie gave Max a nudge. “Better get in quick before young Lochinvar over there asks her to dance,” he said as he and Christie stood up. “We’ll go and find a table.”

But getting Fanny to the table was a slow, convivial process, marked by frequent stops while she embraced friends and clients of the restaurant, watched by wary and sometimes not wholly approving wifely eyes. Fanny in the restaurant, taken up with all her duties, was somehow safe-charming and highly decorative, but safe. Fanny freed from her professional responsibilities, in a dress that could make even the best behaved husband think of a weekend in Paris, was not a sight any wife would welcome, especially during an evening of wine, music, and dancing. Max felt he had done well to cover the distance between bar and table-no more than fifty yards-in ten minutes.

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