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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“He spends most of his time in Tengah. He owns the country, as you probably know, and finds it more agreeable to stay at home. Travel bores him.”

“Quite so, quite so. It has become very disagreeable. Well, I’m flattered that the reputation of our wine has traveled so far.” Fitzgerald had no precise idea of where Tengah was-somewhere in Indonesia, he thought-but it sounded distant. He scratched out the number on his pad and wrote down $100,000. “Fortunately, we do have a few cases left.” The tone of his voice lightened, as though he had suddenly been struck by a most unusually happy idea. “Perhaps I could suggest a tasting? A private tasting, naturally.”

“Naturally.” Charlie made rustling sounds with the paper on which he’d made his notes-the sounds of a busy man turning the pages of his diary. “I could be with you tomorrow, if that’s convenient. But let me say again that there must be no-how shall I put it?-talkative elements. The Sultan has an absolute horror of publicity.”

And that was that. After arranging the details, Charlie put down the phone and allowed himself a private jig of triumph around the sitting room before going out to find Christie and Max in the courtyard.

Charlie’s expression told all. “He fell for it,” said Max. “I knew he would. I knew he would. Charlie, you’re a hero.”

“I rather enjoyed it, actually. Didn’t take him long to suggest a private tasting. But I hope to God you’re right. What’s the penalty for criminal impersonation in France? No, don’t tell me. Anyway, it’s all set for three-thirty tomorrow afternoon in Bordeaux.” And then the smile left his face. “I hate to say this, but I’ve just thought of a snag. How are we going to know if it really is Roussel’s wine? I certainly wouldn’t be able to tell.”

Max grinned. “Leave it to me,” he said. “I’ve got a secret weapon.”

картинка 40

At Marignane airport early the following morning, a small group of passengers stood out from the usual clutter of briefcases and businessmen at the check-in desk for the Air France shuttle to Bordeaux: Christie and Max, in jeans and light jackets; Charlie in blazer, flannels, striped shirt, bow tie, and sunglasses; and, looking about him with an uneasy air, Roussel. But a formal Roussel this morning, dressed in the twenty-year-old black suit he had only previously worn at weddings and funerals.

In all his life, Roussel’s travels had never taken him farther than Marseille-a city which, being full of foreigners, he regarded with considerable suspicion-and this was to be his inaugural flight. At first, he had been reluctant to come; he was not anxious to take to the air, and there was also a good chance of an unpleasant confrontation in Bordeaux. But Max had explained the crucial part he would play, both now and in the future, and Roussel had done his best to conquer his misgivings. Even so, he stayed as close to Max as he could in these unfamiliar surroundings until the moment when they had to part company as Max passed alone through the security gate. Turning, he beckoned Roussel to follow.

Beep… beepbeepbeepbeepbeep. Roussel jumped, as if he’d been on the receiving end of a jolt of electricity. He was told to go back and try again; more beeps. The alarm on his face increased as he was taken off to one side, where a bored young woman swept his body with an electronic wand that came to rest with an agitated buzzing sound on his stomach. And there, tucked into his waistcoat pocket, was his old Opinel knife, a friend of many years and the peasant’s constant companion in the fields and at table. With a frown of deep disapproval, the young woman confiscated the knife, tossed it into a plastic bin, and attempted to wave him on his way.

Roussel’s alarm turned to outrage. He stood his ground. That was his property; he wanted it back. He turned to Max, waiting a few yards away, and jerked an accusing thumb at the young woman. “She has stolen my knife!” The other passengers waiting to go through security, curious and suddenly nervous, took a few steps backwards and watched as the young woman looked for the nearest armed guard.

Max came over and took Roussel by the arm. “Best not to argue with her,” he said. “I think she’s worried you might use it to slit the pilot’s throat.”

Ah bon? Why would I do that, being myself in the plane?”

With some difficulty, Max steered him away from the security area and up to the bar in the departure lounge, where a fuller explanation, a pastis, and the promise of another knife-a Laguiole, even-did something to restore Roussel’s good humor.

As the plane heaved itself off the runway, with the customary clamor and judder of machinery under extreme stress, Max noticed that Roussel’s hands were gripping the arms of his seat so tightly that his knuckles showed white through the tanned skin. And thus they remained throughout the short flight, despite Max’s efforts to convince him that the unnerving and totally unnatural experience of being thirty thousand feet above the ground in a tin tube was unlikely to end in death. It wasn’t until he had celebrated his survival with another pastis at the Bordeaux airport that the color returned to Roussel’s face. He got into the rental car a more relaxed man. This was a form of transport he understood.

During the drive to their hotel in Bordeaux, Max and Charlie once again went over the plan they had worked out. The afternoon’s tasting was to be for Charlie alone. He would be suitably impressed, and a price would be negotiated, subject to approval by his client, the Sultan. Because of the time difference, the call to Tengah couldn’t be made from Bordeaux until midnight, and so a second visit would have to be arranged for the following day to deliver a bank draft and finalize shipping details. At this point, Charlie would be joined by the others, Fitzgerald would be confronted by Roussel, justice would be done, and the police could be called in. Nothing to it.

“All you have to remember,” said Max, “is to make sure you come away with a sample this afternoon, so that Claude can taste it and compare it with the bottle he’s brought.” He glanced at Charlie. “You OK?”

Charlie nodded, but not with any great conviction. “I think so,” he said. “I just hope I can pull it off. It’s one thing to do it on the phone, but…”

“Of course you can,” said Max. “A master of disguise like you? I remember when you did Hamlet in the school play.”

Charlie frowned. “But I was playing Ophelia.”

Max didn’t miss a beat. “Well, there you are. Had me fooled. This should be a piece of cake after Ophelia.”

There was a giggle from Christie in the back seat. She leaned forward and squeezed Charlie’s shoulder. “You’ll be fine. You won’t even have to wear a wig.”

They were staying at the Claret, a businessman’s hotel Max had chosen from the Michelin guide for its appropriate name and for its convenient location just off the quai des Chartrons, a short walk from Fitzgerald’s tasting rooms. Stopping to drop off their bags and pick up a street map of Bordeaux, they walked along the quai and found a café overlooking the broad curve of the Garonne. There, over ham sandwiches and a carafe of wine, Charlie rehearsed his performance for Christie, his audience of one. Max and Roussel talked, their mood quietly optimistic, about the future-a future that largely depended on the events of the next few hours.

The time had come. They agreed to meet back at the hotel, and Charlie, map in hand, set off for the cours Xavier Arnozan.

It was Fitzgerald himself who opened the door in response to Charlie’s knock. “Enchanted to meet you, Mr. Willis,” he said as they shook hands. “I think you’ll be pleased to hear that I have given my secretary the afternoon off. We are entirely alone. I thought that would make you feel more comfortable.”

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