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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“Most kind, most kind.” Charlie nodded his thanks with a faint smile, and followed Fitzgerald down the corridor to the tasting room. The sound of a Bach fugue came softly from concealed speakers. Bottles, glasses, and silver candlesticks were arranged along the gleaming length of the mahogany table, a burnished copper crachoir at one end next to a tasteful arrangement of white linen napkins laid out in the form of a fan. It was the church of Bacchus, a shrine to wine. Charlie half-expected a priest to pop out of the woodwork and give his blessing to the proceedings.

Fitzgerald took a slim crocodile case from his pocket, and passed Charlie a business card. He waited, clearly expecting a card in return.

Charlie had anticipated just such a moment. He aimed the two black barrels of his sunglasses at the other man, shaking his head slowly. “My client sometimes carries discretion to the point of secrecy, Mr. Fitzgerald. He prefers that I don’t advertise myself, and so I don’t carry business cards. I’m sure you understand.”

“Indeed,” said Fitzgerald. “Forgive me. And now, if you feel ready…” He extended an immaculate tweed-clad arm toward the table, inclining his head as he did so.

Charlie had an awful twinge of doubt. If this was a scam, it was a beautifully presented scam, and Fitzgerald-every aristocratic inch of him-appeared to be the genuine Bordeaux article. It was hard to imagine that he was a crook. And then Charlie had a mental image of some of his acquaintances in the top end of the London property business: charming, well educated, well tailored, glib-and more than capable of evicting their grandmothers in order to make a sale; villains to a man. Encouraged by this thought, he removed his sunglasses with a flourish and advanced toward the table as the fugue reached its plaintive conclusion and the room fell silent.

“If I may make a suggestion,” said Fitzgerald, “we might start with the ’99 before going on to the 2000-which I have to say is my personal favorite.” He poured wine into two glasses, and passed one to Charlie.

Hours of practice-at his wine-tasting course, and during a final rehearsal the previous evening, in front of the bathroom mirror-had prepared Charlie for the all-important niceties of this all-important ritual. Holding the glass by its base, between fingers and thumb, he presented it to the light of the candle’s flame, his eyes narrowed in what he hoped looked like knowledgeable concentration.

“As you see,” said Fitzgerald, “the robe is particularly fine, somewhere between…”

Charlie held up a hand. “Please. I need complete silence.” He began to swirl the wine with a gentle circular motion of the glass, his head tilted to one side. And then, judging the bouquet to be sufficiently developed, he buried his nose in the glass, with graceful little waves of his free hand-a rather pretentious refinement he’d picked up in his course-to direct the fragrant air toward his cocked and waiting nostrils. He inhaled, looked up to commune with the ceiling, bent his head to inhale again, and issued a quiet hum of approval.

Raising the glass to his lips, he took some wine and held it in his mouth for several seconds before going through what he always thought of as the sound effects: he sucked in air; his cheeks went in and out like bellows; he chewed; he swilled; and, finally, he spat. In the silence of the room, the sound of wine hitting the copper bottom of the crachoir seemed unnaturally loud, almost shocking.

Fitzgerald waited, his eyebrows raised like two question marks.

“Excellent, quite excellent,” said Charlie. He decided to risk a compliment. “I am reminded of Petrus, but a more muscular Petrus. And yet you say you prefer the 2000?”

The half smile on Fitzgerald’s face grew broader. “You are kind enough to flatter me. But with the 2000, I think you will be surprised, even étonné. Permit me.” He took Charlie’s glass, and replaced it with another, this one containing wine from the 2000 vintage. Once again, Charlie went slowly and deliberately through the tasting ritual while Fitzgerald watched like a cat that was one short jump away from the mouse.

Again the echoing splash of liquid on copper. “Remarkable,” said Charlie, dabbing his lips with a linen napkin. “My congratulations, Mr. Fitzgerald. This is a Bordeaux unlike any others I have ever tasted. A triumph.”

Fitzgerald allowed himself a modest shrug. “We do the best we can,” he said. “Organic fertilizer, of course, and the grapes are picked by hand avec tri -as you know, that’s to guarantee the état sanitaire.

What the hell was that? Charlie nodded wisely. “Good, good.”

“And the vinification is always avec pigeage, as we say. Just as my grandfather used to do. Sometimes, the old ways are the best.”

What the hell was pigeage ? Nobody had told him about that in the wine course. It sounded complicated and vaguely unhygienic. “One can always tell,” said Charlie. “God is in the details”-he inclined his head to Fitzgerald-“as we say. Now then. Perhaps we could move on to the more squalid financial details; for the 2000, I think. You’re quite right. It has just that little more complexity, a longer finish, more-how shall I put it?-gravitas. And I’m sure such excellence has its price.”

Fitzgerald, with only the faintest shrug of apology, said: “One hundred thousand dollars a case.” He smiled. “That would include delivery to anywhere in the world.”

Charlie recovered sufficiently to wave aside such a minor matter. “As far as delivery goes, I’m sure the Sultan would want to send one of his planes. He considers the security in commercial airlines far too lax for valuable shipments.” He consulted the ceiling again, deep in thought, before speaking. This time, his tone was brisk and businesslike. “Very well. I intend to recommend that my client take a position with this wine. Let me see now. Would ten cases be possible?”

“You would be stripping our cellar, Mr. Willis.” Fitzgerald did his best to appear reluctant, a man loath to part with his treasures. “But yes, we can just manage ten cases.”

“Splendid.” Charlie looked at his watch. “The time difference is nine hours, which is a little inconvenient, I’m afraid. I won’t be able to place the call until quite late tonight. However, I can use the rest of the afternoon to arrange a bank draft. Credit Suisse is acceptable, I would imagine?”

Indeed it was. Fitzgerald’s thoughts were already turning to the silver Lamborghini he had coveted for many years.

“Shall we meet here again at ten o’clock tomorrow morning?” said Charlie. Putting on his sunglasses, he stopped on his way to the door. “Oh, there is one small service you could do for me.”

By this point, Fitzgerald would happily have stood on his head stark naked and whistled the “Marseillaise” if that had been required. “If it is in my power, I should be delighted.”

“Do you think I might take that opened bottle of the 2000 with me? I’d like to have the taste fresh in my mouth when I make the call tonight. It would give an extra je ne sais qui to my recommendation.”

“Quoi,” said Fitzgerald, unable to resist correcting the foreigner adrift in his language. “By all means. Let me find you a cork.”

Closing the front door behind Charlie, Fitzgerald went back to the tasting room, poured himself a glass of wine, and sat down to better enjoy the prospect of tomorrow’s million-dollar check. Maybe he should start thinking about a bigger apartment in New York, and a bigger boat in the Bahamas. He took a sip of wine. It really was very good; almost as good as he said it was.

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Charlie collapsed in the first bar he came to and ordered a large brandy, high and lightheaded with elation. Even though he’d been acting the part, he had the giddy feeling that he had indeed just committed a million dollars of someone else’s money to buy one hundred and twenty bottles of wine. Superb wine, without any question; but was it Roussel’s wine? He gazed at the bottle Fitzgerald had given to him, worked out its approximate price, and marveled that anyone would pay so much for it. The emperor’s new clothes came to mind again.

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