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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They arrived at the house in the cours Xavier Arnozan as the tolling of a distant bell marked ten o’clock. Charlie squared his shoulders, adjusted his bow tie, and knocked on the door. The sound of footsteps could be heard coming down the corridor, and the door was opened to reveal a young man in a dark suit, stocky and impassive.

“I have an appointment with Mr. Fitzgerald.” Charlie’s voice sounded firm and confident, despite his surprise.

The young man neither smiled nor spoke, but stood back to let them in before leading them down the corridor and into the tasting room.

The long mahogany table was bare except for an ashtray. A chair behind the table was occupied by an older man with a long, bony jaw and his hair cut en brosse. Like the young man, he too was wearing a dark suit. As they watched him select and light a cigarette with studied deliberation, they heard footsteps behind them, and turned to see two uniformed policemen taking up their positions on either side of the door. The man behind the desk frowned, and spoke for the first time. “You two can wait outside,” he said to the policemen, with a flick of his finger, “and close the door.”

“Where is Mr. Fitzgerald?” Charlie made a brave attempt to bluster. “This is most irregular.”

The man behind the table held up a hand. “Who among you speaks French?” Max and Roussel nodded. “Good. You can translate for your colleagues. My name is Lambert. Inspector Lambert.” He left his chair and came round to perch on the corner of the table, squinting at them through the smoke from his cigarette. “Word reached us yesterday of your… activities, and I must tell you that here in Bordeaux we are not amused by this kind of adventure. To misrepresent the good name of our wines, to attempt this despicable substitution, to profit from fraud and breach of trust-these are crimes of a most serious nature, and the penalties are extremely severe.” He ground out his cigarette in the ashtray and went back to sit behind the table. Looking up at the row of frozen faces in front of him, he nodded and said again, “Extremely severe.”

“Putaing,” said Roussel.

“Bloody hell,” said Charlie, who had understood the gist if not the detail of Lambert’s remarks.

“I can explain everything,” said Max.

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“Thank God you called when you did,” said Fitzgerald. “You know, I was sure he was genuine: he did all the right things, said all the right things. And an order like that, on the other side of the world, well away from France -it was perfect. Although I suppose I should have smelt a rat when he didn’t even try to negotiate on the price. But we can all make a mistake.” He shrugged, and his face brightened. “Fortunately, it wasn’t fatal-thanks to you, my dear. Have some champagne and tell me again what made you suspicious. Our last conversation was a little rushed.”

Their table overlooked the enclosed garden of the Hotel Bristol, green and refreshingly cool in the heat wave that had turned Paris into an oven. Nathalie Auzet sipped her wine before replying. “Mostly luck. As you know, I had to talk to Roussel about this year’s shipment, and when I found out he’d gone away, I thought it was odd. He hates to travel; I’ve never known him to spend a night away from home. And his wife wouldn’t give me a number where I could reach him. So I went to see Skinner, and nobody was at the house apart from that nosy old boot of a housekeeper. That’s when I called you, and when you told me you’d just had a private tasting for an Englishman…” She stared into her glass, and shook her head. “It’s such a pity Roussel lost his nerve and had an attack of honesty. It was a wonderful scheme.”

Fitzgerald leaned across to touch her hand. “Never mind. It served us very well. Enough, more than enough, to set you up in California, and me in New York. What a convenient country America is if you want to disappear. And we’ll be there by this time tomorrow.” He turned to the third person at the table, a man with a long, bony jaw and his hair cut en brosse. “How about you, Philippe? Did you enjoy pretending to be a flic ?”

A smile softened the angles of the man’s face. “Easy work,” he said, “and the pay’s good.” The wad of hundred-euro notes Fitzgerald had given him was so thick he had had to divide it between two pockets. “It’s funny. Once they saw the boys in those uniforms, they didn’t ask for any proof of identity. I suppose you believe what you see.”

“What you think you see, Philippe,” said Fitzgerald, “what you think you see. Very much like wine. Tell me, how did you leave it with them?”

“Skinner and Roussel put up quite a good case, I have to say. A court would probably let them off with a slap on the wrist and a fine. But I don’t think they’ll cause any trouble. I told them we would be launching a full-scale investigation into this so-called Monsieur Fitzgerald and his wine dealings, and that we’d be in touch. I let them think they might avoid prosecution if they behaved themselves and cooperated when the time came. My guess is that they’ll keep their heads down for the next six months and hope for the best.”

Chapeau, Philippe. You did very well. And now I think we deserve to indulge ourselves.” Fitzgerald barely had time to raise his hand before there was a flurry of waiters at his shoulder. “The foie gras here is superb. And I believe they may let us have a glass or two of Yquem to go with it.”

Twenty

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It wasn’t long before Max began to suspect that he’d been had. The first, most glaring clue was the overnight disappearance of Maître Auzet, which was to be the subject of fascinated speculation in the village for months, possibly years, to come. She had left no forwarding address at the post office, which the village took as a sure sign of irregular or possibly criminal behavior. Had she run off with a lover? Or was there-a thought always accompanied by a morbid but delicious shiver-something more sinister? A crime passionnel that would account for her empty office and shuttered house? Rumor was rampant-she had been spotted in Marseille, a light had been seen in her house, she had absconded with clients’ funds, she had forsaken this wicked world and joined the Sisters of Mercy. There was a fresh story every day. As one of the old men in the café said, it was better than anything on television.

Max and Roussel, for obvious reasons, kept their theories to themselves, hoping that in the way of these things, interest would fade. Eventually, they told one another, the case of the missing notaire would become just one of many unexplained incidents in the nine-hundred-year history of Saint-Pons.

Max discovered another disappearing piece in the puzzle when he tried to contact Fitzgerald in Bordeaux, only to find that his phone number had been discontinued. But what finally confirmed the deception was another call, this one made at the urging of Roussel.

Because he was a principal in the original scheme-even, it could be argued by the state prosecutor, the instigator-Roussel was an extremely worried man. Again and again he turned over in his mind the penalties he might face if the authorities chose to enforce them: back taxes (with copious interest) on the money he had made, fines for not declaring that income, bankruptcy, possible imprisonment, his family destitute, his life in ruins. During the days that followed the events in Bordeaux, one could almost see the black cloud over his head as he went through the motions of tending the vines. He lost his appetite, hardly spoke to his wife, snapped at his dog. At last, when he could bear it no longer, he persuaded Max to contact the Bordeaux police; knowing the worst, he felt, would somehow be better than fearing it.

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