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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Max continued to protest and Charlie continued to insist as one Calvados led to another. Unnoticed by them as they talked, the restaurant had become empty and quiet. Standing nearby, Calvados bottle at the ready, the sommelier concealed a yawn and longed for a cigarette. The sound of laughter came from the kitchen, and the waiters started stripping the cloths from the tables. The lovely Monica, now dressed in black leather and carrying a crash helmet, stopped at the table to pat Charlie on the head and wish the two friends good night.

At last, Max gave in, folding the check and putting it away with fuddled fingers. Then, with even more difficulty, he wrote out an IOU for ten thousand pounds on his napkin and stuffed it into Charlie’s top pocket.

Three

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Standing in the shower after his morning run, hot water beating down on a skull tenderized by alcohol, Max reviewed the changes that had occurred during the past twenty-four hours, and found them all good. Lucky, lucky bastard, he thought while he was getting dressed, and caught himself whistling the “Marseillaise” as he walked up to Knightsbridge for a cup of coffee.

The day was gray but dry, and he sat at one of the tables that had been placed on the pavement as part of London ’s effort, at least for the summer, to imitate the cafés of Paris. Around him, people were muttering into their cell phones, shuffling documents, and consulting their watches before going off to work. He felt an almost guilty thrill of pleasure that he was no longer one of them. All he had to do today was cash Charlie’s check, make an appointment with the notaire, and book his ticket.

The notaire first. It was eight-thirty in England, nine-thirty in France; the office should be open. He took out the letter from the Cabinet Auzet, now dappled with traces of Calvados, and smoothed it on the table, preparing himself for the ordeal of his first French conversation in years. It was just like riding a bicycle, he told himself as he fed the number into his phone. Once learned, never forgotten. Even so, he had a moment of hesitation when he heard a tinny female voice, blurred by static, utter a grudging “Allo?” In the French manner, she made it sound as if the call had come at a particularly inconvenient moment.

The voice, which identified itself as belonging to the secretary of Maître Auzet, lost some of its chill when Max explained that he was the nephew of Henry Skinner, and the inheritor of his property. After a number of pauses to allow for consultations with what Max assumed was the maître himself, an appointment was made for the following afternoon. He finished his coffee and went in search of a travel agent.

“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.”

Max had developed a deep aversion to all airlines ever since one of them had lost his suitcase and wrongly accused him of having it improperly labeled. It had been returned some days later having been run over, still bearing marks of the tire that had flattened it. There had been neither apology nor reimbursement. If he hadn’t been so impatient to get to Provence, he’d have taken the train.

As it turned out, all direct flights were full anyway, and he had to settle for a short hop to Paris and a connection that would get him into Marseille around lunchtime. The ticket safely in his pocket, he stopped off at his bank, then spent the rest of the day dealing with domestic chores in preparation for what he was beginning to feel might be a prolonged absence from England.

That evening, packed and ready, he poured himself the last of the vodka and looked through his window at the gloom that had gathered to obscure any glimpse of a sunset. The sense of anticipation and excitement that had been with him all day intensified. Tomorrow he would see the sun and sleep in a foreign bed, perhaps his own foreign bed if there weren’t any problems taking possession of the house. Feeling slightly lightheaded at the possibility of a new life, he changed the message on his answering machine: “I’ve gone to France. Back in six months. Perhaps.”

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Heathrow was as depressing and congested as ever, and the weather in Paris was overcast. It wasn’t until the Air France navette was south of Saint-Etienne that the sky cleared and Max could see mile after cloudless mile of postcard-blue sky. And then, as he walked out of Marignane airport to the car rental area, there was the glorious shock of heat. Taxi drivers in short sleeves and sunglasses loitered in the shade by their cars, eyeing the girls in their summer dresses. A light breeze carried a whiff of diesel, an evocative whiff that Max always associated with France, and every wrinkle of the limestone cliffs behind the airport was crisp and well defined in the brilliant clarity of the light. Artists’ light. His London clothes felt heavy and drab.

Driving in his baby Renault toward the Luberon, the scenery was at the same time fresh and yet familiar, reminding Max of the times when Uncle Henry had picked him up at the start of his summer visits. 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.

Thoughts of amour were pushed aside by an increasingly pressing need to relieve himself. Max pulled off the road, parked next to a dusty white Peugeot, and sought the comfort of a bush. He found the Peugeot’s driver already installed, and they nodded to one another, two men with the same urgent mission.

After a while, Max broke the silence. “Nice day,” he said. “Wonderful sunshine.”

“C’est normal.”

“Not where I come from.”

The man shrugged, zipped, lit a cigarette, and nodded once again before going back to his car, leaving Max to reflect on the insouciant French attitude to bodily functions. He couldn’t imagine the same episode taking place on the Kingston bypass back in England, where such activities-if carried out at all-would be conducted in an atmosphere of furtive embarrassment, with many a contorted and guilty glance over the shoulder, in dread of a passing police car and subsequent arrest for indecent exposure.

He took the bridge across the Durance, once a river, now shrunk by the early-summer drought to little more than a muddy stream, and entered the département of the Vaucluse. The Luberon was directly ahead-a series of low, rounded humps, softened by a coating of perennially green scrub oak, a cosy, photogenic range that had been disparagingly described as designer mountains. It was true that they were pretty from a distance. But, as Max remembered from boyhood explorations, the slopes were steeper and higher than they appeared, the rocks beneath the scrub oak were as sharp as coral, and the going was hard.

Turning off the main road, he followed the signs to Saint-Pons, and wondered if it had changed much in the years since he last saw it. He guessed not. It was on the wrong side of the Luberon to be considered chic, and, unlike the high-fashion villages-Gordes, Ménerbes, Bonnieux, Roussillon, Lacoste-Saint-Pons couldn’t claim the distinction of being a village perché, having been built on the plain and not on the top of a hill. Perhaps the lack of altitude had affected the disposition of the inhabitants, because the Saint-Ponnois were known in the region to be more friendly and hospitable than their neighbors to the north who spent their lives perched on crags, and who, several centuries ago, had spent many years at war with one another.

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