Soon, soon.
THE FRENCH PEASANT is an inventive man, and he hates waste. He is reluctant to discard anything, because he knows that one day the bald tractor tire, the chipped scythe, the broken hoe, and the transmission salvaged from the 1949 Renault van will serve him well and save him from disturbing the contents of that deep, dark pocket where he keeps his money.
The contraption that I found at the edge of the vineyard was a rusty monument to his ingenuity. A 100-liter oil drum had been sliced in half lengthwise and mounted on a framework of narrow-gauge iron piping. An old wheel, more oval than round, had been bolted onto the front. Two handles of unequal length protruded from the back. It was, so Faustin told me, a brouette àe vigneron—a wheelbarrow, custom built at minimal expense for the pruning season.
All the vines had now been stripped of their leaves by the autumn winds, and the tangled shoots looked like coiled clumps of brown barbed wire. Sometime before the sap started to rise next spring they would have to be cut back to the main stem. The clippings, or sarments, were of no agricultural use, too fibrous to rot into the ground during the winter, and too numerous to leave piled in the corridors between the vines where the tractors would pass. They would have to be gathered up and burned; hence the brouette de vigneron.
It was the simplest kind of mobile incinerator. A fire was lit in the bottom of the oil drum, the sarments were clipped and thrown on the fire, and the barrow was pushed along to the next vine. When the drum was full, the pale grey ash was scattered on the ground and the process began again. It was, in its primitive way, a model of efficiency.
Walking back to the house just before dusk, I saw a slim plume of blue smoke rising from the corner of the field where Faustin was pruning and burning. He straightened up and rubbed his back, and his hand felt cold and stiff when I shook it. He pointed along the rows of clipped vines, twisted claws black against the sandy soil.
“Nice and clean, eh? I like to see them nice and clean.” I asked him to leave some sarments for me to gather up to use on the barbecue next summer, and I remembered seeing them once in a shop which called itself a food boutique in New York—Genuine Vine Clippings, they were labeled, and they were guaranteed to impart That Authentic Barbecue Flavor. They had been trimmed to a standard length and neatly trussed with straw twine, and they cost two dollars for a small bunch. Faustin couldn’t believe it.
“People buy them?”
He looked at the vines again, estimating how many hundreds of dollars he had burned in the course of the day, and shook his head. Another cruel blow. He shrugged.
“C’est curieux.”
· · ·
OUR FRIEND, who lived deep in Côtes du Rhône country north of Vaison-la-Romaine, was to be honored by the winegrowers of his village and admitted to the Confrérie Saint-Vincent, the local equivalent of the Chevaliers du Tastevin. The investiture was to take place in the village hall, followed by dinner, followed by dancing. The wines would be strong and plentiful and the winegrowers and their wives would be out in force. Ties were to be worn. It was that kind of occasion.
Years before, we had been to another Chevaliers’ dinner, in Burgundy. Two hundred people in full evening dress, rigid with decorum at the start of the meal, had turned into a friendly mob singing Burgundian drinking songs by the time the main course was served. We had blurred but happy memories of watching the sozzled Chevaliers after dinner, trying to find and then to unlock their cars, with the amiable assistance of the Clos Vougeot police force. It had been our first experience of an evening formally dedicated to mass intoxication, and we had enjoyed it enormously. Any friend of the grape was a friend of ours.
The village hall was officially called the Salle des Fětes. It was a fairly recent construction, designed with a complete disregard for its medieval surroundings by the anonymous and overworked French architect whose mission in life is to give every village its own eyesore. This was a classic of the contemporary blockhouse school—a box of raw brick and aluminum-trimmed glass set in a garden of tarmac, devoid of charm but rich in neon light fittings.
We were greeted at the door by two substantial, rosy-faced men in white shirts, black trousers, and wide scarlet sashes. We told them we were guests of the new Confrère.
“Bieng, bieng. Allez-y.” Meaty hands patted us on the back and into the big room.
At one end was a raised platform, furnished with a long table and a microphone. Smaller tables, set for dinner, were placed down either side of the room and across the far end, leaving a large space in the middle which was packed with winegrowers and their friends.