Mauro Larrea has become a self-made man in 1860s Mexico City by means of courage and brawny determination. Over decades, this native Spaniard has risen from silver miner to wealthy entrepreneur, owning a lavish colonial mansion, but thanks to an investment mishap involving a deceased gringo, he’s lost most of his fortune. If knowledge got out, it would not only ruin him personally but also disrupt his grown children’s social prospects. Now, at 47, he’s faced with starting over. Indebted to an unscrupulous moneylender, then traveling to Havana on an errand for a family friend, he gets caught up in a marital squabble, which leads, eventually, to his winning substantial properties in Andalusia—an abandoned house, vineyard, and winery—in a bold gamble. He travels to the small Spanish town of Jerez, at the heart of the sherry trade, hoping to quickly sell them to a new buyer. Then Soledad Claydon, the former owner’s cousin, makes her appearance.
The narrative is eventful, the translation is nimble and smooth, and each of the three settings is presented in abundant, skillfully realized detail. It’s also refreshing to see mature people in leading roles. However, what prevents The Vineyard from being an engrossing story from start to finish is that Mauro doesn’t demonstrate significant depth in the beginning, and the story is his alone for nearly half the book. The strong and intelligent yet vulnerable Soledad, a London wine merchant’s wife who insists on telling Mauro about her lost family legacy, is the novel’s real star. Through the pair’s interactions, many nuances get added to his character. Finding her company intoxicating, Mauro gets drawn deeply into the Montalvo family’s affairs, which conceal many secrets. As a romantic epic with a hint of mystery, The Vineyard works well, though it takes a while to hit its stride.