A Defense of Wine Writing
Two friends, Meg Maker and Terry Theise, share their frustrations about the state of wine writing today. They believe that wine, an object (or "being," as Theise prefers) of beauty, deserves to be written about in a manner that is both persuasive and exquisite. While it can be tiresome to critique other writers, they feel it is essential to engage in a meaningful dialogue about wine writing as a genre.
During their conversations, they ponder the question, “Why write about wine?” They arrive at several points that reflect their shared conviction. Wine represents a sensual experience that merits exploration, the stories of those who create and consume it are significant, and the attempt to articulate these experiences through writing can transcend the limitations of language. They argue for a more profound engagement with wine, one that allows for personal narratives rather than mere technical descriptions.
Theise emphasizes that any engagement with wine should be seen as a conversation between the wine and the person experiencing it; wine should be regarded as an equal entity, deserving of attention to its story. Maker agrees and stresses that the quality of wine writing should reflect a deeper understanding of the cultural practices and personal connections surrounding wine.
In their exchange, they also critique the oversimplification and rigid frameworks often applied in wine discussions, such as those dictated by the Wine & Spirit Education Trust (WSET). They argue that the current lexicon of tasting notes can be stifling and misleading, effectively reducing the richness of personal experiences to mere checklists of descriptors. This approach risks alienating those who are not already well-versed in the intricacies of wine.
Both Maker and Theise reflect on their experiences as wine writers, highlighting the challenge of tasting numerous wines in quick succession while attempting to deliver insightful notes. They caution against the pitfalls of tasting fatigue and the inherent subjectivity that must be embraced when crafting tasting descriptions. They advocate for a more personal approach, where writers communicate their individual experiences rather than striving for an unattainable objectivity.
Their dialogue reveals a desire to shift the tone of wine writing toward a more approachably literary format, seeking to engage readers who may not identify as wine enthusiasts. They emphasize the importance of storytelling and the human element behind each bottle, suggesting that wine, being fundamentally a craft meant for enjoyment, should ultimately bring people together rather than create barriers of exclusivity.
For them, great wines offer moments of profound connection and understanding, which are best conveyed through narrative engagement rather than technical lexicon. Through their reflections, Maker and Theise aim to inspire a new generation of wine writers to celebrate the art of wine writing as both an exploration of flavor and a meaningful avenue for storytelling.
In this light, they conclude that wine writing should inspire, connect, and invite curiosity, making the world of wine more accessible and enjoyable for all.