“It seems possible that what we “taste” in a fine wine isn’t so much its flavor as the qualities of good taste that we hope it will impart to us.” In the New Yorker, Bianca Bosker on the obfuscation that has come to define how we talk about wine and whether there’s another, better way.
Recently, Jamie Goode was struggling with the same issue, asking, “Tasting notes are really bad, aren’t they?”
The vineyards of Piedmont in northwestern Italy are home to some of the country’s most individual and charismatic wines, and according to Will Lyons in the Wall Street Journal, “Piedmont is the New Burgundy.”
In the New York Times, Eric Asimov offers notes on the most recent Wine School, Santorini Assyrtiko, and announces what’s up for next month: White Bordeaux.
In Food & Wine, an open letter from winemaker Sean Thackrey about the low alcohol “fad.”
In Decanter, Jane Anson gets a rare glimpse of vast underground caverns on the outskirts of Paris, where a disused chalk quarry has emerged as a communal wine cellar for collectors across the French capital.
Quality in wine is a difficult concept to communicate without an elaborate philosophical discussion—what does it actually mean? In the World of Fine Wine, Francis Percival hypothesizes.
In Wine Enthusiast, Kerin O’Keefe offers advice on the right time to drink age-worthy Italian reds.
And in case you’re melting like I am, Wine Folly has a few wine cocktail recipes for summer.