Before I offer my thoughts on Evan Dawson’s recently-released Summer in a Glass: The Coming of Age of Winemaking in the Finger Lakes, I need to make sure that you thoroughly understand that this is NOT a book review.
It’s not really a book review because as a personal friend of Evan, and a fan of his writing in general, and a member of the Palate Press ad network (which is currently running ads for Summer in a Glass, some of which appear right here on this site), I am very likely incapable of producing an unbiased review of his first book.
In fact, I’m quoted in the book as well, and, now that I think about it, about the only way I could be more firmly lodged like a NYC prostitute onto the tip of this book would be if I were somehow receiving a percentage of the advance (I’m not). So let’s just say that when I tell you that Summer in a Glass is not really a wine book, but is a humanist take on a local industry finally finding its mature footing, and just happens to be set in a wine region – and that it’s a total joy to read – I’m at least being subconsciously influenced into seeing the more positive gleams from the sheen coming off of its glossy cover.
What I can tell you without appearing like a total shill is that Summer in a Glass seems to be hitting the shelves at exactly the right time. I’ve written in the not-so-distant past that the NY Finger Lakes wine region seems to have hit its best stride ever in recent years, with the levels of experience, industry camaraderie and wine quality all headed up a steep curve simultaneously. If you want to settle into your fave reading chair with a book like Evan’s, there’s never been a better time than now to pour yourself a glass of Finger Lakes wine to accompany it – and that is NOT just Riesling, mind you; I include Finger Lakes reds in that group, as they are producing increasing amounts of high-quality reds like Cabernet Franc and Pinot Noir (let’s not forget that the 2008 Red Tail Ridge Pinot Noir made my list of 2010 Top 10 Most Interesting Wines, people)…
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“It’s not really very safe.”
Hearing those words, from winemaker Marcelo Retamal in a barrel area that is little more than a small warehouse on the Isla De Maipo estate of De Martino, surrounded by support beams that have been twisted and broken like so many toothpicks, and overshadowed by a ceiling that looks as though parts of it could drop on top of our heads at any moment without warning… well, let’s just say I was hoping that whatever gods dole out the karma points were forgiving me for my initial reaction of “Well… f*cking DUH!”
In California, I’d have had to sign a 37-page waiver just to look at this building, and here we were traipsing about inside of it without even wearing hardhats. But this dark-haired, olive-skinned, brown-eyed winemaking guy had me totally at ease despite the less-than-secure surroundings. Marcelo carries an almost ego-less assurance in his laid-back manner, no doubt a side effect of his fifteen-year tenure at De Martino (one of the longest stretches in the modern history of a country where most winemaking staff turnover is closer to 15 months than it is to 15 years).
De Martino’s current barrel aging area is, of course, a victim of the February 27, 2010 8.8-magnitude earthquake that in other regions of this long, thin country, had squashed enormous stainless steel tanks of wine as if they were empty beer cans at a college fraternity party. Our visit trails the devastating March 11, 2011 earthquake in Japan by only a few days, and the resilient Chileans feel a kinship to the Japanese quake victims that is mostly unspoken but still palpable whenever the topic of The Quake comes up (though it doesn’t take a shared disaster for one to feel the emotional impacts of the devastation near Tokyo: one report, which told of parents finding the bodies of a class of Ishinomaki kindergarteners huddled together after their school bus was engulfed in flames triggered by the recent earthquake’s resultant tsunami, had me privately shaken and withdrawn). Chileans are a forward-looking bunch, and are quick to talk about The Quake, a situation in almost polar opposition to the way that they seem to avoid direct talk about their political past, referencing it only in the abstract (Augusto Pinochet is never mentioned by name, sort of like how Hitler never ever comes up in conversations in Germany).
We’re not here to look at barrels or taste aging samples, though. We are here to look at Marcelo’s clay amphorae. The ones in which he (almost crazily) plans to ferment and age País (the grape of low-end boxed wines) from the cooler Itata region in the south, using carbonic maceration and adding as little sulfur as possible, burying them in the ground à la how they used to do things in the Jura in Spain…
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