We had another full house for our Friday Night Flight to South Africa, and we tasted some fantastic wines with real insight into the emerging Cape industry.
Australia, Argentina, Chile, and California, amongst others, preceded South Africa into the contemporary world marketplace for wine. Since 1990 when Nelson Mandela was released from prison, the ANC elected into government in 1994, and the apartheid regime dismantled, South Africa has been catching up rapidly. They have been upgrading their knowledge of vineyard management and vinification, investing in modern technology, matching international varietals to appropriate sites in the fantastically-beautiful South African countryside, and learning how to market their wines on world markets. There remain issues to be worked out with labour and participation of the black majority in the industry, but many producers are showing how progressive policies repay the effort.
South Africa will succeed as an exporter of good value/quality brands (of which Arabella is such a good example in our marketplace), international varietals with a distinctive South Africa accent, and distinctive South Africa flagship varietals Chenin Blanc and Pinotage.
Highlights of our tasting included a remarkably rich and complex Post House Chenin Blanc, Thelema Vineyards rich, earthy and meaty Shiraz, and the elegant Graceland Cabernet Sauvignon.
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I used to think that one of the really good reasons for being interested in wine is that it offers a delightful doorway into other countries’ cultures, literature, and art.
But with some of my Christmas money I purchased at McNally Robinson Cain Todd’s The Philosophy of Wine: a Case of Truth, Beauty and Intoxication (McGill-Queen’s UP), and it gets me thinking more about wine as an object of direct contemplation in its own right, and not just a medium for other interests.
His purpose is to defend the argument that a realist/objectivist aesthetic appreciation of wine is possible, against the generally relativist/subjectivist claim of other recent works that argue that wine is a lesser form of art than music, painting, and sculpture.
When we describe and evaluate (fine) wine, are we reporting on the actual materiality of the wine itself, or are we merely reporting on our own personal intellectual/emotional responses to it? Cain is not entirely persuasive, but his short book, written in language accessible to literate winos, is challenging and a welcome addition to the growing bibliography of works on philosophy, aesthetics, and wine.
Cheers,
The Professor