Jonathan Nossiter had his first taste of wine at the age of three in Paris, from his father's finger. For him, wine is 'memory in its most liquid and dynamic form,' as essential an expression of culture as film, books or painting. From the wine shops and three-star restaurants of Paris to the biodynamic vineyards of Burgundy, from the hipster ...
Jonathan Nossiter had his first taste of wine at the age of three in Paris, from his father's finger. For him, wine is 'memory in its most liquid and dynamic form,' as essential an expression of culture as film, books or painting. From the wine shops and three-star restaurants of Paris to the biodynamic vineyards of Burgundy, from the hipster bistros of New York to film locations in Rio de Janeiro and Athens, Liquid Memory investigates the infinite mysteries of terroir, the historical sense of place that makes wine a living, expression of cultural identity that can stretch back centuries. It is also a joyful master class in locating the soul of a wine, and in learning to trust your own palate and desires.
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Publishers Weekly, 2009-07-20 Nossiter made the wine world documentary Mondovino, and his first impassioned, personal book is a discursion into the slippery relationships between wine, taste, power and memory. The author is particularly eager to take on the vinicultural powers that be. Drawing on lifelong personal and professional experience with these ideas, the author travels to Paris and Burgundy, from small wine shops to a multinational, franchised wine emporium, through restaurants of varying reputation and public regard, and finally onto a tour of Burgundian vignerons. The entire time, Nossiter debates constantly with various professionals about such matters as consumption-driven culture, contemporary wine criticism and the importance of place-also known as terroir-not just in wine but in culture generally. There are amusing scenes with such notables as Michelin-starred chef Alain Senderens and deft comparisons, such as the equation of a critic like Robert Parker to another "decider," Dubya himself. The quixotic approach, with such frequent tactics as film comparisons, meets with mixed success, at regular risk of losing the reader. It's a book equally intriguing and irritating, and one feels that the author wants it that way. (Oct.) Copyright 2009 Reed Business Information.
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