(This is long, and rendered longer by a narrow blog column. If you prefer something a little wider, try this.)
It seems self-evident that some measure of independence is crucial for any critic. Exists there anyone who would trust an employee of a firm to objectively review the products or practices of that firm? The same is also true of the writer, whose narrative musings must be recontextualized if they have a foundation that is not principally internal.
However, independence is very much a matter of degree, and it can be successfully argued that true independence is unachievable if one’s goal is informed, effective writing. Just as complete objectivity is a myth, so too is the notion of the unencumbered and unentangled critic.
What is independence?
Independence, in the context of wine writing, is freedom from encumbrance and entanglement with the subject of said writing. There is also the corollary implication of independence of action; the independent writer is not bound by restrictions on their work from any source, including parties unrelated to the subject. An independent writer is free to inquire, free to explore, free to opine and free to express, all without restriction.
One can immediately see many of the great problems inherent in this definition. But first, it might be valuable to examine the myriad ways in which a writer can be non-independent; a state which I will hereafter label “dependent.”
Forms of dependence
economic
This goes beyond the most obvious case, that of a writer employed by a wine-related firm being asked to review the products of that firm. That is a situation that few would trust, and though it is a frequent component of marketing materials, it is fairly rare among actual wine writers. But economic entanglements come in many forms: partners, investors, financial relationships not specific to the product in question, subsidiary relationships (for example, an employee of a winery’s public relations firm, or their dentist), etc. Those writers who are employed by wine producers and related businesses usually avoid this conflict on a situational basis, simply avoiding their own products in their work. When it is clear that a writer is employed by, or otherwise economically entangled with, a product about which they’re writing, it is almost always a safe assumption that their work is either pure marketing, or must at least be viewed with a most suspicious eye.
Of course, merely avoiding the products of the entity that signs one’s checks isn’t necessarily enough. For example, can a producer of a product successfully review competing products? Is it fair for them to do so? Many would argue that it is not. But what is the definition of a competing product? Must a producer of Oregon pinot noir avoid just their own products, other Oregon pinot noirs, all Oregon wines, or all the world’s pinot noirs? (This example, as many will understand, is not selected by accident; one high-profile critic is a partner in a successful Oregon pinot noir producer, and he or his newsletter employees review all of the aforementioned categories of wine. His choice is to never review, and rarely mention, the winery with which he has a relationship; a restriction he extends to his employees. One can question this decision, but the solution appears to be acceptable to the majority of his readers.) It is fairly easy to argue that a competitor should not review the products with which they are in competition, but what is far less easy is defining what is and isn’t in actual competition. By one admittedly expansive definition, all wine would fall under this heading, thus making it impossible for anyone involved in the production, transfer or sales of wine to write on the subject. But this absolutely flies in the face of sense, especially with the goal of informed criticism in mind; these entities are often the most informed sources around. Why unnecessarily restrict their ability to share their knowledge? That is, to borrow an analogy, destroying the village in order to save it. Obviously, another solution must be found.
The problem, as indicated, comes when one attempts to draw bright lines. Is it OK to sell wine, but also write about it? Is the necessary limitation there that the writer not mention their own products? Is the writer then prevented from deciding to sell a wine that they loved and wrote about, just to preserve the appearance of independence? Or consider a producer of a wine-related product (let’s say a synthetic cork) who also writes? Are wineries who employ that cork off the menu? How about wineries that were pitched but rejected the cork? How about wineries that specifically chose a competitor’s product? Or return to the aforementioned Oregon pinot producer. His reviews of pinot noir might indicate certain stylistic preferences, preferences that could naturally be assumed to be reflected in the wine he helps produce. Would not that lead those aligned with his critical judgments to be especially interested in trying this unnamed wine, resulting in increased sales? Is that not a dependent entanglement that should be avoided?
As the examples flow, they seem as increasingly absurd to the realist as they do worthy of examination to the idealist. Betwixt the two, however, some solution must be found. And perhaps bright line-drawing is not it.
personal
This category of dependence includes familial relationships. Even though the daughter of a winemaker may not herself make wine, her relationship to the winemaker is problematic and unlikely to allow true independence. And it extends to neighbors, friends, and even acquaintances. It is in the latter category that we find the issue of most relevance to wine writers, for it is exceedingly rare for a writer to proceed through their work without interacting with owners and employees of the entities they cover. Since wine people are, in the majority, highly decent types, it is inevitable that many of these relationships will be amicable, occasionally developing into outright friendship. How does one independently examine the work of someone that one likes or admires, of a close acquaintance, of a friend? This is tied up with the thorny dilemmas inherent in objectivity and negativity and their applicability to wine writing, but it also applies to the concept of independence, as the cost of truth may be the relationship itself. That is a dependency. Or worse, consider a revelation: a winemaker revealing some secret to a writer without specifying it to be in confidence. Does the right to know trump the pleasure of the relationship, or vice-versa? And in either case is the writer actually acting independently?
Obviously, the opposite case – an antagonistic personal relationship – can also affect independence, and in a similar fashion. This can follow from personal animosity, but also economic animosity. I know a retailer and an importer who had an exceedingly acrimonious professional breakup, and while I don’t know that I’d ever trust either on the subject of the other (that’s a matter of objectivity), the retailer also refuses to carry the wines of the importer. That’s a lack of independence, because the retailer feels constrained by his relationship with the importer to not carry products that may be desired by his customers, products that may well increase his profits.
ethical
On this, there’s much more to say in the essay on ethics, but ethical challenges can also lead to dependencies. Ethics may be imposed from without, as in the case of a journalist bound by a publication’s strictures (on this, see more immediately below). Or they may be internal, leading the writer to positive or negative choices that restrict their independence. An example of this might be a writer who will not cover the wines of a certain producer, region or country for political, religious or historical reasons. A writer who chooses to focus on a niche is not suffering from a dependency, but one who feels ethically drawn towards avoidance is.
productive
One might also call this procedural dependency. The classic example, as indicated above, is the journalist constrained by the ethical code of the publication for which he or she is writing. But matters may be simpler than that. I once wrote for an editor who believed that anything that cost more than $15 was insensibly expensive, and I was strongly discouraged from writing about wines above that threshold. Even then – many price increases ago – it was a rather extreme limitation, and it was necessary for me to disregard (in print) entire categories of wine; important categories essential to understanding and contextualization, especially since my goal was education rather than the provision of shopping lists. But whether by suggestion or by enforcement, this was a restriction on my independence…an article on, say, the glories of grand cru Burgundy was simply out of the question, no matter how useful it might be to the readers. Other restrictions on independence might include matters as simple as word count, perceived audience (“writing down to the average reader” is endemic among mass-market publications) or locality (avoiding the mention of wines not proven to be currently available in a local store). In each case, the writer is restricted and limited. This is not to argue that such restrictions may not be necessary in a specific writer/publisher dynamic, or even to argue that such restrictions are unquestionably wrong, only to point out that they do affect a writer’s independence.
With all these dependencies (plus those not iterated here), it seems impossible for a writer to remain truly independent. Theoretically, it remains a possibility…albeit a remote one, for one major reason I will soon iterate. As a matter of practice, however, no critic is independent. Let me repeat that: no critic is independent. Dependencies, relationships and limitations can always be identified. Always. Independence, then, is simply a matter of degree. At which point, the burden falls on the writer to decide how much independence they want or need, and on the reader to decide what level of independence they require from a writer.
All about the Benjamins
The belief that full independence is an unquestioned good leads, as with misguided notions of objectivity and ethical purity, to unreasonable and unachievable expectations on the part of the reader. This is an important point, and thus worth examining in some detail.
The one inescapable requirement for complete independence is significant wealth. Without it, a writer simply cannot avoid entanglements with all facets of the wine trade. (This presumes that the writer is interested in expanding their knowledge; a writer content to work in ignorance can be as independent as they want at any economic level…but they will never be useful to anyone else.) A writer with enough money can purchase all the wines necessary for building organoleptic and intellectual context, while others less economically-blessed must either do without or rely on alternative sources. This becomes a more restrictive limitation with each yearly increase in the price of wine. A writer with enough money can visit any wine region they wish to visit, while others will have to forgo such journeys or accept ethically dangerous junkets. A writer with enough money can arrange face-to-face meetings with important, knowledgeable people in the wine industry, while others will have to accept limited access or take advantage of press-focused opportunities sponsored by the industry. In each case, the choice is tripartite: the writer pays, someone else pays, or the writer does without.
It’s true that the fraternity of wine writers is rather overpopulated, in comparison to society as a whole, with lawyers, doctors and other highly successful and wealthy people looking for a second career. This is especially true in the United States, where rather more of a fetish is made of independence from entanglements with the wine trade. But it seems profoundly anti-egalitarian to make this a virtual requirement for wine writers by insisting on some semi-mythic ideal of independence. No other critical endeavor with which I’m familiar is burdened by this expectation (in fact, in many fields the situation is rather the opposite: critics tend to be severely underpaid in comparison to the creators of the works they review).
So what is the non-wealthy writer to do? Accept profound limitations on their ability to learn, to grow as a writer, to contextualize their experiences with a broader and deeper range of knowledge, and to write with ever-increasing authority? That’s one path, though it’s hardly an estimable one, and it will definitely not lead to a more economically representative mix of informed wine writers. Alternatively, one could come into sudden wealth, perhaps via the lottery or a wealthy great-aunt’s will. But in the end, the one sensible choice is to accept a certain measure of dependence.
The educational value of access to, say, winemakers is immeasurable. A writer who wishes to improve must have access to that education. And words are not enough; any winemaker can best illustrate their knowledge via actual liquid examples, and a writer needs to also be a taster to do their job effectively. Once this has been done, it is true that the writer has lost a bit of independence by drawing their knowledge from a winemaker rather than from their own independent study. This can be mitigated by greatly increasing the number of winemaking sources from which a writer obtains knowledge, but since winemakers frequently disagree, and since it is impossible that they are all right, at some point the writer will have to make a choice. A decision. An alignment. The freedom to make that choice is independence, but what follows from such an alignment is a diminishment of independence. A dependency, in other words.
A non-wealthy writer must, if they wish the widest context and opportunity possible, accept samples in some form. The restrictions the writer places on such acceptance will be a matter of personal ethics, but there is just no alternative unless the writer wishes to remain generally uninformed. This, inherently, forms a relationship between the writer and the various parties who provide samples: wineries, importers, distributors, retailers, restaurants and public relations agencies. And it is another form of dependence. (Some entities will refuse future samples to a writer who has earned their ire, whether by actual negative press or by unwillingness to trade coverage for product. Most, to their credit, won’t. But it does happen, and any writer who starts down this path must understand this. Dependent relationships are not stable ones.)
Some, including a few prominent wine critics, will immediately decry this solution as unacceptable. As with the issue of anonymity, one suspects that some are applying the ethics of restaurant reviewing to wine, while others are blithely and hypocritically dismissing their own dependencies to better criticize those practiced by their competitors. And it’s also worth examining the ethics that govern other genres of criticism. Music critics do not purchase the albums they review, and they are showered with promotional items and other swag along the way; neither do they pay to attend concerts. The same goes for literary critics, who receive books in the mail. Theater and film critics don’t pay for their tickets, get special access to stars and directors, and attend events and junkets at the expense of producers/PR agencies/marketing firms. All critics of live performances get preferential seating. In fact, almost all product and event reviews are done with the assistance of free samples…except for restaurants, and then only at the few publications who subsidize a restaurant critic, and even then only successfully at the very few publications wealthy enough to subsidize enough repeat and representative dining to ensure fairness and proper context. (Think, for example, how much four small-group dinners at Per Se or Daniel must cost the New York Times. And that’s just one review.) There is one glaring exception to all this: Consumer Reports. But there, the monetary issue must be reintroduced into the equation. CR takes a monetary risk by purchasing (and then reselling, which is not an option for a wine critic) the often-expensive products they review. What if the audience won’t support the activity with their subscription dollars? They would be forced into one of three options: stop, accept free samples, or accept advertising (the publication version of coming into wealth). Their ethics and practices are laudable, but they are also virtually unique in the universe of critique. That, all by itself, is revealing. Even semi-similar publications like Cook’s Illustrated don’t have to purchase fifty mid-size sedans solely on subscription profits.
The knowledge-seeking writer might also consider taking advantage of travel opportunities. It is simply not possible to learn as much about wine in the comfort of one’s home as it is in the cool humidity of a producer’s cellar. But the junket has obvious dangers, not least of which the undoubted expectation of coverage in return for such expensive generosity (an expectation buoyed by the simple fact that many writers do feel an obligation), and there is also the issue of philosophical independence to consider. A particular trip might be engineered to convince writers of one firm’s position on a controversial issue, thus gaining “friends in the press” and advocacy for an opinion; the cork industry has spent a good deal of money in this fashion, in an attempt to beat back the largely positive press coverage of alternative closures. And given the number of times that junkets are rewarded with coverage in the popular press (it turns out that much automobile journalism proceeds from junkets, for example), the problematic nature of these trips is thrown into stark focus. Nonetheless, the benefits can be substantial, and must be weighed against the risks.
Trust but verify
It seems that there are no easy answers here. A writer who practices true independence must be wealthy or contextually handicapped. A writer who allows dependencies is surrounded with the temptations of compromise and inethics. So: what, then?
As with the thorny issues of objectivity and ethics, the only effective solution is internal. A writer must practice and hold to their philosophical and intellectual independence despite the myriad temptations to do otherwise. A writer must communicate this independence to their reader by their actions and opinions as revealed in their work. And when a writer is compromised, there must be full anticipatory disclosure.
This does not mean an endless litany of potential dependencies must attach to every word the writer puts into print. No one has the time for or an interest in such a practice, even if they think they do. Here, for example, is a “disclaimer” for anything I might write about the wines of Trimbach:
I have a personal relationship with Jean and Pierre Trimbach, and have met Hubert and Bernard Trimbach on several occasions. I have tasted and dined with Jean, Pierre and Hubert at various locations in the United States and France. Some meals have been paid for by the Trimbachs, some by their importer, and some by me. I have been driven around Alsace by Jean Trimbach, and have returned the favor. I have tasted wines at Trimbach and at press events in the States to which the general public does not have access, at the expense of Trimbach, their importer and other associated entities. I have received gifts, both wine and non-wine, from the Trimbachs, their importer and their Massachusetts distributor. I have given gifts to Jean Trimbach. We have exchanged Christmas cards. I own a great deal of Trimbach wine, and have a strong personal preference for their style.
Now, does anyone want to see that every time I mention Trimbach? No. Does anyone want to see that disclaimer replicated for every producer, importer, distributor, retailer and restaurant that might be mentioned in anything I write? Probably not. And even if there was such a request, it is in no one’s interest for a writer to spend the time necessary to do so. A successful writer could spend years writing disclaimers rather than writing about wine. That is insensibly counter-productive.
What “anticipatory disclosure” of compromise means is simply this: if there is an event or an unusual relationship that is likely to affect the focus, opinion or intensity of a piece of writing, it is in the writer’s best interests to disclose it. To follow along from the above example, it’s not necessary for me to disclaim a simple tasting note on a Trimbach wine. But if I write two-thousand words on why I think Trimbach is the best producer in the world (NB: I don’t), it would be ethical of me, and useful for the consumer of my words, to know about the extent of my personal relationship with the Trimbachs. Similarly, were I to write about the wines of a producer who, one week earlier, threw a glass of wine on my shirt (NB: this didn’t happen, though I do have a few highly antagonistic relationships with members of the wine trade), that, too, would be an event worthy of disclosure. And though it almost goes without saying, economic relationships must always be disclosed. (Samples are ubiquitous enough among writers that I think the effort to disclose their source is wasted verbiage, though others may disagree. Readers should assume, in the absence of commentary to the contrary, that most writers taste a mix of purchased and free wine from various sources. Junkets, on the other hand, are sufficiently lavish that I think coverage that flows from them should be disclaimed.)
For the reader, as with questions of ethics it simply comes down to a matter of trust. The signs of a writer working as independently as possible are clear with a little insight, while a compromised writer can be seen as a charlatan by nearly everyone. And it’s also important to remember that writers are readers as well, and will collectively shun those among them who demean the profession by their inethics. Writers, too, must play their role by constantly working to earn that trust by their intellectual and philosophical independence. But, ultimately, what allows an atmosphere of independence among writers is their audience. The active, interested participation of consumers creates a demand for experienced, knowledgeable and skilled writers. Without that audience, there would only be marketing.
![[Loring]](http://www.loringwinecompany.com/Logo5.jpg){kind=logo}
Loring 2004 Pinot Noir Brosseau (Chalone) – Red-black fruit, soupy and searingly alcoholic. More like a harsh, grappa-infused berry liqueur than wine, and not a particularly balanced one as well. The next day, however, the alcohol has calmed down somewhat…perhaps a nice sweet rum rather than grappa…which makes it a little less painful to drink. But it’s still profoundly imbalanced. (12/06)
![[Scharzhof]](http://www.scharzhof.de/images/scharzhof-I.jpg)
Egon Müller 1995 Scharzhofberger Riesling Kabinett 7 96 (Mosel-Saar-Ruwer) – Puréed chalky rocks with a creamy silk overlay, showing sharp apple cider on the midpalate, and a gorgeous, clean, (mostly) sugar-resolved finish. Those afraid to hold a kabinett for ten-plus years should pay attention…though it’s true that this never was an ordinary kabinett. (12/06)![[label]](http://weingut.vereinigtehospitien.de/shop/assets/thumb/053052%20Scharzh.%20Kab.jpg)
Vereinigte Hospitien 2005 Scharzhofberger Riesling Spätlese 19 06 (Mosel-Saar-Ruwer) – Odd, like an otherwise engaging party guest who occasionally delivers himself of the most off-putting utterances. There’s high-toned, plasticene-synthesized quartz and strident grapefruit zest, yet there’s appealing sugar balanced with the sharp bite of malic acid as well. Perhaps it just needs time to learn some social graces, but I’m not at all pleased with the initial direction of the fruit. (12/06)![[BdB]](http://www.pierre-moncuit.fr/images/cuvees_pierre.jpg){kind=small}
Pierre Moncuit Champagne “Grand Cru” Brut Blanc de Blancs “Cuvée Pierre Moncuit-Delos” (Champagne) – Lemon curd dust and crisp green apple; incredibly clean at first, it quickly accumulates weight and bread-influenced complexity, yet never sheds its clarity or crispness. Pure palate excitement. (12/06)![[vineyards]](http://www.domaine-fenouillet.fr/images/terroir/terroir1.jpg)
Soard “Domaine de Fenouillet” 2005 Vin de Pays de Vaucluse (Rhône) – It sounds both unkind and unhealthy to say, but this is rustic old red wine made through grape-stained socks. The thing is, this footwear quality comes off as a good – though particular – thing, with the rough-hewn red and purple berries lent an actively organic aroma. There’s some vague nods in the direction of structure, but mostly this is a pleasurable representation of the kind of regional wine one doesn’t actually get to taste outside of the region of production; there’s freshly-ironed clothes and a comb taken to the hair, but the peasant within remains. (12/06)![[La Frosca]](http://www.ginivini.com/italiano/bottiglie/piccole/frosca_soave_p.jpg){kind=small}
Gini 2004 Soave Classico La Frosca (Veneto) – This gives the strong impression of being not entirely dry, with cotton candy stone fruit and a light, squishy minerality. It’s a fun wine, but don’t look too closely, because there’s less there than meets the palate. (12/06)![[Pinot Bianco]](http://www.stmichael.it/img/etic/48.jpg)
St. Michel-Eppan 2004 Pinot Bianco Schulthauser (Alto Adige) – Austere in structure but organoleptically zingy. Waterfalls over chalk and granite cliffs; this tastes of the mountains more than it does of grapes. A fine, albeit fruitless, wine. (12/06)![[Yalumba]](http://www.yalumba.com/library/museum_muscat_main.gif)
Yalumba Muscat “Museum Reserve” (South Eastern Australia) – 375 ml. Overwhelmingly sweet (of course), with slow-caramelized dark brown sugar, maple and molasses lent bucketloads of baking spice from the long oak aging. I find differentiating these wines almost impossible – they’re mostly of a piece no matter the initial materials – except in two ways: their structure (which is especially key in the face of so much sugar) and their oxidative qualities (here at a relative minimum, given the style). This is a fairly simple, obvious expression, but it’s quite enjoyable (for non-diabetics) all the same. (12/06)![[bottle]](http://www.dulong.com/anglais/..%5Cimages_tmp%5CPhotoBouteille_tmp%5Clavergne%20dulong%2004.jpg)
Lavergne-Dulong 2003 Bordeaux Supérieur (Bordeaux) – Previous bottles have been decidedly international in style. Suddenly, the wine has turned to Bordeaux: cedar, tobacco (with a bit of a green edge) and drying cassis with structure and even some acidity. Have I unfairly maligned this wine as Napa-esque? I guess we’ll see with further aging. (12/06)![[PSL]](http://www.chateau-lascaux.com/Images/noblespierres2001.jpg)
Cavalier “Château de Lascaux” 2001 Pic Saint-Loup “Les Nobles Pierres” (Languedoc) – Dark garrigue full of summer-brazened herbs and smoky, concentrated blackberry. There’s lovely structure and balance to this wine, which is decidedly masculine, but straddles a nice division between the untamed farmer and the mannered urbanite; the wine’s sophistication is not in its airs, but rather in its confident sense of style. Worth owning in quantity. (12/06)![[Nalle]](http://www.nallewinery.com/images/p_vines02.jpg)
Nalle 2004 Zinfandel (Dry Creek Valley) – Soft and juicy for a Nalle zin, showing friendly red-faced berries and cherries with a sun-dried tomato sauce acidity and a little lightly-smoked wood influence. Nalle’s zins show so much upfront pleasure that it’s difficult to believe they age. But they do. Still, this vintage seems a bit less appealing than usual. (12/06)![[Nußbrunnen]](http://www.langwerth-von-simmern.de/bild/baiken.jpg)
von Simmern 2004 Hattenheimer Nußbrunnen Riesling Kabinett 009 05 (Rheingau) – Granitic strawberry and pleasant, light-minded sweetness bring initial pleasure…but then the wine starts to unravel, leaving these elements disintegrated and uncooperative. I’m not sure what’s going on here, but I expect a little more from this producer. (12/06)![[Yosemite Falls]](http://www.myspeakerscorner.com/forum/user_images/tci_ca06_yos_falls_1stday.jpg)
![[Peregrine winery]](http://www.myspeakerscorner.com/forum/user_images/tci_nz05_peregrine_pond_wing.jpg)
![[Kawarau water]](http://www.myspeakerscorner.com/forum/user_images/tci_nz05_kawarau_water_only.jpg)
![[Black Ridge vines]](http://www.myspeakerscorner.com/forum/user_images/tci_nz05_black_ridge_vines.jpg)
![[Rippon]](http://www.myspeakerscorner.com/forum/user_images/tci_nz05_rippon_vineyard_view.jpg)
![[Carr]](http://www.josephcarrwine.com/images/255_Joseph_Carr_Label_for_Web.jpg)
Carr 2002 Cabernet Sauvignon (Napa Valley) – Good, straightforward Napa cab…dark cherry, cassis and blackberry fruit with nicely layered wood (expressed as vanilla, chocolate and toast), very little acidity, and a little bit of dust coming from the subwoofer. A fairly good value, too. It’s not something I’d want to drink very often, because it’s more than a little obvious, but as an occasional diversion it’s perfectly decent. (11/06)![[Villa Bucci]](http://www.villabucci.com/immagini/VB%202000%20s.jpg)
Villa Bucci 2000 Verdicchio dei Castelli di Jesi Classico “Riserva” (Marches) – Corked. (11/06)![[fruit]](http://www.myspeakerscorner.com/forum/user_images/tci_nz05_cromwell_fruit.jpg)
![[Shrek]](http://www.myspeakerscorner.com/forum/user_images/tci_nz05_shrek.jpg)
![[BdO]](http://www.cauhape.com/images/etiquettes/BO.jpg)
Ramonteu “Domaine Cauhapé” 2004 Jurançon “Ballet d’Octobre” (Southwest France) – Sweetly pretty, with a blushing, shy caste to its lovely white stone fruit and sap flavors brightened by sunny acidity. There’s something else, too…an herbal, almost anise-like note that chimes at the edge of perception, then rings more loudly as the finish drifts along. (11/06)![[Burgaud]](http://www.jean-marc-burgaud.com/images/stories/images_1/beaujolais-villages.jpg)
Burgaud “Château de Thulon” 2005 Beaujolais-Villages (Beaujolais) – Sappy red berries with cedar, pine nuts and buoyant acidity; this wine lives amongst sopranos, and though it sings quietly among them, it sings with appealing purity. Fun stuff. (11/06)![[lunchtime in Bannockburn]](http://www.myspeakerscorner.com/forum/user_images/tci_nz05_lake_hayes_bottle.jpg)
