Weekly Apéro Hour: Little Things, Ploussard or Poulsard or Just Wonderful Wine, Motherhood (The Book)

Welcome to your weekly apéro hour!

After excursions to Spain and Serbia in the last edition of #apérohourweekly, we return to my regular, ongoing consumption of French and Aussie wines! (This is a short one, also, because editing Pipette and bottling spring releases is pretty demanding on time and energy, as you can probably imagine.)

FRENCH DRINKING. Fill in the blank: discovering a good bottle of Poulsard you’ve never had before is: ________________.

(Options include: “like finding a new favorite band” // “better than sex” // “almost as exciting as discovering a good bottle of Trousseau you’ve never had before” // your unique answer.)

Over the weekend, I met a new friend in the form of Domaine de la Borde’s Ploussard (aka Poulsard, the more general name). Poulsard, for the uninitiated, is a light red Jura grape (Eastern FrancE) found mostly around the Pupillin area, and delivers heavenly, aromatic, wine with note of dark cherries or crushed roses).

Domaine de la Borde, I learned from online research, is helmed by a young vigneron who is one of the relative newcomers to the Jura, named Julien Mareschal. As of now, Julien has about 5 hectares of vines, many at high elevation, and in conversion to organic or biodynamic. All of his wines are single-vineyard products. This cuvée, “Brume des Chambines,” (2015) is from a plot of 30-year-old vines on red clay soil, is aged 10 months in tank, and is currently the only (or one of the only) wines that is made completely without added sulfites. It was incredibly light and ethereal, with hints of curry spice and cumin, and an overall savory character. The hue was almost translucent like a precious gem. There was a hint of tart raspberry on the finish.

AUSSIE DRINKING: This yummy wine was made not far from where I am writing, in the Adelaide Hills of South Australia, by a guy named James Madden whose first vintage with his own label, “Little Things,” was just in 2017 (450 cases total). This wine is called “More Than White,” which as you may suspect indicates the use of skin contact to extract more flavor from the grapes.

I’ve had the pleasure of sipping on wines from Little Things before — Pinot and Syrah, of late, both really pure and showing lots of wonderful fruit notes — but this was my first time trying the “More Than White,” made from Sauvignon Blanc, destemmed and fermented on the skins for a few weeks, and zero sulfites added.

And this wine was just a pure delicious bomb: it explodes in your mouth with white peaches and yellow grapefruits, as well as happy, broad acidity that swishes around on the tongue. The grapes were picked early so the alcohol is low (10%), James told me over e-mail (he’s out of town, otherwise I would’ve probably just gone over there!) — and he also informed me that the light rosy hue of the wine comes not from the addition of some red grapes, as I guessed, but from ageing in old red wine barrels! “A case of limited funds/resources starting out,” he says.

Note that if you’re outside Australia, it might be just a bit of a wait before you see “Little Things” abroad, as James is slowly scaling up production. Meanwhile, those of us Down Under will be lucky to enjoy these sumptuous and pretty wines.


READING. It took me a while to process this book, Motherhood, the latest autofictional novel from Toronto-based writer Sheila Heti, whose earlier book How Should A Person Be? was life-changing for me and one of the few things I dragged across the world with me to Australia.

As you can discern from the title, this is a book about motherhood — specifically, it’s about the decision that women make consciously, at a certain point in their lives, as to whether they want to become a mother. Heti constructs a character not unlike herself in real life — approaching 40 years old, deeply focused on her “art” (in this case writing), also deeply in love with a man, and desperately unsure of whether to have a child or not.

The device that Heti employs to move the book along is a strange thing: she adopts a technique from followers of the I Ching, who flip three coins, six times, to get a “yes or no” answer to any question. At first, I liked this, and even found it very humorous in instances where it gets out of hand (the coins lead the narrator to do all sorts of things, like hiding a knife as a response to some weird symbolism in a dream) and then I soon found it annoying, and before long I found the entire book annoying and disappointing because it didn’t seem to be going anywhere except despair, indecision, and self-loathing. I found myself struggling to enjoy reading the book, and also sort of judging the narrator — just have a baby already, won’t you! It’s clearly what you want! Or at least it’s what I, as a reader, want. 

Then I noticed my feelings and realized that I wasn’t really listening to how much the narrator was struggling, and I wasn’t quite getting how difficult it would’ve been for Heti to write this book. It’s a book that grapples deeply with all the complexities of femininity, womanhood, our bodies, ageing, and choosing a creative life. Parts of it, as well, follow the arc that a woman’s body goes though during the menstrual cycle. Maybe my own discomfort was partly a reflection of how much I also live these questions, and of course that same cycle, though in different ways to Heti. Her point, of course, is that each woman is on her own journey, and I was judging her just as the narrator feels judged by women who have babies while she does not.

In the end, I feel that this is a book very much worth reading, although it does miss out on some of the sense of wonder and adventurousness that I found in Heti’s earlier book. Anyway, motherhood isn’t an easy role or an easy topic, so it surely deserves a difficult book.

It’s time to head back down to the winery for more bottling! More soon, friends.

xRachel

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Weekly Apéro Hour: A Tale Of Two Syrahs

Here’s your weekly apéro hour!

DRINKING: This week a friend brought over a wine from the Northern Rhone cru Cornas, where 100 percent Syrah wine is made atop a great granite hill with vineyards as much as 400 meters above sea level. This particular bottle is one I’ve enjoyed before, and loved, from Franck Balthazar, who aside from having a fabulously appropriate last name is known for making extremely elegant Cornas wine, including this completely sans soufre cuvée. It is luscious yet bright, full of black olive notes and a bit of sandlewood or maybe campfire in the tannins. It’s a comforting wine, perfect for these chilly Aussie evenings. This bottle was from the 2014 vintage and it was totally great, but could have used more time.

It was funny, when I was drinking it, how much it reminded me of another wine I’ve drunk recently: the 2016 “Tommy Ruff” Shiraz/Mourvèdre (50/50) cuvée from Tom Shobbrook in the Barossa Valley (who is featured in Issue 2 of Terre Magazine!).

OK, it’s not 100 percent Syrah (if you didn’t know, “Shiraz” is New World for Syrah) — but the Syrah definitely dominates the Mourvèdre in the Tommy Ruff wine, with plenty of olive and cherry pit and leather notes underpinned by a hint of spice. But I was laughing because the wines are both 13 percent in alcohol, both are very soul-warming and somewhat on the fuller-bodied side, yet lightened by acidity from — in the French case, I’d guess, cool nights — and in the Barossa case, I’d guess,  early picking. And both are such beautiful examples of what can be done with Syrah, a grape that can easily tend toward flabbiness and high alcohol.

Where the Tommy Ruff wine comes from, the Shobbrook family vineyard in the Barossa, couldn’t be more different to the steep slopes of the Rhône. And yet, these wines had a similar effect on me. You have to wonder, sometimes, how terroir can trespass entire countries, even continents. Intelligent winemaking can become a bridge across long distances. And for me, this experience of two Syrahs, from two terroirs, was a sort of glimpse into my own fragmented sense of self, at the moment — one foot in Australia, one foot in France, and yet always pulled mentally back to the States, where my family is and where it’s one political disaster after another.

Speaking of that . . .

CONTEMPLATING. Ever since the current U.S. President (I won’t write his name) came into power, there’s been a consistently repeated sequence:

Step 1: President does something egregious, shameful, threatening to humankind

Step 2: Humankind responds by blasting feelings and political statements all over social media

Step 3: Various forms of fundraising and marching occur across the U.S.

And then the aftermath of this is usually someone in the White House gets fired and replaced, or maybe things get passed to the Federal or Supreme Court. Which, now, is definitely going to swing in the President’s favor, anyway. Ughhhhh. How did adults actually let this all happen?

I was in Sydney when the news came out about the detained children at the U.S. border, some as young as 9 months old, guilty of no crime other than trying to make better lives for themselves against all the odds. I couldn’t sleep all night after reading the articles about how these children were being treated. And in no time, it was all over social media — people were posting photos of children crying, and call-to-actions to donate to Raices Texas or the ACLU. And I immediately felt the impulse to do the same. But then something stopped me.

This painting, by Ad Reinhardt (“Abstract Painting,” 1960-66), came to mind. I saw it on display in the Whitney Museum of American Art in New York about six months ago, and it recalled the way many people, including me, took to simply posting black squares on Instagram to express our feelings of revolt at the political situation. You can interpret it any way you want, obviously, but consider the decade it was painted in, and that Reinhardt was a civil rights movement supporter and a vocal opponent to the U.S. war in Vietnam.

And reflecting on this work of art, I worried, if we rely on social media as an outlet for feelings about injustice, is that a temporary fix for a much bigger problem? I also thought about my life over the past year: living in France, then Australia, two countries that also have seriously questionable policies in regard to migrants. It’s not just a U.S. problem, it’s a global problem. People are being deliberated excluded from the supposedly all-encompassing notion of human rights.

The sum of all this reflection, for me: I’d like to be constantly doing something to support justice, rather than simply reacting every time there’s a severe crisis. It’s been incredible to see all the money people raised to support work at the U.S.-Mexico border. I hope I can find a substantial way to contribute, as well. Guilt and anger are not productive emotions; I’d rather be constructive rather than in despair.

That said: if anyone knows of an organization who works with refugees, anywhere on the planet, who is particularly in need, I have an upcoming project and I’d like to donate some of its revenue to this cause. Thanks for any tips you can share!

READING: I’ve dug into Sheila Heti’s latest book, Motherhood, pictured above with the wines. Wow. I really want to tell you more about it, but I’m going to wait until I’m a little further in.

MORE READING AND DRINKING: wild fermented, barrel aged aleI mean, I guess that’s basically what this blog is about? So, Wildflower Beer is a new project based in Sydney, Australia, where brewer Topher Boehm has translated his love for Australian flora — the reason he, being a Texas native, decided to live in Australia is that he fell in love with the stunning native flowers — into beermaking. I’ve been enjoying his this weekend alongside an indie mag about beermaking, called Hops & Barley, from the UK. the magazine has a really cool feature about brewers with winemaking backgrounds, which looks at other ways that wine and beer intersect — namely, with the use of wine barrels for ageing beers. Another cool indie mag discovery!

I’m looking forward to collaborating with Topher on an article for Pipette Magazine, which is set to come out in October. I’ll be working on that nonstop over the next few weeks. I have to say, living out here in the hills, surrounded by clean, fresh air and friendly people who make amazing wines, is not a terrible setting to be in for editing and writing. Every day I take the dogs for a walk, and I marvel at the simple beauty of a pinecone covered in dew, with water droplets on the edges of the pines, sparkling in the morning sunlight.

To quote Ralph Waldo Emerson: “In the woods is eternal youth.”

TRAVELING: Oh my gosh, Tasmania was beautiful! (Proof above!!) I went there for a wine tasting called Bottletops, hosted by Franklin Bar & Restaurant, but I was also able to get out into the wilderness a bit, foraging for incredibly delicious, meaty native oysters in the cold waters on the south end of the island, walking in the woods, picnicking by the blue lake.

I’ve posted some highlights from the wine tasting on Instagram already, and I’ll share a few more in coming weeks. In the meantime, I wanted to mention something that I’ve been thinking a lot about lately: hospitality to travelers.

I used to run an AirBnb in New York. We made special effort to provide a cozy space, with nice art on the walls, chocolates on the bed, and sometimes even a vase fresh flowers in the guest bedroom. These days, I use AirBnb frequently, as a guest — and too often, the apartments are completely soulless, designed purely to provide basic needs for a visitor. I always have trouble sleeping in these spaces!

So I really appreciated staying in the cutest AirBnb ever in Tasmania’s main city, Hobart — the host had installed all sorts of funny vintage knick-knacks giving it character, and there were lovely drawings on the wall, a really nice French press, and a shelf full of secondhand books. I spent an hour diving into this amazing publication Journal of a Novel, from John Steinbeck, who wrote and kept letters to his editor while he was working on the massive tome East of Eden. I loved reading about Steinbeck’s struggles to produce the book he’d go down in history for — from the day-to-day, like managing to do laundry, to the ongoing and infuriating creative challenges, the sense of disappointment when the writing wasn’t going well, all the things that we forget about or aren’t aware of when we read the finished work.

To all the hosts out there who put thought and time into providing welcoming spaces: hats off to you. I felt like the Steinbeck book appeared in my life for a reason, as I am working on a small fun little book manuscript. Steinbeck’s letters were a reminder that nobody is exempt from the ongoing challenges to writing — but we have to do it anyway! While my book is certainly no 600-page modern classic, it is still taxing to put something together and have the confidence to share it with the world.

I’ll be able to announce that project very soon!

And for those of you eager to learn more about the forthcoming Pipette Issue 1, consider signing up for the occasional newsletter. It’s the first place where announcements come out about pre-sales, events, and discount codes for purchasing magazines and for tickets to wine tastings around the world. The link is here.

Have a lovely finish to your weekend! xxR

P.S. If you enjoyed this week’s apéro hour, take a peek on the right side where you can sign up to receive this blog directly in your inbox (if you’re on your phone, you have to go back to the blog’s home page, rachelsigner.com, to find the sign-up).