Journal of Wine Economics Volume 17 | 2022 | No. 4

Nature is full of color, vibrancy, and biodiversity; and so, too, should it be with natural wine. In her newly expanded and updated third edition of Natural Wine: An Introduction to Organic and Biodynamic Wines Made Naturally (2020), Isabelle Legeron argues that natural wines are made with conviction and promote a philosophy of love for the land that can, and should, affect the entire wine industry. To make her case, Legeron acknowledges that natural wine is not new; in fact, she states, it is what wine has always been. And across the three distinct parts of her impressive work, she asserts the benefits, qualities, and authenticity of making wine just as nature intended.

In the Introduction, Legeron writes that her book is “a tribute to those wines that are not only farmed well, but also fly in the face of modern winemaking practices, remaining natural at all odds” (p. 6). Brimming with photographs and scientific studies throughout her writing, Legeron interlaces her well-researched perspective with vivid illustrations and rational evidence, pointing out that while the agriculture behind creating organic and biodynamic wines may look untamed and untidy, natural wines require careful attention and precision from those producing them. This native, wild approach to viti- culture is exactly how Legeron believes winemaking should be. After all, “We are not separate from our environment and even less so from what we eat and drink” (p. 11).

Following the Introduction, Part 1 of the book, “What is Natural Wine?,” is broken into five sections, each with their own sub-sections to explore the question: Is there such a thing as natural wine; and, if so, what is it? Legeron purports, “Natural wine is literally living wine from living soil” (p. 92); and from the vineyard to the cellar, she takes her reader on a nearly 100-page viticultural and vinicultural journey through the production of natural wine.

In the first segment of Part 1, “The Vineyard,” Legeron examines viticulture across three distinct areas: “Living Soils,” “Natural Farming,” and “Understanding Terroir.” In “Living Soils,” Legeron explains that because there is no worldwide legal certifica- tion, one of the challenges in discussing natural wine is in defining it to clarify the difference between natural and organic winemaking. Natural wine “is wine from vine- yards that are farmed organically, at the very least, and which is produced without add- ing or removing anything during vinification, apart from a dash of sulfites at most at bottling” (p. 23). And the first step in producing such a wine is found at the ground level—in the living soils of the vineyard, teeming with biodiversity and microorganisms that are essential for proper plant and vine nutrition that creates natural wines.

In “Natural Farming,” Legeron defines the distinction between organic, biody- namic, and permaculture approaches. Whereas organic viticulture aims to eschew man-made, synthetic chemicals like pesticides and fertilizers in the vineyard, biody- namic agriculture emphasizes a holistic, astronomical approach to farming that con- siders the moon’s gravity and ocean tides to inform when to prune vines and bottle wines. “Life on Earth,” Legeron notes, “is fundamentally affected by these large exter- nal factors – and biodynamics takes this into account” (p. 35). A third approach, known as permanent sustainable agriculture, or permaculture, incorporates self- sustaining and self-sufficient systems into farming. Permaculture, explains Legeron, encapsulates the idea that “we should farm in such a way that we enrich our environ- ments both for ourselves and for all life that depends on that place” (p. 37). Whether named organic, biodynamic, or permaculture, “clean” farming, says Legeron, will have a positive environmental impact now and for future generations to come.

In “Understanding Terroir,” Legeron notes that terroir is derived from the French word for earth and refers to a sense of place. She continues to say that terroir high- lights the unique combination of factors—for example, a distinct year and a specific location—that creates flavors that are irreproducible elsewhere. As an agricultural prod- uct, wine is “created by living organisms in a particular place at a particular moment. It is the product of life forms, the sum of which is terroir. And, without them, terroir can- not be expressed” (p. 43). Due to their more traditional production, natural wines, notes the author, are specially equipped to express the finer elements of terroir.

In the second segment of Part 1, “The Cellar,” Legeron examines viniculture across four subjects: “Living Wine,” “Processing and Additives,” “Fermentation,” and “Sulfites in Wine.” Citing numerous studies exploring the microbiology of wine, in “Living Wine,” Legeron relies upon science to support the notion that bacteria found in natural winemaking have a positive impact on the taste and longevity of natural wine. In both “Processing and Additives” and “Fermentation,” Legeron notes factors that set natural wine apart from its competitors. She states, “Wine is one of those rare drinks made from a primary material – grapes – that naturally con- tains everything the wine needs to exist … anything else should be regarded as an extra” (p. 55). And in “Sulfites in Wine,” Legeron writes that sulfites, a common winemaking additive, are a defining characteristic and perhaps even a hallmark of natural wine in that little to none are added during natural wine production.

In the third, fourth, and fifth segments of Part 1 of the book, Legeron briefly inves- tigates the reputation of natural wine across three topics: “Taste,” “Misconceptions,” and “Health.” Legeron believes the cultivation behind natural winemaking, described in detail throughout the previous pages of her book, results in a lighter, more ethereal final product. “The proximity to and link with the actual, physical earth means that natural wines have a far greater array of textures than conventional wines” (p. 75). And while natural wine is not immune to potential flaws, Legeron is clear to debunk misconceptions about so-called faults in the stability of natural wine. While few stud- ies have been conducted that investigate the effects of wine on health, Legeron states: “Simply put, natural wine contains far less artificial ‘stuff.’ For this reason, it’s hardly surprising that it might be better for you” (p. 84).

In the “Who” section, Legeron recounts many personal stories and family histories from artisans to outsiders (even a Druid!) who were fundamental in the origins of the natural wine movement. “Natural growers,” Legeron claims, “don’t make wine to a formula or for a market. Instead, what they share is the pursuit of excellence” (p. 105). In the “Where and When” section, Legeron discusses grower associations and wine fairs, including her own festival, RAW WINE, which is the only artisan wine fair in the world that “requires full disclosure from growers regarding any addi- tives or interventions used during winemaking” (p. 122). She wraps up this part of her book with suggestions for trying and buying natural wine, which include loca- tions and merchants from her extended travels.

Finally, in Part 3, “The Natural Wine Cellar,” Legeron devotes over 70 pages to the creation of a rich index of global natural wine producers to help the reader discover natural wines. This mini-guide, replete with tasting notes on aroma, texture, and fla- vor across light-, medium-, and full-bodied wines, offers descriptions of the types of wine available in six different categories: sparkling, white, orange, rosé, red, and off- dry/sweet. Referred to by Legeron as a “do-it-yourself starter-kit” (p. 132), this wine selection adheres to her methodology for making natural wine: farms must use natural approaches and there must be no additives used during winemaking, with the possible exemption of minimal sulfites (which she is clear to detail in her tasting notes). While not exhaustive, this section of the book provides a rich background and vivid explanations of natural wine across varieties from across the globe and concludes with an international list of recommended wine growers.

In this well-executed, thoroughly researched, and beautifully photographed book, Legeron has compiled a necessary companion for any person with an interest in agri- culture and wine production. And while this informed work is certainly intriguing upon first read, with its litany of sources, including global case studies and numerous quotes from experts, it also serves the interested reader as a reference to return to again and again. Backed with scientific evidence, Natural Wine: An Introduction to Organic and Biodynamic Wines Made Naturally makes the case that natural wines can carry profound appeal to people across the globe. “For me,” asserts Legeron, “only natural wine can be truly great” (p. 6).

If you are a certifiable wine geek, with multiple volumes by Jancis Robinson and Robert Parker lining your bookshelves, back issues of The Wine Advocate filed chro- nologically in binders, and a cellar-tracking spreadsheet occupying space on your hard drive, you can probably do without the latest edition of the Pocket Wine Book. But if you are someone with a healthy interest in food and wine—either a neo- phyte beginning to discover the joys of the grape or a curious but less-than-fully obsessed oenophile—you will benefit from owning a copy.

First published in 1977, the 2022 version follows the same format as its predeces- sors. You will need a rather large pocket to accommodate the book at this point, as this once-slim volume has swelled to more than 300 pages of very small print. Its cre- ator, Hugh Johnson, has turned the editorial reins over to experienced wine writer Margaret Rand, and 2022 marks the first edition produced entirely under her direc- tion. The general approach and overall structure of the book remain unchanged, how- ever, and Johnson’s guiding philosophy—that wine should be enjoyed as much as studied—remains intact.

As in past years, the book begins with a quick recap of “The Year in Wine,” noting the chief events and characteristics of the most recent vintage (2020 in this edition). Rand and Johnson each contribute brief introductory essays and spotlight “Ten Wines to Try for 2022.” Next comes a succinct summary of the principal grape vari- eties and a section offering advice for pairing wine and food.

The bulk of the Pocket Wine Book is a survey of the world’s wines by country or region, containing brief entries on principal styles, varietals, and noteworthy produc- ers. No single volume could include every significant winemaker, of course, but the number of wines and wineries cataloged here is still impressive. A simple notation system gives the reader plenty of useful information about each wine, including which vintages were especially successful for a given property, which years are now deemed ready for drinking, and which wines provide good value within a given price range. Openly dismissing the 100-point rating system used by Robert Parker and others—a decision one can only applaud—the Pocket Wine Book rates each wine from 1 star (“plain, everyday quality”) to 4 stars (“outstanding, compelling”). The rankings reflect the contributors’ preference for balance, freshness, and unique- ness over power, extraction, or oak, in line with current wine-making trends.

France still receives the greatest attention in this edition, with 61 pages devoted to its wines (plus a separate 22 pages on Bordeaux). Italy ranks second (31 pages) and the United States comes in third (29). Even so, the book’s 32 far-flung contributors have made an admirable effort to keep track of what is happening nearly everywhere fine wine is grown. If you are ever dining in Malta and find yourself confronted by a cellar list of local producers, the Pocket Wine Book would be your friend. Rand ends the volume with a bracing essay on “the ten best things about wine right now,” and her upbeat assessment may encourage you to reach for your corkscrew and pour a glass in celebration.

For some readers, the most useful section of the book will be its recommendations for matching wine with a wide range of foods. Based on a lifetime of sipping and tast- ing, Johnson’s opinions are firm but not dogmatic (apart from a stern warning that “watercress makes every wine on earth taste revolting” (p. 34). Even if my own tastes occasionally diverge from his, I have found his advice to be sound across a wide range of main ingredients, cuisines, herbs, spices, and cheeses. Above all, Johnson wants the marriage of food and wine to be free from anxiety. As Johnson wrote in the 2021 edition:“Matching wine and food matters, but don’t get hung up on it.”

That pragmatic, hedonic philosophy neatly captures the book’s enduring appeal. Some writers make appreciating wine seem like hard work; Johnson and now Rand remind us that it is fundamentally about pleasure. Knowing more about the wines we drink, when to pull the cork, and how to pair them with food enhances our enjoy- ment, and being able to allocate one’s wine budget intelligently is a useful skill. The Pocket Wine Guide can help you do all of these things, which is why I have ordered a copy for my two millennial children. I cannot think of a better endorsement than that.

Reference

Johnson, H. (2021). Hugh Johnson’s Pocket Wine Book 2021. London: Mitchell Beazley and Octopus Publishing.

A second viewing of Mondovino (Lima and Schroder, 2009) and an obituary in the New York Times (Asimov, 2021) piqued our interest in the man behind the Judgement of Paris. That famous 1976 Paris wine tasting (which has been analyzed and reviewed in this Journal1) brought sudden, surprising attention to Californian wines, and for the first time demystified the French grandes maisons and their alleged superiority. Understandably, this single event is thoroughly unpacked in the longest and most absorbing chapter of the book. From its genesis and the difficulty of finding worthy American wines in 1970s Paris for an Independence Day tasting with some pomp, through to its aftermath, Spurrier insists that Patricia Gallagher take equal credit for the event.

At one time, the Soviet Union was the fourth-largest wine producer in the world, but by the 1990s, production in the successor republics had dwindled. In this trajectory, there are some parallels with Algeria. But the crucial difference was that while Algerian wines were always oriented to the French market, Russian/Soviet wines were largely based on French varietals but were geared almost entirely to an undis- cerning domestic market. As Stephen Bittner demonstrates in this new book, this reality proved to be the Achilles heel for those who aspired to build an industry pre- mised on quality and some conception of terroir.

There has long been a need for a book (or article) that would properly address the history of Russian/Soviet wine and describe it in an international context. This study more than delivers. In an understated way, Bittner deftly guides the reader through a number of thematic issues while paying close attention to changing dynamics over time. The book devotes considerable space to viticulture and oenology, including a fascinating account of the Russian response to phylloxera. It also addresses the chang- ing face of production, distribution, and consumption in the decades after the Revolution.