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EDITOR'S LETTER Tough Love for California Wine Critique of 'Brand California' will raise eyebrows—and possibly blood pressure H igh alcohol and heavy oak flavors are not subjects that most California winemakers like to talk about, especially with wine writers. But the subjects are unavoidable with certain writers. These are often East Coast natives raised on restrained Bordeaux and nervy Burgundy, who don't accept that Californians must make big, rich wines. It's not a new objection, either. Matt Kramer addressed this in "Making Sense of California Wine" in 1992. The New York Times' chief wine critic Eric Asimov has been identifying and praising leaner, more elegant California wines for many years. One of the most senior California-based wine writers, Dan Berger, has been lecturing his readers on this topic for a generation. Now Jon Bonné, the San Francisco Chronicle's wine editor (who came from the East Coast via Seattle) has published a substantial new book that criticizes high ripeness, high alcohol and too much intervention in winemaking. In "The New California Wine" (Ten Speed Press, 304 pages, $35) Bonné uses the term "Brand California" to describe what he doesn't like about the wines of the state where he has lived since 2006. Not just whining Artistic expression It does sound overly idealistic when Bonné writes that yields are too high in California and that irrigation should not be necessary. He must realize that people do this for a living; not many are in it solely for artistic expression. In some places he goes further, like denigrating regulated deficit irrigation as a trick for pumping up sugar. Isn't this at least a step in the right direction? He alleges that winemakers in Europe make honest inexpensive wines apparently without manipulation, while California makes inexpensive wines via chemistry and technology. In reality, the chemistry and technology of wine production come largely from Europe and are used there for years before they reach California. In one place Bonné even complains about "stirring of lees to bulk up anemic fruit"—yet lees stirring is an old European cellar practice. Yes, some of Bonné's points can be challenged, but I found as I kept turning the pages that he shows a good understanding of vineyards and winemaking, and he seems to care deeply about the future of California wine. Bonné states clearly that he wrote "The New California Wine" out of tough love. He wanted to bring attention to what he considers the state's best wines—mostly new ones but some old ones, too—and especially what makes them that way. Every winemaker and grapegrower in California will find value in this book. We all learn more from people who constructively point out our shortcomings than from those who simply praise us. It's healthy for the wine industry to recognize another influential reviewer who can help diversify the public's appreciation of the broad and beautiful range of wines that California produces. Some of Jon Bonné's points can be challenged, but he seems to care deeply about the future of California wine. Bonné's critique of Brand California sounds very familiar: oak chips, Mega Purple, water additions, acid corrections and lack of terroir. So what's original and useful in this new book, Bonné's first? What's new is that Bonné doesn't just whine about the overblown bottles placed in front of him to review. He pushes back from the table, drives out of San Francisco and hunts down obscure vineyard blocks and little-known cellars all over California to find alternatives that he likes better. He finds exciting new wines made from varieties unusual in California, and from old vines in non-prestige AVAs. In many cases, the winemakers who created them decided not to chase scores from the most influential publications—either because they couldn't afford that race or because they just wanted to be different. Rather than simply blasting wines he doesn't like, Bonné goes proactive in the best parts of the book. He paints a big picture of what he does like and goes into greater detail about viticulture and enology than the usual wine book. Part 1 lays out his criticism, introduces his protagonists and retells the history of California winemaking. Sonoma winemakergrower Ted Lemon of Littorai Wines is clearly a big influence, as are Napa viticulturists Steve Matthiasson and Tegan Passalacqua. 8 W in es & V i ne s D EC E M B ER 20 13 Part 2 is "The New Terroir: A California Road Trip," with chapters about 10 regions as diverse as Anderson Valley and Ventucopa. Part 3 is a wine-buying guide that includes recommendations by winery and line but not by specific vintages. These carry price ranges but no scores—and only a modest dose of descriptors. All of Bonné's content reaches beyond the needs of the average wine drinker—that person who buys the $5-$8 Brand California wine that he dismisses. It's written at the level of the wine trade and almost at the level of professionals who grow and make wine—and it's sure to raise their eyebrows (and probably their blood pressure, too).