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As my friend, the recently departed Nick Faith, told me many times, ‘remember, dear boy, we deal in higher level bullshit. Higher level, always.’ I laughed the first time he told me; then wondered quite what he meant. Shouldn’t we, as writers, always be telling the truth and avoid bullshit? Maybe it was just said with a hefty dose of self-deprecation.
Nick, to the best of my knowledge, never dealt in the world of fantasy. His books on Cognac are masterpieces of accuracy, the same for his work on wine, or trains, but he balanced the facts within the frame of a good story. His writing was never dry. He was a master of self-deprecation though.
Nick had also mentored me during my time as a judge on spirits competitions. ‘Dear boy,’ he said to me on one memorable evening when I was the last to leave the building, ‘I just realised that we still have to do cream liqueurs and advocaat. Fancy giving me a hand?’ That’s why the rest had turned tail so quickly. I don’t believe that a drop of a cream liqueur has passed my lips since that day.
The Storyteller: Nick Faith always dealt in facts, framed within entertaining anecdotes
Along with other spiritous luminaries greater than I, we were part of an eccentric bunch of educators called Taste & Flavour, led by our ringmaster Mark Ridgwell. It was in those sessions of competitive judging – yes even of cream liqueurs – and listening to him holding forth on Cognac that I got to understand about the importance of balance and authenticity, but also about having a wryly cynical eye on the machinations of companies, and the importance of story-telling, because it is through the last that we make connections. That self-deprecation is important as well. No-one can be judge and jury on all spirits. Best to deflate any thoughts that that might be the case early on.
I began to realise that Nick’s ‘higher level’ didn’t mean being inaccurate, or deceptive, or plain wrong. That’s plain bullshit (and we’ve seen plenty of examples of that recently). Higher level was totally different. It meant to enter the world of story-telling, of making people laugh with you, at you, and engaging with them.
Working in this higher level means you can weave in the tall tales, the people, the heritage, the rootedness of it all because that is what people, I think at least, are interested in. Who are the best presenters in whisky? The ones who tell stories. Here’s a case in point.
Pillars of Islay: Jackie Thomson, Georgie Crawford and Lynne McEwan brought their island home to life through story
Recently, I had the honour of moderating (because I am moderate in all things – apart from excess) a class at The Whisky Show between Georgie Crawford of Lagavulin, Lynne McEwan of Bruichladdich, and Jackie Thomson of Ardbeg. They were, rightly, insistent that it was to be a relaxed conversation about Islay by women who, in Georgie’s words, ‘love the work we do, the place we do it, and the people we do it with’. It was agreed that any mention of ‘women in whisky’ would result in the questioner being ejected from the room.
The whiskies – which were amazing – became props on a wide-ranging, often hilarious, and also emotionally engaging and touching 90 minutes where Islay and its people took centre stage. They talked about each other’s drams, told tales and showed how community is at the heart of whisky. As a result, the drams shone with a new relevance.
Dealing solely with hard facts reduces whisky to a list of processes and chemical compounds. You can read the scientific papers on those (and I do) but it misses the point because whisky-making isn’t just about strike temperatures and seeding rates, grind ratios and speed of flow. While all of that is necessary to make the whisky, the same information is used to create something which communicates and connects on a different, higher, level. And that, I realise, is part of what Nick meant. Find what you enjoy at this moment. Raise a glass. Have faith.
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