Scotch producers are donating a further £100k to groups working to combat alcohol-related harm.
Jay Rayner has just celebrated two decades as restaurant critic of The Observer, which means a lot of lunches and dinners, and probably larger trousers. It’s also a long time to continue to be, as he is, engaged, perceptive and witty. After 20 years I’d imagine a sense of ennui would set in. ‘Been there, eaten that’ would be most humans’ response. So, congratulations Jay.
The only reason I know this is that he wrote a piece on the anniversary. His inspiration, he says, was the work of his peers Matthew Fort and Jonathan Meades, ‘who both made it clear that food is not just about taste and texture. It’s about politics and history, about love and sex, the environment, architecture and so much more. I wanted the chance to write about all of that’.
In-depth look: Jay Rayner highlights the importance of the story behind the food (Photo: Bella West)
Food writing is about more than just what the chef has put on a plate; it is about where the food was grown and by whom, and how it fits with a place and a culture. If we are what we eat, then what we eat embeds us on the planet – it touches us in multifarious ways. Where does that leave drinks writing?
This thing we now call ‘whisky writing’ started to form in the 1980s because of the growing interest in single malt. The field was open, there were many areas to explore. Information on production was still handled with a certain caution (and, in some cases, suspicion) by distillery managers who, in the words of former Diageo master distiller Mike Nicolson, were ‘strange men with oil stains on their tweed jackets who were locked away from the public gaze’.
Now, every distillery has been logged multiple times; the same questions asked and reported, the same stories repeated, the same people interviewed. As food writing has continued to move onwards, the focus in drink seems to have narrowed, and the flow of ideas has clotted.
While it is always essential to return and revisit a distillery, each time it has to be with the intention of learning something new. If all the information is already out there, why ask for it again? Instead, the question should be: what angle hasn’t been tried?
Last year, at the World Whisky Forum, InchDairnie’s Ian Palmer spoke of the death spiral that would happen if the industry only talked to (and then agreed with) itself. The same applies to writing. It has to be more than just tasting notes and the same distillery profiles, and tossed-off trivia.
Worldly influence: The story of food, like whisky, originates from people and places (Photo: Rawpixel)
If food is also about politics, then so is whisky. If what is on your plate has a cultural resonance, then the same applies to what is in your glass. If it matters where food comes from and how it affects farming, then it matters where barley and wood and peat come from as well.
Writing can be a way to get into brand ambassadorship (one of the toughest and, often, most thankless gigs out there, by the way), but that should not be the sole aim. As a writer you might get sent samples and maybe go on trips or to events, but freebies are not a reason to start writing.
The story isn’t the liquid, or the distillery. It is what lies behind these structures and products. It is the ‘why’ as much as the ‘what’. Writing isn’t about you, your profile or your ambition. It is about the people, place or liquid you are writing about. You don’t matter. It’s not about clicks, it is about quality.
We all need to look at whisky, wine, beer or food, and see the bigger picture. We need to be provocative, challenging, entertaining and see connections to show how, like food, whisky is a lens through which to understand the world.
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