It took the French some 200 years of trial and error to discover which grape varieties did best in which regional soils and macroclimates. This painstaking exercise in pragmatism was given regulatory status as the appellation system, AOC. In 2005, a mere 17 years after the amendment of Ontario’s Wine Content Act prohibiting labrusca varieties from table wine, the VQA announced that the Niagara Peninsula had been divided into two major regional appellations: Niagara-on-the-Lake and Niagara Escarpment. These were further divided into 10 sub-appellations to reflect the local climate and soil structures.

At a time when the consumer is still confused as to the meaning of VQA — given the amount of Cellared in Canada off-shore blends that proliferate on LCBO shelves — it may seem premature. But I believe it’s the right thing to do to start the research. According to J. L. Groulx, the winemaker at Stratus (who hails from the Loire Valley), the task of defining terroirs is a lengthy business. "I don't think we'll be finished in 200 years anyway," he says. Since the active life of the average winemaker is 35 vintages, it’s going to take six generations of vintners before we really know what’s going on in the vineyards of Niagara. If you don’t plan on living that long, you can get a foretaste of what these sub-apps mean by comparing the Rieslings of Short Hills Bench on the Escarpment with those of Four Mile Creek on the Niagara plain. Riesling is the best variety to use as a control grape since its flavours, as a single unblended variety, are dependent on what happens in the vineyard rather than how it is treated in the cellar. Usually, Riesling is made in stainless steel so there is no wood influence.

Wine is a difficult and finicky houseguest. We’re lucky that it doesn’t have its own voice, or the bottle would spend most of the time complaining and we would have to send it for professional counselling. It would always be going on about something or other. Wine gets “bottle shock” when first introduced to the container in which it will spend its life, rather like an unsuccessful first date that turns into a lock-down arranged marriage. Wine doesn’t like to travel and has to rest several weeks on arrival at its destination before it gets back its mojo (balance). It has no desire to go to Florida for the winter; it doesn’t like fluctuations of temperature or being jostled by vibrations from machines (clothes dryers, compressors, dishwashers, elevators, trains, subways or passing traffic, etc.). It abhors bright light and heat and does not like the smell of paint, solvents, detergents or household refuse (strong odours can, over time, seep through the cork and affect the flavour of the wine). Given its finicky disposition, wine, if truth be told, probably suffers from agoraphobia: if those bottles in your basement had their way they would rather be slumbering in the dark, damp cellar where they were born and not have to travel at all. But life is hard, and wines, like pets, are there for our enjoyment. And, like pets, wine responds best to kindly treatment rather than benign neglect or abuse.

My heart bleeds when I see where some people store their wines. I have been in kitchens that have wine racks installed over refrigerators, with bottles slowly cooking from the rising heat and being massaged into old age by the vibrations of the compressor. I have seen wines stored in terra cotta tubular tiles set into stone walls beside a fireplace in the den. I have seen wines stored in unheated attics that bake in summer and freeze in winter — rather like Madeira lodges, which encourage the oxidization of their wines this way. And I have to confess that my own parents used to keep the single ceremonial bottle of Manischewitz in the linen closet, at a temperature above the thermostat setting in the living room. So be kind to your wine. It will reward you for your concern.

When was the last time that you opened a bottle of Plavac Mali, Grasevina, Malvazija or that splendid vowel-deprived white varietal called Grk from the island of the same name? If you can put your hand on your heart and say, “Not since lunch,” I’ll believe you; otherwise, you’re missing out on the Next Big Thing.

These are all wines from Croatia whose appearance in our market is all too rare. The Serbo-Croatian war of 1991 to 1995 set back the wine industry in both countries and only now are they making efforts to export them — a mere 15 per cent of Croatia’s wine currently leaves the country. Like the better-known European regions to the west, Croatia’s vineyards were decimated by the phylloxera scourge in the 1860s. An equally disastrous blight occurred after World War II when the Soviets took over and nationalized wine estates, turning them into collective farms. Then, one year after the fall of Communism in Croatia, the country was plunged into a five-year sectarian war. The result is that today there is less vineyard surface than before World War II, currently measured at 32,500 hectares.

The major hurdle for Croatian producers placing their wines in North American markets is the difficulty we have with the names of grapes, the producers and the regions. Who but the most adventurous would pluck from the shelves a wine labelled Matošević Alba Malvazija Istarska or Daruvarska Izborna Berba Bobica Graševina? And if on a dare you ordered a bottle of Crljenak Kaštelanski from a restaurant wine list, did you know that you’d be getting Zinfandel?

In over thirty years of chasing the grape around the world I have seen more than my fair share of magnificent wine cellars — underground caves in which I would happily be locked for the night, as long as I had a corkscrew. But I was not prepared for the cellar I came across in the most unlikely of destinations.

I recently visited the Bahamas and in Nassau, I stayed at Graycliff. This hotel dates back to the 1740s and was originally the home of John Howard Graysmith. The captain of the schooner Graywolf, Graysmith was a notorious pirate. And there’s something of a latter-day buccaneer in Enrico Garzaroli, Graycliff’s current owner. Garzaroli bought the imposing mansion in 1974 and refurbished it as an inn and a top class restaurant along with his own cigar production facility. The cigar operation employs 16 cigar rollers, called torcedores, mainly from Cuba, who make seven different blends. The original blend, called ‘The Graycliff’ was created by Fidel Castro's personal roller, Alvino Lara

Beaujolais has a problem. Half its sales are Beaujolais Nouveau, a craze whose days are definitely numbered. The resurrection of the region may well be in the unlikely hands of a 39-year-old truck driver from Nantes named Jean-Luc Bourbon. A self-confessed “non-conformist and agitator” (the precise words from his Domaine Bourbon brochure), Jean-Luc began helping his father Georges make wine after driving a transport truck for 10 years. Before coming home to Beaujolais with his wife Catherine and their two children to take over management of the estate, he studied winemaking for a year in Nantes. While there, he spent six months with a Muscadet grower learning how to make white wine.

"Not many people know how to make white wines in Beaujolais," he told me while we tasted his wines. This outspoken comment has not endeared him to the winemaking community in his village of Theizé-en-Beaujolais. Which may be why he is not listed among the sixteen wine producers on the village’s website. Or it could have something to do with a heated exchange he had with the president of the local Syndicat at his first meeting. As Jean-Luc tells it, “When I questioned him over some decision he told me to go back to my truck.

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In France they do it all the time — making blends of white grapes and sometimes doing white and black grapes together. Think white Bordeaux, Champagne, Edelzwicker from Alsace and Viognier added to Syrah in the Northern Rhône.

The varietal imperative, a gospel preached in North America by Robert Mondavi, has shaped consumer expectations that the best white wines are made from a single variety, whether Chardonnay, Sauvignon Blanc, Pinot Gris or Viognier.

But with the market-driven need for wineries to distinguish their product from their competitors, and consumers’ incipient boredom when presented with oceans of Chardonnay, more and more producers are turning to blended white wines. The began in California by Caymus Vineyards with its 1989 blend of Chardonnay, Sauvignon Blanc, Semillon and Muscat Canelli called Conundrum. The wine astonished the critics and won the top white award at the San Francisco State Fair in 1991. The philosophy behind this wine was summed up in the rhetorical question posed by its winemaker, Jon Bolta, “Why couldn't a wine mirror — in complexity and creativity — the dishes being invented by a new generation of chefs who had no allegiance to the traditions and rules of the past?”

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