Taste is an elusive sense. Have you ever tried to describe what bitterness is? What about the enigmatic meatiness of umami? It’s not an easy task. But should I change the question and ask what you feel when you eat something of a particular taste – not just whether it is hot, chewy or smooth, but what you think or how other parts of your body react besides those in your mouth – then we stumble upon a banquet of ideas.
I for one swoon at the pleasure of devouring a savoury stew of thick beef chunks, red wine, sea salt, carrot and sweet onion, but the taste of tripe makes me want to call a priest.
Food is emotional
The sense of taste triggers intense reactions in us, both physically and emotionally. Therefore, when writing fiction, we don’t need to rely on words such as bitterness, sweetness or sourness – readers know these gustatory concepts already. Our goal is to connect notions such as texture, smell, temperature, memories and expectations so that we can communicate the experience of taste.
Consider this sentence:
Joanne held the spoon of honey at arm’s length and let the syrup topple into her mouth. At first she felt a tingling, then a slight whisper of wattle and citrus before the sweetness started to crawl across the surface of her tongue like viscous wave of sugar ants, up the insides of her cheeks and across her palate. She closed her mouth and eyes and thought of her mother’s farm, the smell of warm September mornings and of her childhood pet, the one-eyed cat, Salamander, who would lay all day purring on her bare feet.
Here we reveal not just the physical properties of the food, but also the relationship between Joanne and the taste of honey, in both the present and the past. We animate the texture, throw in a few taste references that would make a thesaurus-hugging wine connoisseur proud; we depict even the way she eats the food.
Most people are familiar with the taste of honey, but by adding these emotional and sensory ingredients we are attempting to present honey in novel way.
Of course it doesn’t have to be as floury as my example, but I think depictions of food are only tasteless when they don’t venture beyond the ‘bland’, ‘sweet’ and ‘sour’. By using all the senses at our disposal, it is possible to transform the description of taste into a very delectable morsel for readers to digest.