Creative Nonfiction

What We Don’t Talk About When We Talk About Drinking

WHY DO WE DRINK ALCOHOL? I heard it spelled out with clinical precision one night, years ago. I’d recently landed a job as a fact-checker at Gourmet and found myself out for drinks near the magazine’s Times Square offices with some editors I was a little in awe of. My shoes were all wrong. Where I’d gone to college was all wrong. I was pretty sure any drink I ordered would be judged wrong, too, as my companions sloshed singlemalts around on their palates and assessed the esters and phenolics. But I needed a Manhattan—my grandma’s cocktail and, for me, always, a big boozy hug of a drink—so I ordered one. The grizzled editor seated next to me did the same, which I’ll confess I found affirming. When our Manhattans arrived, he and I sipped in silence for a few minutes, letting the liquor do its work. Then he smiled down into his glass, palpably gratified, and said, “After a long day, having a Manhattan is a lot like having a mild stroke.” So true, I thought—and so far from anything we’d print in the magazine.

At the time, the writing on drinks in ran more to pairing advice like the following: “The wine’s verve is undiminished by the cream cheese in the canapés, and its flavor … unfurls, discreetly but irrepressibly, even across green olives, scallions, and Tabasco.” This was the early aughts. The craftcocktail boom was detonating all around us, but it took a few years to reverberate in the pages of . Drinks Editor James Rodewald first nodded to New York’s new-school speakeasies in a brief item in 2004; two years later, he noted “a return to

You’re reading a preview, subscribe to read more.

More from Creative Nonfiction

Creative Nonfiction5 min read
So This Dude
So this dude I’ve been working alongside, landscaping and whatnot, he looks a lot like me: buzz cut that’s starting to grow out, blond beard and mustache, blue eyes, maybe just shy of six feet, 160 or so pounds. Three weeks we’ve been working togethe
Creative Nonfiction2 min readForeign Language Studies
BETH KEPHART on Margo Jefferson
In her 2015 memoir, Jefferson chooses to write toward the cultural history she was born into—“upper-crust black Chicago,” as the flap copy puts it. from Negroland (Pantheon Books, 2015) As the book begins, Jefferson is taking it slow—easing in with r
Creative Nonfiction8 min read
Finding Your Public Voice
Early in my career, I joined a writing group with the word change in its name. When friends asked, “What kind of change are you writing about?” I responded, “Whatever kind of change is happening in my life”—whether that change occurred by chance or w

Related