→ December 28, 2020
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Imbibe!

David Wondrich’s Imbibe! had been on my wishlist for several years, as it was recommended by several folks I follow on Twitter (including, I think, the great follow @creativedrunk), and he later appeared on the podcast Hugh Acheson Stirs the Pot. I finally picked it up a month or two ago when it was on sale for the Kindle, and while it’s a different book than I expected, it’s a great read if you’re a fan of cocktails, especially vintage ones, and how they took over the American drinking scene at least twice in history.

The inspiration for Imbibe! is “Professor” Jerry Thomas, a very successful if peripatetic bartender in the mid-1800s who mixed drinks at swanky bars and dives on both coasts and wrote what is believed to be the first book on drinks ever published in the United States, Bar-Tender’s Guide. He claimed that he invented the Tom and Jerry, an eggnog-like cocktail, and certainly did a lot to popularize the Tom Collins in the United States. He’s a towering figure in cocktail history … but he’s not really enough to support a whole book.

The real meat of the book is the drinks, and the way Wondrich presents the stories around each drink. Many of the classic cocktails we associate with the Roaring Twenties and the period before Prohibition have their origins in the late 19th century, as far back as the 1850s in some cases, a time of great experimentation with alcoholic spirits, which may simply have been a reaction to the inconsistent or low quality of the spirits available at the time. Thomas spent time tending bar in northern California during the Gold Rush, when he was mixing what I presume was god-knows-what sold as whiskey or brandy or whatever, and thus encouraged the introduction of various mixers and flavorings, notably sugar and other sweetening syrups, as well as peculiar combinations of liquors that would have produced cocktails so strong that you didn’t notice the taste.

I’m using the term cocktails loosely here to describe any sort of mixed drink, but Wondrich adheres to the strict historical definitions of cocktail, punch, sling, and more. A punch has four or five main ingredients – sour, sweet, strong (the booze), weak, and perhaps spice. A cocktail is a punch with the addition of some sort of bitters, potable or nonpotable. A sling is a punch without the sour element, and usually has nutmeg as its sprice. There are also sours (with lemon juice and sugar), collinses (a long sour, meaning it adds soda), juleps (with mint), smashes (with chunks of fruit), flips (with egg), and more. Wondrich walks through these categories and more with historical notes, pinpointing drink origins where possible and debunking the occasional myth.

Many of these drinks are best lost to history, with bizarre combinations of ingredients that result in drinks that sound like they’d have served no other purpose beyond getting the drinker as drunk as possible as quickly as possible. There are champagne cocktails that you’d never make with actual champagne, given the wine’s cost and how most people at least appreciate its flavor. Many drinks in the 1800s were topped with port, a fortified, often sweet wine that would have added color and alcohol but would have run through the flavor of the cocktail beneath like a rhinoceros on amphetamines. And all the eggs … there are some exceptions, to be sure, like a proper egg nog at the holidays, but I cannot see the appeal of mixed drinks with whole eggs in them, warm or cold.

Imbibe! is definitely not a book for every tippler, as it is, pun intended, rather dry in parts. Many of these drinks are antiquated, often lost to history, or only recently seeing a resurgence in interest because of the spread of artisan cocktail bars (which are, unfortunately, likely among the businesses most hurt by our government’s failed response to the pandemic). Some of the ingredients Wondrich identifies in original recipes are no longer available, or extremely difficult to find, and he has to recommend modern substitutes, which is fine but also would raise the question of whether we’re simply better off consuming cocktails and punches designed with those modern ingredients in mind. I’ve read enough about distilled spirits, especially rum, that I approached this book with more history of reading about this sort of thing – and perhaps a bit more specific interest in the makeup of some of the drinks. If you enjoy a good collins or sling, or are interested in the way flavors may or may not combine to create something novel in a glass, Imbibe! is as impeccably researched as you’ll find.

Next up: I’m playing catchup here on reviews but right now I’m reading the short story collection Addis Ababa Noir, edited by Booker Prize nominee Maaza Mengiste.

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→ July 21, 2015
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Proof: The Science of Booze.

Adam Rogers’ book Proof: The Science of Booze delivers handsomely on its title: It’s a book about adult beverages, and it will make you want to go drink some, but it also gives quite a bit of information on the (light) science involved in the production of and flavors behind those libations, especially distilled spirits. While some of the stories around booze manufacturing get too bogged down in operational details, there are also magnificent anecdotes within the book, including the best mystery you’ll ever read where the culprit is a fungus.

Rogers divides the book into eight chapters, each revolving around some essential element of alcohol production – yeast, sugar, fermentation, distillation, aging – or its consumption – smell/taste, body and brain, and the hangover. That gives him the latitude to talk about just about anything he wants that’s related to the manufacture of sauce and suds, including but hardly limited to some deep dives on what we do and don’t know about the science of such beverages.

Alcoholic beverages, especially distilled spirits – often called “hard liquors,” produced by putting some alcohol-containing mixture through a still, leading to whiskey (from fermented grain mash, like that created in beer production), brandy (typically from wine), rum (from fermented molasses or sugar cane), vodka (usually potatoes), and so on – have dozens or even hundreds of aromatic and flavor compounds, some of which still aren’t identified, that give them their distinctive tastes and smells. When you sip an aged spirit, often whiskey but applicable to rum and brandy as well, you may pick up “notes” much like you’d identify in good wines or coffees; those notes are specific chemicals or combinations of chemicals formed during the aging process, sometimes on their own and sometimes due to the interactions between the spirit and the wooden (sometimes charred wooden) casks in which they’re housed.

Rogers explores this angle, and many others, with visits to artisanal producers of these various beverages, moving his writing lens from wide shot to close-up and back, extrapolating from individual producers’ experiences to discuss larger points that he can back up (sometimes) with science. He talks about the obsessions distillers have with the shapes of their stills, even trying to reproduce flaws in old stills when it comes time to replace them with new ones. He talks to a barrel maker – apparently this is about as dying as a dying art can be without being, you know, dead – about the specifics of manufacture and the demands of clients. He gets into the lactones formed during the aging of whiskey in wood barrels, a subject so critical it’s even been the topic of academic research. He also compares production of alcoholic beverages from eastern and western cultures; where Europeans relied heavily on Saccharomyces cerevisiae, Japanese beverages such as sake and shōchū come from a mold called koji (Aspergillus oryzae).

Speaking of molds and fungi, the best passage in Proof is, by far, the mystery of the whiskey fungus, practically a detective story about one man’s quest to identify a specific organism growing on buildings near a particular whiskey distillery. The distilling term “angel’s share” refers to the portion of a distilled spirit lost to evaporation during the aging process, usually water but sometimes a mixture of water and ethanol, the latter of which attracts certain fungi that will be found growing on surfaces where the evaporated alcohol may condense. The story Rogers tells is told in greater scientific detail in this free Mycologia journal article – you probably still have that back issue at home – which describes the mycologists’ development of a new genus to encompass these molds, including Baudoinia compniacensis, now identified as the “angel’s share fungus.” Rogers infuses the story with a bit more drama than the journal piece does, of course.

Rogers even gets involved in the debate over wine ratings, where the American Association of Wine Economists (led in part by the perfectly-named economist Richard Quandt) is among the leaders in arguing that the judgment of wine experts like Robert Parker is too subjective to have any value. Quandt and Orley Ashenfelter, who also appears in Ian Ayres’ book Super Crunchers, are in effect the leading sabermetricians of oenology, whereas Parker is … I don’t know, Old Scout or something. Quandt even wrote his own manifesto comparable to Percentage Baseball or early Bill James Abstracts, called “On Wine Bullshit“. Rogers takes a somewhat middle road here, pointing out that truly objective wine measures are impossible until we’ve identified all of the molecules responsible for their flavors and aromas, but I thought he sided with the quants – as will many of you, I’d wager.

As only a casual drinker but one who greatly enjoys a well-aged rum and a well-mixed cocktail, I found Proof (which I listened to as an audiobook) both entertaining and informative, aside from the occasional tangent into manufacturing minutiae. I wish he’d spent a little more time on spirits beyond whiskey, but brandy gets a fair shake and I may merely be expressing my pro-rum bias. If you tipple, you’ll enjoy this book.

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→ February 27, 2014
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The Audacity of Hops.

Klawchat today at 1 pm ET.

Tom Acitelli’s The Audacity of Hops: The History of America’s Craft Beer Revolution is as comprehensive a history of the topic as I could possibly imagine, sometimes to the detriment of the book’s flow (pun intended), but also a totally fascinating look at one of the country’s greatest entrepreneurial and cultural success stories. Acitelli goes back to the movement’s origins in the 1960s, when Anchor was the nation’s only craft brewer by any reasonable definition of the term, and follows it through legal challenges, the need to educate the consumer, and some truly disgraceful behavior by executives at Big Beer (mostly Anheuser-Busch) on to the present-day climate where the U.S. is by far the world’s leader in both variety and innovation in the craft beer market. If you enjoy craft beer, as I do, this is an absolute must-read.

Acitelli’s initial section, where he describes Fritz Maytag’s takeover of the floundering Anchor brewery in San Francisco as well as other early startup efforts like Jack McAuliffe’s New Albion, spoke to me more than any other part of the book because it reflected so well my own experiences with beer. I grew up thinking I hated beer; I’d had Big Beer at various times, but despised every sip – it was watery and bitter and acrid with no redeeming qualities whatsoever. I thought it was what you drank to get drunk, or at least to seem older because you were drinking something forbidden, but never thought of beer as something you would drink because you liked it. When I was in college in the early ’90s, Sam Adams (the flagship beer of the Boston Beer Company, whose founder, Jim Koch, is one of the central characters in Audacity) was popular locally and was the first beer I’d tried and liked, or at least didn’t hate, although it wasn’t quite enough to convince me that I could like beer as a class of beverages. I was always a liquor drinker, rum and gin primarily, as well as the occasional hard cider (although many of those were too sweet, like wine coolers for people who didn’t want to be caught drinking wine coolers).

What I eventually learned, past the age of 30, was that I liked many styles of beer – just not the style promulgated by Big Beer, generally described as pale lagers or pilsners, but made in huge quantities from inferior ingredients. I love darker, richer-bodied beers – stouts and porters, of course, but also bocks, brown ales, amber ales, and even the lagers called Oktoberfest beers which are darker and have more complex flavors than pilsners. I started as a Guinness drinker, and still am to some degree – it’s a rare Big Beer brand I can get behind, along with Newcastle Brown Ale – but over the past six or seven years have found myself drinking more and more craft beers, as much for the adventure of trying new labels and styles as for the beers themselves.

The Audacity of Hops filled in countless gaps in my knowledge of the history of the styles and breweries I’ve enjoyed, starting with Anchor Porter, one of my favorite porters and, as it turns out, one of Maytag’s most important contributions to beer culture: Porter was dead as a style until Maytag brought it back. (Maytag’s great-grandfather founded the appliance maker, and his father founded the dairy farm that produces Maytag blue cheese makers as well. Pretty good bloodlines there.) He also served as the craft beer movement’s first apostle, although adherents traveled to him more than he did to them, and he was helped by English beer advocate and journalist Michael Jackson, who was among the first to sing Anchor’s praises. Maytag opened his doors to other would-be homebrewers, many of whom went on to start craft breweries of their own. Acitelli walks through what feels like every one of their stories, from those that folded, like New Albion, to ongoing success stories like Sierra Nevada (founded in 1980), Mendocino (1984), and Alaska Brewing (1986).

The book careens from story to story in Acitelli’s attempt to cover as much of the movement as possible, including as many startup stories, both of breweries and brewbups, as he can. Sometimes that is a necessary evil, such as his section on the founding of Delaware’s Dogfish Head brewery, the first serious “extreme beer” brewery, adding unusual ingredients to its beers or otherwise using unorthodox tricks with traditional styles – such as adding hops every minute during the hourlong brewing of its highly-regarded 60-minute IPA. But other times Acitelli mentions the openings of breweries or pubs that didn’t last and had no significant impact on the movement. A craft brewery that was the first in its particular state is not notable for that reason alone, and the book could have focused more on the leading figures in the movement – Maytag, Koch, Jackson, McAuliffe, Garrett Oliver of Brooklyn Brewery, and others – while losing some of the breadth of the coverage. Acitelli’s research work here is remarkable, given the number of people he must have had to track down for interviews, but the book takes a good 60-70 pages to get rolling because of the disjointed structure that bounces us back and forth between breweries and characters throughout the book’s length.

Next up: Back to the classics with Anthony Trollope’s The Way We Live Now, which will probably occupy me for the next two weeks or more.

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→ January 24, 2011
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Hot chocolate.

Quick break from boardgame reviews – I think I have six or seven in the queue to write up – and from prospect writing (the top 100 goes up on Thursday) to talk about one of my favorite beverages: Hot chocolate.

Now you might be thinking about hot cocoa, which is often incorrectly labelled “hot chocolate” by … well, by morons, because hot cocoa doesn’t contain chocolate, and cocoa and and chocolate are not the same thing. If you’ve had good chocolate – I don’t mean Hershey’s, which is to chocolate as gas stations are to coffee – then you know what I mean.

And that’s not to say that hot cocoa has no place in the beverage pantheon – hot cocoa is more of a quick warm-you-up, while hot chocolate is dessert in a cup. Hot cocoa does have the advantage of being easier to make, even without resorting to packets of sugar, guar gum, and “natural flavor.” Here’s how I do it:

1 Tbsp Dutch-processed cocoa (or 2 tsp cocoa and 2 tsp shaved bittersweet chocolate)
1 tsp sugar, or to taste
8 oz milk

Put the dry goods in your mug. Heat the milk to a bare simmer – in a microwave, try a minute on high, stir to prevent a skin from forming, then another minute – and pour just enough into the mug to moisten the cocoa. Stir or whisk until you have a smooth paste, then gradually stir in the remainder of the milk. If you find yourself with lumps of cocoa powder in the finished product, try sifting it after measuring. Add a shot of espresso for a mocha where both the coffee and chocolate stand in front, with the sweetener playing rhythm as it should be.

Hot chocolate, in a general sense, is what it sounds like: Chocolate, heated until it’s pourable, mixed with milk or cream or a combination thereof, and perhaps with accent flavors layered on top of it. If you’ve seen Chocolat – which, by the way, was much better than the book – you know what this looks like. It’s the best chocolate delivery system known to man, viscous and smooth and full of antioxidants, but who the hell cares about that because it’s chocolate!

I’ve tried a number of recipes for hot chocolate (also called “drinking chocolate” in some sources), and all were good because, again, we’re talking about chocolate. If the chocolate you put in is good, the finished product will be good. Callebaut is my favorite major brand, but these days I use the Pound Plus 72% bar of Belgian chocolate from Trader Joes, which is a lot more affordable when you go through the stuff as quickly as we do. (Valhrona is fine, but what they charge is in no way justified by some superior quality or smoothness. Callebaut is usually 60% of the price and as good if not better in texture and flavor.)

For my birthday last year, my wife bought me a small book called, appropriately enough, Hot Chocolate, by restaurateur and food writer Michael Turback. I find most little food books to be more novelty item than useful resource, but Turback approached this like a researcher, talking to dozens of pastry chefs around the globe and reproducing 60 of their recipes for hot chocolate, some of which incorporate unusual ingredients like chili pepper, ginger, key lime, cardamom, chestnut paste, matcha, or sake. Most work on the same general principle, however: Begin with a ganache (roughly equal parts cream and bittersweet or semi-sweet chocolate), then use that as the base for a beverage by adding milk and other flavors.

My favorite recipe so far is from Top Chef judge Tom Colicchio’s ‘wichcraft chain, which Turback says is known for the hot chocolate served in 12-ounce paper cups, a quantity I find hard to fathom because it’s so filling. Its key ingredient is fresh bay leaf, although I have made it several times with dried crushed bay leaves and can report excellent results. The recipe in the book makes six servings, but here is my adaptation for one:

Sisha Ortuzar’s Bay Leaf-Infused Hot Chocolate

1.5 ounces (40-45 grams) bittersweet chocolate, 60-72% cacao, finely chopped
2.5 fluid ounces (5 Tbsp) heavy cream
1 cup milk
1 dried bay leaf, crumbled
Pinch salt (optional)

Bring the milk and bay leaf to a simmer and let steep for at least five minutes, until the leaf is fragrant. Keep it warm as you make the ganache, but don’t let it boil or reduce.

Place the chocolate in a heat-proof bowl or directly into a mug. Heat the cream to a bare boil – be careful, as cream boils over fast, and fat burns easily – and pour over the chocolate. Let stand for two minutes, then stir to make a smooth paste.

Strain the milk into the ganache and stir until the mixture is smooth and homogeneous. Add a tiny pinch of salt if desired and serve.

–

I find salt intensifies the chocolatey flavor of chocolate, but the drink is still rich, deep, and satisfying without it. You can also boost it with coffee or rum or a liqueur like Amaretto or Chambourd, but I prefer it au naturel because it’s like mainlining cacao. Much credit is due to Ortuzar, chef and co-founder of ‘wichcraft with Colicchio, for the bay leaf/chocolate pairing, a less-than-obvious combination that works even better than chocolate and chili pepper.

Turback’s book is about hot chocolate, not hot cocoa, so all of the drinks included are rich and probably high in calories, not that there’s anything wrong with that. He includes a section on alcoholic hot chocolates, as well as a few white chocolate beverages that are just a waste of space. (Really, Michael, a book with 57 or 58 recipes wouldn’t have been enough?) Towards the back of the book are pairings, recipes for a chocolate drink and for a pastry to go with it, like a cinnamon-almond hot chocolate and cinnamon-dusted churros from David Guas, a former pastry chef turned consultant and author of DamGoodSweet, a book of New Orleans-inspired desserts.

Hot Chocolate isn’t an essential cookbook but it’s the sort of cookbook to which I’m gravitating these days, books that can inspire me with new ideas for flavor combinations rather than instruct me on the mechanics of a recipe. However, making hot chocolate is about making ganache, and anyone with a stove and a whisk can do that, so a non-cook can get some value from the book as well.

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→ November 24, 2009
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And a Bottle of Rum.

Wayne Curtis tries to downplay the ambitions set in the title of his book And a Bottle of Rum: A History of the New World in Ten Cocktails, implying that he’s not going to credit human existence or history to rum the way other authors have to cod or salt or other mundane foodstuffs. That’s all to the good in my opinion, as he sticks mostly to the history of rum and various people and products associated with its rise from “the distilled essence of industrial waste” to a top-shelf liquor commanding premium prices for aged varieties as you might pay for whiskey or brandy. (It’s also available on iBooks.)

Rum is, of course, distilled from molasses (or, rarely, sugar cane juice), which was originally discarded by plantation owners as the unwanted, unsaleable waste product of sugar production and refining. It gained popularity among sailors, even becoming part of a daily grog ration for members of the Royal Navy (a practice that was only discontinued in 1970), and then became the main liquor in colonial America, first as an import from the Caribbean and later as a homemade product, playing a role along the way in the Sugar and Stamp Acts. (Curtis also attempts to dispel the myth of the triangle trade, with a few references, saying that there’s no evidence any ship actually sailed those three legs or that the trade was as simple as the middle-school story indicates.) Rum faded from view in the U.S. only to regain popularity during and after Prohibition through Cuba tourism, the song “Rum and Coca-Cola,” and the rise of the tiki bar. It is a tumultuous history with plenty of associations with major world events, even if rum itself wasn’t always the cause of them.

Along the way, Curtis provides digressions about the real Captain Morgan and his namesake rum (which wasn’t always spiced), the American temperance movement against “demon rum” even though rum was rarely consumed at the time, the history of the mai tai and the tiki bar trend, Coca-Cola (and the Andrews Sisters’ song about the two), and Paul Revere’s ride with its possibly-apocryphal stop for a dram of rum. He weaves these stories into ten chapters, each covering a specific drink, including planter’s punch, the daiquiri – not the frozen sickly-sweet concoction, but the original rum-lime-sugar-crushed ice beverage that was the libation of choice of Ernest Hemingway – and the mojito. To his credit, he has proper scorn for flavored rums, pina coladas, and Coca-Cola, since all of the three take the focus of the drink off rum by inserting a dominant alternate flavor.*

*Curtis hits on a distinction I’ve been thinking about between cocktails and mixed drinks. If you read about the history of alcoholic drinks, you’ll come across two kinds – those that try to enhance the flavor of the central liquor or push it to the front of the drink, and those that cover it up because the liquor is of low quality or because the drinker can’t abide the taste of alcohol. The former group, what I think of as cocktails, comprised drinks that were seen as masculine, like you might find a Bertie Wooster drinking at the club, while the latter, simply mixed drinks, were seen as either girly or just déclassé. Curtis even mentions the rise of vodka, a liquor devoid of character and nearly devoid of taste, and its rise as younger male drinkers in the 1950s refused to acquire the taste for strong drink. A true daiquiri remains an acceptable drink in this dichotomy, as the rum is the star ingredient with the rum and sugar as supporting players. A pina colada isn’t, as Curtis explains, because “pineapple and coconut are the linebackers of the taste world,” obliterating any indication that there’s rum in the beverage. A dark-and-stormy (dark rum and ginger beer) works because ginger and rum are complementary flavors, much like mushrooms and onions or haricots verts and almonds, but a Cuba Libre doesn’t work because it’s just a Coke with a higher proof content. I’m not quite sure how a mai tai passes muster with Curtis – I think that’s only an acceptable drink if you’re on a tropical island, and even so, there are likely better options – but in general he’s pretty consistent.

Curtis also includes recipes for modern drinks as well as brief recipes for ten classic (or just old) drinks that lead into the ten chapters. One of them, just called “punch,” looked familiar, and after making it I realized it’s the drink called “planter’s punch” in Bermuda, where my wife and I honeymooned and to which we returned for our fifth and tenth anniversaries. It’s strong and the predominant flavor is rum (Gosling’s Black Seal in Bermuda), and while you can garnish it with all manner of garbage, at its heart it’s a daiquiri with some water and maybe a pinch of nutmeg, the latter a nod to the classic punches of Britain. And it’s very easy to assemble:

Juice half a lime into a glass. Add one tablespoon of sugar, simple syrup, or agave nectar; 1 1/2 ounces of rum; and two ounces of water. Mix well and add ice.

The end of the book has a brief selection listing Curtis’ favorite rums from a cross-section of countries and multiple price ranges. I found most of them at a nearby liquor store (the one at Fresh Pond next to Whole Foods, for those of you who live around here). They’re sipping rums rather than mixing rums, for more serious drinkers than myself.

Next up: Booth Tarkington’s 1921 Pulitzer Prize-winning novel, Alice Adams.

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→ October 3, 2009
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Everyday Drinking.

My introduction to Kingsley Amis came through his comic novel Lucky Jim, but Amis was also a prolific columnist on the subject of alcoholic beverages. Everyday Drinking: The Distilled Kingsley Amis combines two previous anthologies of Amis essays on drink (1973’s primer On Drink and 1983’s collection of newspaper columns Everyday Drinking) with a series of ten-question quizzes, originally published under the title How’s Your Glass?. Although there’s a bit of repetition – mostly of information but occasionally of jokes – between the first and second sections, the volume is educational and extremely witty, plenty to hold the attention of an occasional drinker like myself.

Each essay or column is built around a specific topic, usually a specific drink or class of drink, with digressions on topics like how to drink without getting a hangover, how to stock a liquor cabinet, or the decline of the English pub (so strongly felt that he delivers the same rant twice). Amis’s chief skill in writing these essays, aside from an apparently indefatigable liver, is blending strident opinion with direct advice so that his lectures don’t become shrill or dull.

His essay on liqueurs, for example, starts with an explanation of where that class of beverage originated (from preserving fruits in spirits) to discussions of a few major types to a digression on Southern Comfort, including his discussion of a drink called a Champagne Comfort:

Champagne Comfort is not a difficult drink to imagine, or to make, or to drink. My advice is to stop after the first one unless you have the rest of the day free.

Amis lays into any practice of which he disapproves, referring to lager and lime as “an exit application from the human race if ever there was one” (it’s listed in the index under “lager and lime, unsuitability for higher primates of, 170”) or as a Harvey Wallbanger as a “famous or infamous cocktail … named after some reeling idiot in California.” He expounds on Champagne as “only half a drink. The rest is a name on a label, an inflated price tag, a bit of tradition and a good deal of showing off.” There are several columns and one section on how to stiff your guests by shorting their drinks or by fawning over their wives so the women will defend you to their grousing husbands on the drives home.

While Amis is busy amusing you, he’s educating you on the history and processes of drink as well as offering suggestions and recommendations, even on wine, a beverage he professes to dislike. Understanding drink means understanding ingredients, processes, industrial practices, and accumulated wisdom of old sots like Amis. He writes that it’s best to keep seltzer or sparkling water outside the fridge, as refrigeration kills the bubbles. Why isn’t Jack Daniel’s technically considered a bourbon? (Because it’s made in Tennessee, not in Bourbon County, Kentucky.) What do (or did) winemakers in Bordeaux do in poor harvest years? (Import grapes from Rioja, a region in Spain that’s a major producer of red wines, particularly from the Tempranillo grape.) And he won points with me with several mentions of Tokaj azsu, the sweet wines of Hungary made from grapes affected with the “noble rot” fungus.

He also includes numerous drink recipes, including a few of his own making, one of which is, in fact, named “The Lucky Jim,” a dry martini with cucumber juice. I’ll trust one of you to give that a shot and report back to me.

Next book: Hangover Square, a novel by Patrick Hamilton, author of Rope, a play that became one of Alfred Hitchcock’s more famous films.

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→ December 5, 2008
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Cranberry daiquiris.

Here’s the recipe, since some folks have asked for it. It’s from Bon Appetit’s November 2004 issue, but for some reason, it’s not on epicurious. I made one or two tweaks, including adding the cloves.

Be careful. You can get completely hammered on these rather quickly, and drunk cooks don’t make good turkeys.

1/2 cup sugar
1/2 cup water
1 cinnamon stick
2-3 whole cloves
1/2 tsp orange peel
1/2 cup cranberries
1/2 cup light rum + 6 Tbsp light rum
6 Tbsp dark rum
6 Tbsp cranberry juice
6 Tbsp lemon juice

1. Dissolve sugar in water in a medium saucepan over moderate heat.
2. Add the cinnamon stick, cloves, and orange peel and bring to a boil.
3. Add the cranberries and cook until they begin to pop.
4. Cool, discarding spices, and pour into a glass container with 1/2 cup light rum. Chill.
5. Strain liquid, saving cranberries for garnish. Add remaining ingredients to pitcher and chill thoroughly.
6. Serve over ice, garnishing with drunken cranberries.

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