Showing posts with label anthony lane. Show all posts
Showing posts with label anthony lane. Show all posts

Wednesday, 30 April 2025

Anthony Lane - "The Intoxicating History of Gin"

https://www.newyorker.com/magazine/2019/12/09/the-intoxicating-history-of-gin




Luis Buñuel suggested holding the bottle of vermouth in a shaft of sunlight, so that it would irradiate the gin without touching it: a wicked twist on the doctrine of the Incarnation. Drier still, if spiked with apocrypha, is Noël Coward’s definition: “A perfect martini should be made by filling a glass with gin, then waving it in the general direction of Italy.”



A novice who dives into gin, or simply dips a toe, will soon notice the designation “London Gin” or “London Dry Gin” on many bottles, and will, understandably, assume that the stuff was made in London. Not so. The word “London” denotes a method, and you won’t need me to remind you that Annex II, Section 22, Subsection (a)(i) of Regulation (EC) No 110/2008 of the European Parliament and of the Council ordains that London Gin be “obtained exclusively from ethyl alcohol of agricultural origin, with a maximum methanol content of 5 grams per hectolitre of 100% vol. alcohol, whose flavour is introduced exclusively through the re-distillation in traditional stills of ethyl alcohol in the presence of all the natural plant materials used.” In other words, mix your bits together at the start and toss ’em all in the pot. Late arrivals will not be admitted.



The craze didn’t erupt from nowhere. The British have been imbibing gin, or some approximation of it, for hundreds of years. Seventeenth-century British soldiers, fighting in the Low Countries, showed a sweet tooth for the local rotgut, and the word “gin” derives from jenever, the Dutch for juniper. (Just to complicate matters, genever—a respectable spirit, sweeter and warmer than regular gin, and ideal for fending off the northern chill—is still widely drunk in the Netherlands.) Juniper had long been embraced as a curative, especially against the plague (it didn’t work), and that benign reputation lingered. We don’t know exactly what went into the “strong water made of juniper” that the diarist Samuel Pepys knocked back on October 10, 1663, but it did the trick and, he said, allayed his constipation.




No law on booze will ever surpass the ingenuity of those determined to break it, as any student of Prohibition is aware, and as any reader of “The Life and Uncommon Adventures of Captain Dudley Bradstreet,” published in 1755, can confirm. The author was on the make during the later Gin Acts, and, having studied them for loopholes, displayed both wit and élan in staying, if only by a whisker, within the rules. He realized, for instance, that the authorities, who by now were clamping down on distillation in the home, had no right to break into the home to do the clamping. So he “purchased in Moorfields the Sign of a Cat, and had it nailed to a Street Window; I then caused a Leaden Pipe, the small End out about an Inch, to be placed under the Paw of the Cat; the End that was within had a Funnel to it.” At night, Bradstreet entered the house, shut the door, and waited:

    At last I heard the Chink of Money, and a comfortable Voice say, “Puss, give me two Pennyworth of Gin.” I instantly put my Mouth to the Tube, and bid them receive it from the Pipe under her Paw, and then measured and poured it into the Funnel, from whence they soon received it.




try Samuel Johnson, whose brisk Tory tolerance had an answer for most conundrums. Asked why it was worth giving halfpence to beggars, since they would “only lay it out in gin or tobacco,” he asked, in return, “Why should they be denied such sweeteners of their existence?” He continued:

    It is surely very savage to refuse them every possible avenue to pleasure, reckoned too coarse for our own acceptance. Life is a pill which none of us can bear to swallow without gilding; yet for the poor we delight in stripping it still barer.




Wednesday, 22 February 2023

Anthony Lane - "Shock and Aftershocks of the Waste Land"

https://www.newyorker.com/magazine/2022/10/03/the-shock-and-aftershocks-of-the-waste-land




The shocks have triggered aftershocks, and readers of Eliot are trapped in the quake. Escape is useless:

DA
Datta: what have we given?
My friend, blood shaking my heart
The awful daring of a moment's surrender
Which an age of prudence can never retract
By this, and this only, we have existed
Which is not to be found in our obituaries
Or in memories draped by the beneficent spider
Or under seals broken by the lean solicitor
In our empty rooms

I happen to think, for what it's worth, that these lines, which come toward the end of "The Waste Land," are the greatest that Eliot ever wrote. They cast a shadow of a doubt over everything that we believe about ourselves, at different stages of our lives; over the stories of ourselves that we tell to other people; and over what they tell of us in turn. As always with Eliot, abstraction is offset by the taut particularity of physical things: the spider, the wax seals, and the shuddering blood, concluding in the long and mournful double "o" of "rooms." And the word "surrender" could be applied to so many daring souls: a lover at the instant of ecstasy, a religious devotee, a hounded warrior, a corruptible politician, a wooer who hastens, like Eliot, into a proposal of marriage, or a Dostoyevskian gambler, with the family jewels in his pocket. All of them will face that overwhelming question: "What have we given?" It is something that each of us must ask, on our deathbeds, though nobody wants to die in shame.

Thursday, 5 January 2023

Anthony Lane - "The Shock and Aftershocks of 'The Waste Land'"

 https://www.newyorker.com/magazine/2022/10/03/the-shock-and-aftershocks-of-the-waste-land



Eliot would lean toward the second. "Genuine poetry can communicate before it is understood," he wrote, in an essay on Dante. "It is better to be spurred to acquire scholarship because you enjoy the poetry, than to suppose that you enjoy the poetry because you have acquired the scholarship." What he sought, as both a writer and a reader, was "some direct shock of poetic intensity." True to that quest, "The Waste Land" is a symphony of shocks, and, like other masterworks of early modernism, it refuses to die down. (Go to MOMA and let your gaze move across Picasso's "Demoiselles d'Avignon," from west to east. If you don't flinch when you reach the faces on the right, bladed and scraped like shovels, consult your optician.) The shocks have triggered aftershocks, and readers of Eliot are trapped in the quake. Escape is useless: 

DA

Datta: what have we given?

My friend, blood shaking my heart

The awful daring of a moment's surrender

Which an age of prudence can never retract

By this, and this only, we have existed

Which is not to be found in our obituaries

Or in memories draped by the beneficent spider

Or under seals broken by the lean solicitor 

In our empty rooms

I happen to think, for what it's worth, that these lines, which come toward the end of "The Waste Land," are the greatest that Eliot ever wrote. They cast a shadow of a doubt over everything that we believe about ourselves, at different stages of our lives; over the stories of ourselves that we tell to other people; and over what they tell of us in turn. As always with Eliot, abstraction is offset by the taut particularity of physical things: the spider, the wax seals, and the shuddering blood, concluding in the long and mournful double "o" of "rooms." And the word "surrender" could be applied to so many daring souls: a lover at the instant of ecstasy, a religious devotee, a hounded warrior, a corruptible politician, a wooer who hastens, like Eliot, into a proposal of marriage, or a Dostoyevskian gambler, with the family jewels in his pocket. All of them will face that overwhelming question: "What have we given?" It is something that each of us must ask, on our deathbeds, though nobody wants to die in shame.