Let the internet tell you when I've done something productive...automatically!

Join 14,889 other followers

Email Address:

Browsing Tags drinking

The Session #91 – Forgotten Friday: My First Belgian

September 5, 2014 · by Oliver Gray

(I missed the last few Sessions due to travel and exhaustion and illness, but I’m back! This month’s topic is “My First Belgian” hosted by Breandán and Elisa over at Belgian Smaak.)

Occasionally, the many moving parts of my writing life line up in a perfect row, like some rare celestial event where arcane energies mingle and a portal to other worlds opens very briefly. As the Session falls on a day I had other writing plans, I can feel the gears of my mind click and sync, suddenly whirring together as one as the clutch reengages. I typically write “Forgotten Friday” posts about places and items that have been lost in plain sight, but today, I’m using the literal definition of my favorite nostalgic infinitive: “to forget.”

This month’s topic asks me to recall the first Belgian beer I ever managed to sneak down my gullet. The problem is, no matter how far I stretch my brain, how many stories I pull from the depths of my hippocampus, how many bottles and labels I recall on the selves of the dozens of fridges of my life, I cannot remember my first Belgian beer. I can remember the first beer; it was a Boddingtons Pub Ale, at the dinner table with my parents, around 7th grade. Although, photo evidence says I probably drank a bit earlier than that (thanks, Dad), that’s my first fermented memory, the first time I remember drinking beer.

I also remember thinking it tasted like bitter instant oatmeal that someone had added way too much water to, followed by a quick internal question, “why would anyone want to drink this stuff?”

Don’t judge, it was the 80s in England. Just look at that red table and white leather couch.

If I had to guess, my first was probably one of the big boy Belgian beers: Duvel, Hoegaarden, maybe even a stray bottle of Delirium Tremens left to age in the back of our family fridge after a party. It’s possible, in all its wasted decadence, that my first Belgian was Trappist; my mom would often keep a bottle of Chimay Red on hand during the holiday season, for reasons I don’t quite understand, because neither she nor my dad drank it. But I cant’ say for sure. It’s a black void in my mental vault, one of those things I never built a place for in my memory palace, that will probably be forever lost in the deep dark ocean of my memories.

I’ll confess; I probably don’t remember because I’ve never taken to Belgian beer. I’ve homebrewed it, tried countless styles and brands, forced my tongue into a steel-cage death match with funky fermentation, hoping to one day emerge bloody but victorious, the Champion of Brussels. While I’ve gotten in a few good punches, I’m still likely to brace myself before taking a sip of saison, clench my jaw when quaffing a quad. I appreciate the artistry and heritage of many Belgian breweries, but something in the bready unmistakable yeast character of Belgian beer is antithetical to what my taste buds want.

While that may seem tragic (and trust me, for years I was convinced there was a fundamental flaw in my mouth), it has allowed me to finally accept a reality a lot of modern beer enthusiasts forget, try to dance around to avoid appearing unlearned or inexperienced: it’s OK to not like a certain style of beer. It’s OK to not like super hoppy, high ABV imperial IPAs. It’s OK if you find the salty sour of a gose a bit too much for your particular preferences. It’s OK to say, “I have tried this, and it is not for me.”

The only thing you’re obligated to do is appreciate that someone else, somewhere, probably does like that style. Maybe likes it so much they’re known to throw “favorite” in front of it whenever it comes up in conversation. You don’t have to like a beer, but always keep in mind: your not liking it doesn’t make it bad. Subjective bad and objective bad are wildly different beasts. If you’re into beer enough to have opinions (and don’t just enjoy it as a drink), it’s on you to be able to acknowledge when a beer is well made but not to your tastes, verses poorly made, and not up to the quality standards of excellent beer.

Memory is tied to taste, and I was hoping that sipping on some Belgian beer would cause a chemical cascade of mnemonic flashes. But it didn’t. It just reminded me of all the ways I’ve tried to force myself to like a style because of faux cultural pressure and personally manufactured expectation, and how, when looking at it in hindsight, that seems like a very silly thing.

A Year Without

August 12, 2014 · by Oliver Gray

At this point in my life, given my hobbies and my heritage, I shouldn’t be surprised that a few barstools, beer taps, and feet of lacquered wood can stir my emotions to boil. But as I sipped on a pint of Boddingtons on the same stool that my dad might have sat on decades earlier, all the sediment on the bottom of my soul roiled into a turbid mess of love and sadness. That pint was like any of the other hundred pints I’ve had – twenty ounces of cask-pumped bitter – but it was somehow different, too, like a golden, cascading, liquid echo of every pint my dad had ever had; all the laughter he’d sent into the rafters; all the life he’d lived in Cheshire, in England; all of him that is now in me.

Today marks one year that I’ve been without my dad.

Fifteen odd miles south of Manchester, after a brief jaunt on the M56 and a serene wind through the arbor tunnels of Castle Mill and Mobberly roads, I found myself outside a cottage, all white and black, a pub-turned-piano playing its history across the countryside. The inn, like many others in small English towns, juts perilously into the edge of a sharp turn, like a hitchhiker sticking his thumb out a little too far to attract the attention of passing cars. A faux-gazebo has been tacked onto the front of the building and the main sign has been updated with more contemporary font and filigree, but it looks almost exactly as it did thirty years ago, when my dad used to come here for a pint of bitter, a game of darts, a bit of nightly spoil to counter the daily toil.

We’d arrived midday on a Tuesday, as the pub was changing staff due to a pending sale. The kitchen was closed and it seemed all the locals knew no lunch was to be had at the Chapel House that day, leaving the entire building to us and a flustered barkeep who didn’t know where the previous owners had stored the pint glasses. What would have normally been a bustling bar stood empty, a graven memorial instead of a monument to conviviality.

We have a societal obsession with anniversaries, as if the tangible measurement of one full orbit gives us power, validation, reassurance that we’re alive. A birthday isn’t just a time to remember your origins, but a time to celebrate your victory over another cycle. Many people said to me, and I even said to myself at times, “it hasn’t even been a year” like a roll-over of the calendar would somehow temper my feelings, reset the pain, wipe everything clean by cosmic, solar virtue.

So here’s a year – fully, finally – and nothing feels any different.

I’d never been inside until now, but I felt I knew this place from stories and family legends. Rarely named directly, the Chapel House Inn was the cradle of my dad’s rambunctious zeal, the place he came to life with his companions, became the overflowing fount of energy and fearlessness that I’d known him for my entire life. My dad’s essence had merged with the building, with the bar, with local lore. Stepping through that door, into the tiny front room of the pub, into a past that was mine in name only, felt like ghost-wrapped nostalgia, a physical body possessing a lingering spirit, not the usual other way around.

We rendezvoused with Rhona, the widow of my dad’s best friend and fellow Chapel House haunter. She still lived in Knutsford and knew the history well; seemed to know more about my dad and his adventures as a thirty-something than even me or my sister or my mom. She’d lost her husband, Ken, three years prior, and I wondered why my dad never mentioned the loss of so dear a friend, even one separated by years and careers and continents. She even brought a pile of 3×6 pictures of the six of us – toddler versions of me and my sister with four grinning young adults – little reminders that when Rhona knew my dad, he was almost exactly the same age I am now.

A year, when mourning, is an arbitrary designation that’s supposed to make people feel better after a loss, a token that proves you made it, didn’t collapse, didn’t give in to all the suffering and stress. One year, in theory, marks the last “hard” milestone, claims that nothing from here out is new and if you made it this far, you can make it indefinitely.

I longed for some meaning that I hadn’t found in the rest of his memory, hoped that being there, where I’d never been but my dad had, would stir in me some epiphany, some extra understanding of who he was, and why, beyond the obvious, his loss took so much from me. I wanted his favorite pub to bring equal parts resurrection and closure. I wanted to walk in and see him there, smirking and joking, here, not gone, alive, not dead, my father, not a ghost.

And in some ways, I did. Time, when forced into years, seems linear, unbreakable, unrelentingly progressive. The way we approach life makes it seem like what has been taken away can never be given back, if only because so many years separate then from now. But if you take a moment to let your memories swirl and blend with the memories long-stored in a special place, let all the prosaic blandness of an empty bar whir to life with all you know, and remember, and love about a person, you can, if only briefly, meld the present with the past, be here and there simultaneously, see the one you love raise a glass from across the bar, and wink.

It’s been a year without, but only in a physical sense. This year has been filled with more of my dad than any year in recent history. His memory permeates my every day; his influence guides my every decision. We say “without” after a loss because that’s what makes rational sense. Emotionally, the first year after you lose someone, when you’re forced to face and digest the echo of their life, would be more aptly named a year “within.”

We didn’t stay long, just a few minutes to breathe in the family history and relatively unchanged charm. The soul-sore part of me wanted to relish that pint for hours, sit and try to commune with my father using the built-in Ouija board of musty chair cushions and sagging wood, but it didn’t feel right. My dad was a creature of habit, but never one to dwell. A pint of bitter, a pinch of time, and a punch of emotion was all he would have wanted. And all I could have needed.

Today marks one year that I’ve been without my dad, if I really believe he ever left me.

To live in hearts we leave behind, is not to die

Session #85 – Why Do You Drink?

March 7, 2014 · by Oliver Gray

Local beer-buddy Doug Smiley of Baltimore Bistros and Beer is hosting the 85th iteration of The Session. The topic: Why do you drink? I got a bit experimental with the syntax, but screw it, it’s a party.

The party is stagnant. Four new roommates stand in a crude circle. Their friends stand in divided groups, like a middle school dance. Small talk, weather, work is all anyone can muster. There was a time, earlier in the week, when everyone thought this was a good idea. The bowl of pretzels seems to be the most lively member of the gathering.

Poppy lyrics drift in from a lonely backroom stereo. Quiet, but audible enough, a soundtrack to a mistake. Faces stare at screens instead of each other. Excuses form; doors are eyed. An awkward laugh trails off before the echo of a bad joke.

But above the social lullaby a cork schlunks free like a single shot fired from starter’s sidearm. The rest of the band joins in, hissing, and glugging, and clinking hellos. Door knocks and six packs find their way in, and suddenly regret seems hasty.

Each sip or chug finds a mate with a boisterous laugh, and together they dance through conversations. A board game bursts to life with rolling dice, doing its best to keep pace with the shuffling of several decks of cards. It’s hard to track rounds when everyone starts drinking at different times, but bottles begin to pile up on counter tops, the lacing and puddles left on and in glasses the only sign the drink had ever been there in the first place.

A woman shouts out the lyrics to her favorite song, now blasting from the stereo that was surreptitiously turned up, turning the din into a unified chorus, singing perfectly in time with You Give Love a Bad Name. Shot through the heart, her boyfriend retreats to his shot slamming friends, licking his wounds right after he licks some salt and sucks a lime. Everyone winces and agrees shots are a bad idea, but in a perfectly little golden row the boozy cylinders line up anyway, revving the engine of the party to red line: 8000 RPM.

Right about now, unwanted guests crash the party; a petty conversation about Karen (that bitch), an argument that doesn’t need to happen in public (or at all), a unsettled stomach that didn’t eat dinner (and probably should have). The alcohol has loosed the lips, sinking social ships, drinking guarded sips, thinking in vitreous hollow tips. But through the noisy fog of camaraderie these voices don’t stand a chance, squelched and squashed at the first reminder that this is a party, after all, so take it easy and have some fun.

Behind these guests come the uninvited but not unwelcome, the intellectual discussions made hilarious by the participants forgetting what they’re talking about or slurring their sesquipedalian attempts to weave in jargon, to stay on theme, to stay on topic, to appear, in their group, the wisest and most learned of the ones who’ve maybe had just one too many. After each takes turns debating, countering, after logic fails because of liquid luxury, after the flow hasn’t followed it’s original path, Hemingway and Joyce and Kerouac make appearances, if not in literal literary allusion, then as muses and features or reasons for drinking, focus of cheer, celebrations of those greats who maybe, at some point, stood just as they stand, in a little clump, throwing out interjections through the haze of bourbon and beer.

The buzz of energy is palpable but lost behind the buzz of everyone else, the singing and talking and woohooing in the kitchen like a train has pulled in for dinner, blasted it’s arrival through steam whistle, unloaded it’s already liquored-up guests for a nightcap. Some have already re-boarded their rail cars, making for spinning rooms and welcome beds, but others persist and drink despite the whimpers of “but…” or cries of “no!” from their stomachs, brains, significant others, livers.

In twilight’s long late shadow, it’s hard to tell which reality is tangible, who people are, or if they are, when sober or drunk, which world is the one you belong in, here, now, then, there. In those nights when time seems just as immovable as it does fluid, when your senses have all but turned to blur and dust, your hand may brush something only recognizable in the flashes of supersight that come in dream, and your soul may ever so briefly – like a blue flash of static on a winters day – touch the infinite, the universe beyond our electromagnetic spectrum, the ever pulsing afterlife that so many, for so long, have sought to find, define, and bound in books of canonized scripture, that you managed, somehow through the guise of good times and good company, to find in the carbonation that bubbles ever upward, angelically effervescent.

So why do I drink? I guess I’m just like the chicken, really. I want to, however briefly, see what’s on the other side.

(Author’s note: I recognize that romanticizing drinking can downplay many of the realities of alcoholism. It’s easy – or convenient – when you work and spend time in an alcohol-related field, to ignore the pink elephant in the room. Alcohol dependence and addiction can pose a serious risk to life, health, and happiness. If you or someone you know is struggling with alcohol, there are many options available, and absolutely no shame in asking for support.)

Session #84 – Alternative Reviews – Breckenridge Bridge

February 7, 2014 · by Oliver Gray

This is my entry for the 84th Session, hosted by me, on this here blog. The topic: Alternative Reviews. Warning: this contains lots of words (even more than usual).

David raised his glass quickly but carefully, in one, thoroughly practiced motion. The amber sloshed perilously near spilling, the gyroscope of his wrist and hand the only thing from keeping the bar from a beery bath. “Here’s to life!”

The cry pierced the air above the bar, setting into motion an avalanche of reaction: displeased glares, questioning glances, humorous smirks. Even the drunk karaoke girls stopped to look at David, who by now, was standing on the foot rests of his bar stool like some inebriated half-giant.

Geoff looked at him down the glassy length of his shaker, smiling through his sip.

“It’s good to see you back to your old self.” Geoff said, as he set the glass on the bar. He picked it up again, looking down at the watery ring of condensation kept afloat by the bar’s waxy finish. He set the beer back down halfway on top of the first ring making a tidy two-ring Venn diagram. He turned to David, “Maybe you should slow down. You’ve had a hell of a few weeks.”

David looked back at him, eyes half glazed by the beer that was worming its way through the folds of his brain. “No man, I feel great! Why you gotta be such a cop all the time?” He waved at the bartender, trying to get his attention through the commotion of a Friday night.

“Because I am a cop, idiot.” Geoff had already slipped the car keys from David’s coat pocket into his own. He knew David too well, knew his tiny bladder and even tinier tolerance, and didn’t trust him not to fumble to his truck in three beer’s time, when he was well beyond a reasonable state to be awake, never mind drive. He checked the time on his phone. “Hey, Dave, man, I gotta run. Cathy’s expecting me soon and I’ve got a long shift tomorrow.”

“Aw man! Just one more, come on. COME ON!” David taunted him, holding one fist-defiant index finger near his face, scrunching up his nose and mouth, part demanding, part begging, part unsure he should even have one more himself. Geoff laughed, threw down two twenties, and shook his head. “Not tonight man. Next time. I got your tab though. And your keys. There should be enough there for a cab, too.”

It took another half hour to process that Geoff had meant his car keys; thirty full minutes of crawling around in the stale beer-fog of under bar, looking for any glint of metallic silver of Chevy logo. The beer had done its job, and was still billing hours to the client of insobriety, so David didn’t even entertain being mad at the long-gone Geoff. He smiled at fate, and let the beer decide with infallible drunk wisdom, that the best bet was to walk the eight some miles home, not call a cab.

♦♦♦

The late summer air soothed his sing-along-sore throat, Vicks VapoRub on Colorado wind made of purple poppies, peeling pine, and that undeniable smell of coming thunderstorm. David loved August nights in Breckenridge, and for a while, lost in a alcohol-fueled flood of senses and emotion, he didn’t mind his hour long saunter.

He came upon the bridge, an old parker-style in need of paint with rust pocking its metal like acne on a teenagers oily forehead, and could smell the fishy waft from the river below. The crossing marked the halfway point of his trip home, that moment where he was equidistant between bar stool and bed, between drunkenness and sobriety. He took a moment at the center of the bridge to lean out over the rushing, storm-swollen water. Odd detritus lined the bank near one of the concrete supports: several mismatched tires, probably dumped there by Tom from the auto-shop on Lincoln; a soggy, algae stained futon that looked like a reject from an IKEA as-is section; a shopping cart upturned and abandoned at least a mile from its normal home at City Market.

The river passed by without noticing David noticing it, upstream looking exactly like downstream as if it didn’t matter where water began or ended, only that it flowed. If it hadn’t been so late, if he hadn’t been just one beer past buzzed, David might have dangled his legs down over the edge of the bridge and sat there a while, let summer sink into his soul, let the river wash away the night, let the peace of nature remind him how lucky he was to be alive.

As he turned to finish his journey home, some movement near the water caught his eye. A shape, tall and thin, a man down by the bank, near the access road, swaggering in shadow. Then he saw another man, a bigger man, approach from behind, thinking for a moment he heard shouting and crying on the back of the wind. He watched, too far to help, too close to cry out without jeopardizing himself, as the larger shadow slung something out of his pocket and snapped serenity in two with the crack of a cocked hammer colliding with primer.

Had his mind been clear, he would have immediately called Geoff, had the entire Breckenridge Sheriff’s department on the scene in minutes. But panic closed its powerful grip on his mind, and he could do nothing but run. Across the bridge, down a side street, through bushes and under trees. Muscle memory guided his feet, the world passed by, half buzzed by sprint, half buzzed by the the booze still sloshing in his stomach, and he soon found himself on his own front lawn, lungs grabbing desperately into the night for more air.

♦♦♦

A viper, two green slits on dark grey, stared at him from across the room. His eyes adjusted slowly like auto-focus on a dying camera lens, regret manifesting behind them like two jack hammers of you-should-know-better. 11:03. Not so bad, given how late (or early) he had slipped into the silky caress of his down comforter after his mad dash home.

He knew he should call Geoff, but was worried he hadn’t really seen what he thought he saw, that Geoff would just laugh him off and tell him he needed to go to AA. Even if David had wanted to talk to him, he couldn’t find his phone, and weight of his eyelids and slouching slurch of his stomach suggested it might not be time to get up anyway. He let his head fall back onto the pillow and watched the snake disappear behind a horizontal curtain of black.

When he woke again, the viper was gone, replaced by two turtles rolling on into infinity. His headache had mellowed into a gentle sluggish fog, like his brain was covered with an entire bottle of Elmers. The hangover had cleared enough, enough at least, for him to sit up without worrying that a fault line might open up on the back of his skull. He dug around in his jean pockets for his phone, not surprised to see more than a few missed calls, mainly from his mother and Geoff, both of whom, he was sure, were checking to make sure he’d made it home in as few pieces as possible. He brushed away the notifications and nudged the phone with his thumb to call Geoff.

It rang four times before being deposited, like some lowly letter, in a voice mail box. “Hey man, it’s Dave. I’m fine, just really, really hungover. This is going to sound weird, but I think I saw someone get shot last night. Like seriously. I was pretty plastered, but I’m going to go check it out. Meet me at the old bridge at ten and I’ll tell you the whole story.”

The sun had long since exited stage West by the time he pulled into a spot by the old deserted fish packing warehouse. From here he could see the silhouette of the bridge like a lattice against the night sky, lights from down in the city giving just enough glow to make the sky look eggplant, not ebony. The night was calm except for the wind that swept down from the north in sporadic, energetic bursts.

David was late, but so was Geoff. Another fifteen minutes disappeared into unrecoverable history with eyes glued to the street that ran into pines on the far side of the bridge, waiting to see a squad car come rolling past the treeline. Another twenty passed and still no squad car, still no Geoff. Sick of waiting, David decided to see if he could find any evidence of what he witnessed almost exactly 24 hours before.

The water chilled the air near the bank, enough for David’s arm hairs to unfurl, stand up straight, like a frightened porcupine. He moved to where he thought he’d seen the shadow scuffle, searching the ground for signs of blood or foot prints or shell casings, using all of his best TV crime drama knowledge.

If anything criminal had gone down in the midnight deep, the river had washed away all evidence. David was sort of happy Geoff hadn’t shown up, and hoped he hadn’t even heard his voice mail. He’d obviously embarrassed himself enough the night before; no need to add this little costly piece of police involvement. He turned back, laughing at himself and his drunken hallucinations when he smelled the unique smoke of a clove cigarette. Before he could trail it to a source, he heard a loud pop, and pinch a stab of pain in his left side. Slick, stinking mud stained the knees of his jeans. His hands felt numb, like he’d slept on them for too long. The river and his vision danced red, then white, then dark.

♦♦♦

He heard the beeping first. A whole cacophony of machine generated pings and dings, some high pitched and rhythmic, others low, growly, but random. Despite sending many signals from his brain, his eyelids refused to part, his mouth refused to open, his throat refused to produce sound. He floated, robbed of three of five, only smelling, listening.

David bobbed in the cosmic darkness for what felt like two eternities. He thought he was thinking about things, about philosophy and theology, chatting up Alpha and Omega over a pint of porter, learning all about life before, and after, and now. Voices from across the bar occasionally chimed in with comment, but one stuck in his mind like an echo: “You’re going to be OK.”

Voices outside the bar, muffled voices, some he thought he recognized, others as foreign as a Japanese tourist in Texas, started to become more common. He regained some audibility, mainly in grunts, but enough to signal to the distant disembodied speech that he was there, and should not be ignored.

Eventually Light snuck in, a piercing, awful light, as if he’d just emerged from some dank cave into the brilliance of a Gobi afternoon. Pupils constricted and dappled ceiling tiles formed a landscape, telling David he was lying down, in a building of some kind. A plus. Geoff loomed over him, a huge face hanging like a moon over his bed. “Dave!”

Two weeks later, the grape sized wound near his left kidney had healed sufficiently for David to be discharged. As soon as he was conscious enough to talk, Geoff filled in the hospital-induced blanks. He’d been late to the bridge because the battery on his phone had died, and he hadn’t heard the voice mail. By the time he had arrived, David was already face down near some old tires, blood seeping down into the river like a sanguine tributary. They’d gotten him to the hospital in just enough time to prevent him from bleeding out.

Despite many, many objections from the nurses, doctors, and Geoff himself, despite his near brush with death, David demanded they go out for a celebratory beer. Convincing him like only a best, old friend can, Geoff obliged him. “OK, OK. Just one beer. I guess you deserve it.” At home, David ditched the mint scrubs the doctors had given him since his clothes had been taken as part of the investigation to find the shooter. He threw on a fresh t shirt quickly, already imagining the lager sloshing sultry across his tongue.

He parked his truck and met Geoff by the door. The bar was lively, even for a Friday night, and a group of tipsy college girls were bullying the touch screen on the Karaoke machine. Geoff pulled up a stool, and helped David onto his, worried about disrupting the stitches. David nodded to the bar tender, ordering two ambers, two ruddy wonders poured perfectly into branded shakers. “I think this moment deserves a toast.”

So you want to be a Beer Writer? – Part 1 – Pallet vs. Palette vs. Palate

December 4, 2013 · by Oliver Gray

You’ve finally arrived at the intersection of inebriation, grammar, and Microsoft Word. You want to pour your love of beer out of the glass and smear it all over the page. You don’t want to be stuck a mere drinker; you want to transcend, elevate, lift yourself up in a rush of carbonated glory. Good for you! Admitting you have a problem is the first step to becoming a beer writer.

But the first step, in this case, is nowhere near the last step. Being a beer writer isn’t all strolling down easy street, wearing your casual Ugg boots, whistling “Peaceful Easy Feeling.” Beer isn’t a matter of life and death; it’s much more serious than that. You’re going to have to commit to not only drinking lots of beers, but also drinking lots of beers. You may have to take time to appreciate flavors and smell decadent aromas, possibly with your nose. You may even, at times, when things get really intense, have to go out with your friends to drink beers.

It’s a cruel, unforgiving pursuit.

But if you’re committed, I’m here to help. The information below is part one of a primer to transform your regular old prose into luscious lager literature. I’m happy to answer any questions in the comments, too.

Bubbling Verbs

Any good writer knows her verbs are the real pack mules of the syntax, lugging all that context on their backs without so much as an angry bray. The beer world affords a writer a bevy of excellent verb choices, namely those associated with liquids, drinking, staggering, and hanging (over). If you’re trying to up the ABV of your blog posts and articles, strong beer verbs can make all the difference. See “she opened the beer” verses “she wrenched the cap free.”

Here are a few of my favorites (in infinitive form):

Brewing-related: to ferment, to flocculate, to mash, to stir, to boil, to roll, to pitch, to rinse, to sanitize, to cool, to rise, to sink, to measure, to gauge, to float, to attenuate, to prime, to bottle, to carbonate, to cellar

Beer-sound related: to hiss, to pop, to sizzle, to fizz, to glug, to chug, to gulp, to cheer, to clink, to clunk, to plink, to crack, to toast, to sing, to yell

Beer-action related: to pour, to glass, to barstool, to order, to bitter-beer-face, to pry, to wrench, to twist, to nose, to sip, to savor, to tongue, to raise, to grasp, to slam, to session

Beer-effect related: to smile, to laugh, to hug, to proclaim, to embelish, to haze, to blur, to lurch, to occilate, to waiver, to stagger, to wretch, to drunk-dial, to wrestle, to put-your-leg-over-the-edge-of-the-bed-to-stop-the-spins, to vomit, to pass out, to pound, to thirst, to hunger, to regret, to swear

There are of course hundreds more. Don’t be afraid to verb a noun if it seems fitting. Shakespeare did it, and he seems to have done pretty well for himself.

Off-Flavors

At times, when home brewing your own word-beer, slight miscalculations in syntax temperature or literary recipe can lead to unwanted off-flavors. These are easily avoided by carefully paying attention during mash-draft. Some common off-flavors to watch out for:

Pallet vs. Palette vs. Palate

Unless you’re talking about moving a bunch of cases in a warehouse or are literally planning to paint with your beer, the correct spelling of the tasty portion of our mouth is “palate.”

Drink, Drunk, Drank

To drink is probably the most important verb in a beer writer’s keg-o-verbs, but it vexes many people because its past participle, “drunk,” can be a verb, a noun, or an adjective, depending on its role in the sentence. To add to the confusion, as a verb “drunk” requires an auxillary verb (to have, to be) to be used correctly. You wouldn’t say “I drunk the beer” unless you were already ten deep. An easy rule to avoid mistakes in obscure sentence constructions: check for a “be” or “have” before the word. If there is one, use “drunk” (The beers will be drunk tonight). If there isn’t, use “drank” (I drank the beer).

Drunk is very versatile:

As a noun – Oliver is a drunk.
As an adjective – Oliver is drunk.
As a verb – Oliver has drunk all the beer.

As an added grammatical bonus, here’s a full list of tenses for “to drink”:

Simple present – I drink (beer.)
Simple past – I drank (three beers.)
Simple future – I will drink (that beer. That one, right there.)
Present perfect – I have drunk (all the beer in the fridge. My bad.)
Past perfect – I had drunk (all those beers before they even got here.)
Future perfect – I will have drunk (that whole case before I leave.)
Present progressive – I am drinking (this beer.)
Past progressive – I was drinking (that beer before I started drinking this one.)
Future progressive – I will be drinking (during #beerchat.)

There, now you are never allowed to mess up “to drink” ever again.

The 10 Types of Craft Beer Drinkers

May 23, 2013 · by Oliver Gray

With an ever-increasing selection of high-quality beers available, well, pretty much everywhere, craft beer enthusiast are experiencing an age of taste enlightenment, a malt and hops renaissance clad in glass, bearing colorful, cleverly labeled heraldry. With so many options, it was inevitable that drinkers and drinking habits would naturally stratify, form groups based on behaviors and preferences and concentrations of alpha acids. I give you, distilled from the hot mash of beer culture, the ten archetypal craft beer drinkers. For the record, I’m some kind of mix between #4 and #9.

(Side note: I used the pronouns “he” and “his” for simplicity only, and am by no means suggesting this is a male-only thing. We’ll just assume that “guy” in this context is as gender malleable as “dude.” Everyone is a dude, male or female or equine or mythological.)

1. The Local

This guy drinks beer brewed in his home state, and maybe the bordering few states, exclusively. He’s a champion of the local craft scene, often espousing the local nanobrew that is climbing in popularity in a new brewpub two towns over or announcing what seasonals his favorite nearby brewery will be shipping out next. He doesn’t scoff at great beer from other places, but given the option, he’ll say “think locally, f*ck globally” every time. You can’t really be mad at him for it either; he’s a catalyst for brewing progress, keeping the smaller brew pubs alive, supporting the system at the roots, nourishing all those little guys with precious praise and dollars.

2. The Old Faithful

This guy has worked the same job for ten plus years, orders the same meal every time he goes to that same restaurant, and to absolutely no one’s surprise, always drinks the same beer every weekend from the comfort of a well-worn chair. It’s usually something pretty good: an IPA from an established brewery or a modern, well executed lager. But, like an old man stuck firmly in a rocking chair at a retirement home lamenting how the world “used to be,” he gets grumpy and dismissive if someone suggests he tries something new. He’ll likely drink that beer until he dies, or until the brewery goes under, at which point he’ll try to find a beer exactly like it which may be the only time in his life that he tries new beers.

3. The Critic

This guy is a roiling mess of negativity, who despite having downed some of the best beer in existence, cannot seem to say anything good about any beers. His rampant criticism of anything and everything beer related makes the people around him wonder if he actually likes beer at all, or if he just really likes to talk about how much he doesn’t like beer. He’s not uneducated, often correctly pointing out faults like over-hopping, high acidity, off flavors, and weak malt backbones. He’s probably tried more beers than most people who claim to “love/adore/admire” craft beer. But no one has ever seen him actually enjoying a beer. The day he does, the universe might implode.

4. The Appraiser

This guy is the antithesis of The Critic, who, despite tasting some stuff that a man stumbling through the desert dying of thirst would reject and wave off, loves pretty much everything that passes his lips. Even beers that could potentially be toxic or cause a severe allergic reaction; even bizarre beers, like that homebrewed rutabaga porter he tried last week; even beers that are stored and served in screw top two liter Mountain Dew bottles are OK in this guy’s world. If the beer really does taste awful, he’ll find something else to compliment, like the labeling or cool off-curlean blue of the bottle cap. When his drinking buddies say, “How can you drink this shit? Tastes like Scotch tape mixed with pureed owl pellets!” he’ll respond with, “Yea, a little bit I guess. But it’s definitely not the worst I’ve thing I’ve ever had!”

5. The Clueless One

This guy really wants to be part of the craft beer wave, really wants to fit in with all his friends at the bar on a Friday night as they take turns sipping from a sampler, but the combination of an unsophisticated palate and a possible learning disability keeps him from grasping the finer nuances of good beer. He’ll often ask, attempting to look beer-literate, if a lager is a pale ale, or if a stout is a hefeweizen. He means well, and seems to enjoy his beer, but can’t for the life of him keep styles or breweries straight. He once correctly identified an IPA and now that is all he will order, partly out of fear that people will realize he has no idea what he’s talking about, partly because he’s proud he finally got one right.

6. The Flavor Finder

This guy could be also be named “The Bullshitter.” His ability to identify flavors – many of which were not intentionally added to the brew – borders on paranormal. He’ll sniff at the settling head of an IPA and make verbal note of the subtle wafts of “raspberry, turmeric, and waffle batter.” He’ll take a sip and, swirling his tongue around his mouth, ask if you noticed the way the hops created “a dirty, rusty flavor” but “in a good way” then point out how the finish is like “molten cashews, cooked over a fire of pine needles and Brazilian rosewood.” The dude will claim to taste things humans can’t physically taste, like passion and eccentricity. If he is really tasting all of this stuff, there might be something really, really wrong with his tongue. Or maybe he’s about to have a stroke. No one knows.

7. The Beer Snob

Everyone knows one of these guys, the person not just happy to crack and pour and drink his beer, that guy who cannot control the urge to explain why the beers he drinks are vastly superior to the beers you drink. He’d never be caught dead with something less than 9.5% ABV, somehow equating alcohol content to quality. If it’s not a double or triple or Imperial version, he won’t even consider drinking it, as it is clearly below his refined tastes and standards. He spends his free time on BeerAdvocate and RateBeer writing short, overly-harsh and condescending reviews, always adding the note, “it’s no Old Rasputin” to the end of each. No one really likes this guy, but he thinks he’s doing the beer-drinking community a favor by ranting about the “impurity of large scale brewing” whenever he can.

8. The Beer Snob Snob

This guy has gotten all meta and is snobby about how snobby the beer snobs snob. He is the counter-culture backlash against the condescension that permeates the beer world, falling back on non-craft beers with lots of folk lore, like Pabst Blue Ribbon and National Bohemian. He wears square rimmed glasses, porkpie hats, and too-tight pants. This guy isn’t actually into beer for the sake of the beer, he just really, really likes to annoy people and say the word “irony” a lot. As soon as good beer isn’t cool anymore, it won’t be cool to like bad beer, which means it won’t be ironic to like any beer at all, and this guy will fade into mismatched, dub-step thumping obscurity.

9. The Comparer

This guy can’t help but compare the beer he’s currently drinking to every other beer he’s ever drunk. The first words out of his mouth after a virgin sip of a new (to him) brew, are always, “Hmm, this reminds me of…” It’s his mission to compile a mental database of every beer ever, to create connections between breweries, to be a walking, talking reference encyclopedia of craft beer. He’s actually great to have around if you’re trying to find new beers of a certain style to try, but otherwise his incessant obsession with categorization and beer hierarchy make him tough to hang out with. Never, ever, under any circumstance, unless you need to kill two or three hours, ask this guy what his favorite beer is. Trust me on that one.

10. The Brewbie

The new guy! The excited guy! The guy who just tried his first Stone Ruination IPA and just can’t stop talking about it! A new craft beer fan is born in the maternity wards of brewpubs every Friday night. This guy is usually overly enthusiastic, recommending every person try every beer ever, even if they’re underage, not a beer fan, or not even a human. He’ll go on about how IPAs are his favorite, no ambers, no pilsners, no stouts, no IPAs again; drunk on the new breadth of styles and flavors he’s just discovered, and also the beer itself. This guy tends to drink too much out of excitement, not realizing that his new beau is a good 2 or 3 or 5% ABV higher than the stuff he was drinking in college. No one gets mad when he gets a little out of hand though. His zeal and excitement remind us of ourselves when we first took a sip of that beer that turned casual drinker into enthusiast, and turned beer into art.

“Milk is for babies. When you grow up you have to drink beer.” -Arnold Schwarzenegger

Writing Contest – Liquid Literature – Winners!

May 12, 2013 · by Oliver Gray

After a week of reading and voting, clicking and tallying, the results are in!

Congratulations to Baltimore Bistro and Beer for running away with the voting with his piece on pale ale and writing self discovery! A second congrats goes out through the interwobs to JC, who I chose as my personal favorite for his clever and clean ars poetica.

I will send my edits of the stories to each winner sometime this week. In the meantime, they can send the second piece they’d like me to review to literatureandlibation@gmail.com. I’ll review anything – fiction, nonfiction, poetry – as long as it’s not like 50,000 words.

Thanks again to everyone who participated and made this first contest a success. I was honored to play host to your words and thought every individual piece was equal parts well done and well crafted.

An even bigger thanks to everyone who read and voted; I hope you enjoyed what you read, because I’ll be doing this again soon!

Writing Contest: Liquid Literature

April 26, 2013 · by Oliver Gray

I am pleased to announce the first official Literature and Libation writing contest!

The rules are simple: write a piece of flash fiction or a short essay – no shorter than 300 words, no longer than 1000 words – post it on your own blog or site, and link to it in the comments below.

To round out this week’s theme – Writing and Drinking – choose one of the following and base your piece on it either directly, metaphorically, or thematically. Include the number in the title of your piece:

Pale ale
James Joyce
Bar stools
A brutal hangover
Sangria

Submit your story by 11:59 PM, next Friday, May 3rd. I’ll create a public poll on Saturday May 4th so that everyone can vote for their favorite story. In addition to the voting, I will also choose my favorite from the bunch. Voting will end on Saturday, May 11.

Once all the votes have been counted, all the words read, all the stories digested and reviewed, I’ll post the winners on this here blog. The two winning writers will receive my feedback on the submitted story and an editorial review of another shortish piece (either fiction or nonfiction) like a book chapter or a longer story/essay.

I look forward to reading the entries!

“In wine there is wisdom, in beer there is Freedom, in water there is bacteria.”
― Benjamin Franklin

Craft and Draft: Writing and White Lightning

April 24, 2013 · by Oliver Gray

Some of the Jungian Collective Unconscious must have slithered into my brain on that day, about three years ago, when I was trying to come up with a name for this blog. I like to think I named this blog in the way most people name blogs: I randomly came up with something alliterative, convinced myself it was clever, gloated to myself about how clever it was, and then registered the domain.

But in choosing this name, I inadvertently formed a tributary that emptied into those ancient streams of whiskey, and tapped into a keg of ideas bigger than this little blog. I never really considered its meaning, all the latent unspoken truth in two words and a conjunction, until I’d been writing for a while. I never noticed that connection between writing and drinking that dripped into every post, my running themes, and my entire literary life.

We all know that m any famous writers, historically, drank. Many current writers drink. Many unborn masters of literary prose, still swirling in the cosmic well of zygotes and potential, will drink. Alcohol is as natural as wanting to express and communicate ideas. As long as yeast eats sugar and paper eats ink, writers will drink and drinkers will write.

I drink. Not exactly a shock to anyone who reads this blog or knows me otherwise. In the harsh light of reality I probably drink too much, if you compared my intake to the recommendations of doctors, Surgeon Generals, or Mormons. But I don’t drink to dull any emotional pain, for there is very little pain in my life to dull. I don’t drink to escape an unfair world in which I have no control, for I’ve worked hard to be in control of my life.

I drink because I like the taste of alcohol. Ale, wine, whiskey, rum, et al. I’ve gotten to a point where “beer” is probably my favorite flavor. It really has nothing to do with the alcohol content, but more so with injecting my palette with pleasurable experience. I’d gnaw on beer flavored gum if it was available and wouldn’t get me fired for drinking (or chewing) on the job. I’ve eaten “energy bars” made from spent beer grain. I even pop hops into my mouth while I’m homebrewing, nibbling on pellets or chomping on cones.

But I also drink to experience an ephemeral connection to something older, something external myself. A fleeting glance at the infinite. A forbidden communion with greater truth that we pay for with a hangover. A way throw my brain out into the same world as Joyce and Hemingway and Poe, to see what they saw, to figure out why they were looking in the first place. In the same way many people pray to find their gods, to ascertain certain truths, to understand their lives and the universe, I genuflect at the altar of the nature deity, CH₃CH₂OH.

Glass in One Hand, Pen in the Other

What makes alcohol special? There are many other ways to alter one’s mind if that’s the goal: meditation, prayer, marijuana, mushrooms, opiates, exercise. But all of those things are hard to do while writing. Every tried to write while jogging? Believe me, it doesn’t work like you’d hope. A lot of other drugs require both hands or complete focus for a period of time, during which you can’t write. Alcohol sits and waits for you. It doesn’t mind that you’re neglecting it while typing away. It is your passive, quiet friend at the back of the party who you haven’t talked to for 2 hours, but who will still toss you a beer from the cooler when he sees you heading his way.

In addition to being legal and relatively cheap in most places, alcohol lends itself well to the physical aspects of the writing process. It takes time to form a good paragraph, craft a good metaphor, just like it takes time to tame a good single malt, to savor a good IPA. The glass goes down as the word count goes up. There is a direct connection between an increase in productivity and a decrease in liquid.

When you stop to take a moment to reread or to think of your next transition, you can take a sip, let the beer or wine or spirit lubricate the rusty metal of those mental gears. And then just as quickly as you picked the glass up it is back down, your fingers back on the keyboard, the next step in the delicate waltz of clicking and sipping.

And just like an idea takes time to congeal, to fully form into something effective and readable, the alcohol slowly, methodically creeps into your mind. Opiates and cannaboids hit your brain quickly and unforgivingly; you’ll go from sober to stoned too quickly for even your most energetic ideas to keep up. But alcohol, no, it is patient. It lets your ideas sprout wings as the buzz rolls in. You get drunk on creativity and the booze itself, nearly at the same time, as long as you’re not downing shots and shotgunning beers like a Frat boy during Greek Week.

Two sides, same coin

Those artistic types who drink, who appreciate the craft in equal balance with the crunk, seem to fall into two categories. The writers who drink to drown their demons, hide them from the world, and the writers who drink to let the demons loose, free them from their midnight cages.

The prior are the kinds of people who live on the teetering edge of debilitating stress. The kind who stagger down a fine, fine line between wanting and needing. These people constantly wage a war against their pasts, trying to forget or make sense of those unfair events, using alcohol as a way to quiet the manic buzz of painful history darting around their mind for just a minute so that they can create.

If you are like this, you’re in good company: James Joyce was a ball of neurosis, likening his favorite white wine to the lightning he feared. Tennessee Williams knocked back more than his fair share, trying to confront his sexuality in a time when such things were kept well behind closed closet doors.

But for every head there is a tail. The latter kind of writer embraces the blur, loves the lack of inhibition that comes from the warm and fuzzy ethanol bloat. These writers (including the one you’re reading right now) include the booze-fairy among their muses, letting the scents and bubbles and lacing mingle with and taint their pool of metaphors. These people find inspiration in the bottle and the bottom, often letting their minds wander into unexplored landscapes while firmly holding the hand of inebriation, discovering things they probably wouldn’t have in the harsh burn of a sober morning.

If you’re one of these writers, you’re likely to meet Hemingway, Hunter S. Thompson, Faulker, and a ton of other famous writers who weren’t shy about their drinking habits, whenever you finally make it to that mead-filled greathall in Vallhalla.

Cursed Blessing

Disclaimer! It is not healthy to drink heavily. In fact it’s quite unhealthy if science is to be believed. Excessive drinking also leads to crappy writing, mainly because your fingers hit all the wrong keys and your eyes can’t really see the screen. Alcohol is a power that should be treated with respect, lest it consume you as you consume it. My father passed an adage on to me some years ago, a clever warning about the dangers of that one last beer: “The man takes a drink, the drink takes a drink, and the drink takes the man.”

There is a weird pervasive attitude in the world of art that a person must have a screwed up past or some ravenous personal demons to be successful. It sometimes goes as far as to suggest that the alcohol or drugs or other addictions were the reason for the success. They cite the great artists and authors, point out that some of the most perfect art was created by some of the most broken people. They claim the best memoir is built from a horrible childhood, and the best canvases are covered in just as much blood as paint.

I’m gonna have to go ahead and call bullshit on that. There are any number of successful people who lived either decidedly plain or otherwise happy lives. Like Erik Larson or David Sedaris or David Quammen. They still have plenty to say, wonderfully fresh ideas, and enjoy abundant, well-deserved respect.

Pain isn’t necessary. Helpful? Sure, maybe, for some people. Mandatory? Nah dude.

Alcohol is just another experience out there. One that a lot of creative types turn too, probably out of ease and access and history. One that can be fun or awful, that can enhance or destroy. It’s up to you as a person and an artist to decide how or when or if to use it. But remember to be reasonable. No one writes well hungover.

Remember Hemingway’s immortal words:

Write drunk, edit sober.

“I hate to advocate drugs, alcohol, violence, or insanity to anyone, but they’ve always worked for me.”
-Hunter S. Thompson

Craft and Draft: Be a Tool

August 27, 2012 · by Oliver Gray

The kids are all abuzz with the saying, “don’t be a tool” with the obligatory “bro” or “brah” or “son” perfunctorily tacked onto the end.

I say screw the kids.

Be a tool.

A lot of writers (and hopeless creatives in general) assume that their brain is the one and only thing they need to succeed. In defense of that theory, it is the source of all your ideas, the seat of your talent, and the mother of all of your ingenious invention.

But the brain is only the Dewalt cordless drill of our creative toolbox. We have tools all over us. In fact, we are made out of tools.

It would be pretty difficult to write without your hands. Sure, there are things like Dragon out there, but at the end of the day, I don’t know one writer who doesn’t rely heavily on the ten or so fingers at the ends of his arms to bring his stories to life. But do you take care of them? Are you careful about where you stick them, what your pour onto them, or what they do while you’re asleep?

Until very recently, I was a nail biter. The moment the tips of my nails got longer than 2mm, I gnawed them to bloody nubs like some deranged mental patient in an independent Canadian horror film. My fingers constantly hurt, and I’d be forced to keep band aids on them, which in turn impacted my writing.

I finally realized how stupid I was being and kicked the habit. I went to Target and bought some $3 nail hardener which also tastes like a mixture of cranberry juice cocktail and roadkill, just in case my resolve lapsed. I applied it daily and let my nails grow, only trimming them with a set of nail clippers when they looked uneven. The added bonus: my finger nails are now bright and shiny like a Disney Princess’s tiara. I am bootiful.

Suddenly, magically, my fingers don’t hurt! I can write for hours and hours without worrying about that raw cuticle I ripped into the side of my thumb. All because I took the time to take care of my hands, my tools.

That little anecdote is just one, somewhat graphic, example. You wouldn’t leave your nice expensive Craftsman table saw that you “borrowed” from your neighbor 9 months ago out in the rain, would you? Then why would do something similar to your body?

Deep down, we all have this image of these amazing writers and artists who lived the dream and created mind-blowingly brilliant work after six lines of cocaine and a fifth of Jameson. Unfortunately, this is not reality. Most of the people who lived like this crashed, and crashed hard. Think Hemingway, Capote, Thompson, Kerouac, Poe, Fitzgerald, Joyce, etc. While a few drinks may loosen your mind-muscles, a lifetime of binge drinking will not result in success unless you were born with some supernatural talent and an immune system to match.

You’ll never get to the height of your creativity if you feel like crap. It’s that simple.

If you eat something that makes you feel like shit, your writing is going to be shit. If you have no energy because you’re out of shape or haven’t been sleeping well, your writing will have no energy. If you’re feeling dejected and pathetic because you don’t believe your art is any good, your writing will deflate, curl into the fetal position, and cry all over itself.

To be great you have to work hard, and to work hard you have to feel great. It can be difficult to eat right and exercise all the time, but you have to try. Little things make a big difference. When considering that Five Guys double cheeseburger, opt for a salad from Sweet Green instead. When you’re sitting waiting for that slow ass elevator, remember that the stairs would get you there faster, and you’d feel better. When you sit down to clack away at the keyboard, these little choices will seep from your body through your fingers into your writing, and it will be better, because you are better.

You have been given an amazing set of tools. Use them and take care of them. Don’t leave them out to rust.

Drilling a pilot hole is like the first draft, and drilling the…nevermind, this analogy is going nowhere.