How a once-humble drink became the king of cocktails
Frank Sinatra, David Wayne, and a few martinis in The Tender Trap. Photo: Archive Photos/Getty Images Nobody argues that, among cocktails, the Martini is king. It achieved preeminence in the cocktail canon some decades ago and has never been seriously challenged since.
The prescient father of the literary Martini was Jack London, who made the cocktail the fuel that propelled Burning Daylight, the capitalistic antihero of his 1910 novel of the same name. Burning Daylight is the nickname of Elam Harnish, who strikes it rich in the Yukon gold rush, then moves to San Francisco to establish himself as a respectable robber baron. The regular intake of Martinis is part of his new persona.
The now-forgotten novelist John Allen Miner Thomas did Hemingway and Fitzgerald one better by naming his sole work of fiction after the cocktail. Dry Martini: A Gentleman Turns to Love, published in 1926, told of an old libertine named Willoughby Quimby, whose life of pleasant dissipation and debauchery is interrupted when his long-ignored, now-grown daughter comes to visit him in Paris. Quimby’s favorite haunt is a bar referred to as Dan’s Place.
For postwar American writers, the Martini seemed to transition from cultured accessory — a switch by which you turned on jollity and humanity — to security blanket, a depended-upon weapon against the encroachment of barbarism, melancholy and change. The WASP-ish characters in Edward Albee’s plays and John Cheever’s stories retreated into the knowable comfort of their Martinis. E.B. White saw the drink not as a party starter, but as “the elixir of quietude.” The food writer M.F.
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