More affecting still is the anxious, considerate way that my hosts greet me, sometimes even at the airport, with a large bottle of Johnnie Walker Black Label. It's almost as if they feel that they must propitiate the demon that I bring along with me. Interviewers arriving at my apartment frequently do the same, as if appeasing the insatiable. I don't want to say anything that will put even a small dent into this happy practice, but I do feel that I owe a few words. There was a time when I could reckon to outperform all but the most hardened imbibers, but I now drink relatively carefully. This ought to be obvious by induction: on average I produce at least a thousand words of printable copy every day, and sometimes more. I have never missed a deadline. I give a class or a lecture or a seminar perhaps four times a month and have never been late for an engagement or shown up the worse for wear. My boyish visage and my mellifluous tones are fairly regularly to be seen and heard on TV and radio, and nothing will amplify the slightest slur more than the studio microphone. (I think I did once appear on the BBC when fractionally whiffled, but those who asked me about it later were not sure whether I was not, a few days after September 11, a bit angry as well as a bit tired.) Anyway, it should be obvious that I couldn't do all of this if I was what the English so bluntly call a "piss-artist."
It's the professional deformation of many writers, and has ruined not a few. (I remember Kingsley Amis, himself no slouch, saying that he could tell on what page of the novel Paul Scott had reached for the bottle and thrown caution to the winds.) I work at home, where there is indeed a bar-room, and can suit myself. But I don't. At about half past midday, a decent slug of Mr. Walker's amber restorative, cut with Perrier water (an ideal delivery system) and no ice. At luncheon, perhaps half a bottle of red wine: not always more but never less. Then back to the desk, and ready to repeat the treatment at the evening meal. No "after dinner drinks"—most especially nothing sweet and never, ever any brandy. "Nightcaps" depend on how well the day went, but always the mixture as before. No mixing: no messing around with a gin here and a vodka there.
Alcohol makes other people less tedious, and food less bland, and can help provide what the Greeks called entheos, or the slight buzz of inspiration when reading or writing. The only worthwhile miracle in the New Testament—the transmutation of water into wine during the wedding at Cana—is a tribute to the persistence of Hellenism in an otherwise austere Judaea. The same applies to the Seder at Passover, which is obviously modeled on the Platonic symposium: questions are asked (especially of the young) while wine is circulated. No better form of sodality has ever been devised: at Oxford one was positively expected to take wine during tutorials. The tongue must be untied. It's not a coincidence that Omar Khayyam, rebuking and ridiculing the stone-faced Iranian mullahs of his time, pointed to the value of the grape as a mockery of their joyless and sterile regime. Visiting today's Iran, I was delighted to find that citizens made a point of defying the clerical ban on booze, keeping it in their homes for visitors even if they didn't particularly take to it themselves, and bootlegging it with great brio and ingenuity. These small revolutions affirm the human.
At the wild Saturnalia that climaxes John Steinbeck's Tortilla Flat, the charismatic Danny manages to lay so many women that, afterward, even the females who didn't receive his attentions prefer to claim, rather than appear to have been overlooked, that they were included, too. I can't make any comparable boast but quite often I get second-hand reports about people who claim to have spent evenings in my company that belong to song, story, and legend when it comes to the Dionysian. I once paid a visit to the grotesque holding-pen that the United States government maintains at Guantánamo Bay in Cuba. There wasn't an unsupervised moment on the whole trip, and the main meal we ate—a heavily calorific affair that was supposed to demonstrate how well-nourished the detainees were—was made even more inedible by the way that water (with the option of a can of Sprite) flowed like wine. Yet a few days later I ran into a friend at the White House who told me half-admiringly: "Way to go at Guantánamo: they say you managed to get your own bottle and open it down on the beach and have a party." This would have been utterly unfeasible in that bizarre Cuban enclave, half-madrassa and half-stockade, but it was still completely and willingly believed. Publicity means that actions are judged by reputations and not the other way about: I never wonder how it happens that mythical figures in religious history come to have fantastic rumors credited to their names.
"Hitch: making rules about drinking can be the sign of an alcoholic," as Martin Amis once teasingly said to me. (Adorno would have savored that, as well.) Of course, watching the clock for the start-time is probably a bad sign, but here are some simple pieces of advice for the young. Don't drink on an empty stomach: the main point of the refreshment is the enhancement of food. Don't drink if you have the blues: it's a junk cure. Drink when you are in a good mood. Cheap booze is a false economy. It's not true that you shouldn't drink alone: these can be the happiest glasses you ever drain. Hangovers are another bad sign, and you should not expect to be believed if you take refuge in saying you can't properly remember last night. (If you really don't remember, that's an even worse sign.) Avoid all narcotics: these make you more boring rather than less and are not designed—as are the grape and the grain—to enliven company. Be careful about up-grading too far to single malt Scotch: when you are voyaging in rough countries it won't be easily available. Never even think about driving a car if you have taken a drop. It's much worse to see a woman drunk than a man: I don't know quite why this is true but it just is. Don't ever be responsible for it.
Christopher Hitchens (1949-2011) was a columnist for Vanity Fair and the author, most recently, of Arguably, a collection of essays.