The Fool-Proof Seven Step Hangover Cure

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In his essay entitled, “The Hangover,” Kingsley Amis remarks that his subject is one only poorly and inadequately addressed by the world’s vast store of brilliant and illuminating literature, citing Kafka’s The Metamorphosis as “perhaps … the best literary treatment” of the subject. For his own part, he flat-out refuses to patch this gaping hole, opting instead to provide the reader with a set of cautions, cures, and preventive measures. In the process of relating them, of course, he conveys quite a palpable and insightful portrait of the experience, one that is hilarious in points, and rings all too painfully true in others.

Along the way, the essay provides some really useful advice to anyone who is now or ever will be overhung, and conveys it all through hilarious and brilliantly articulated examples, and what seems to be not a small bit of personal experience.

It’s unclear whether Amis is moved here by pity for the plight of his readers, or merely by the desire to sagaciously dispense the hard-won wisdom gleaned along the course of his own misadventures. But whichever may be the case, the end result is of great use to anyone who may happen to find him or herself suffering under the crushing burden of that dreaded ailment, regarded all too often with Schadenfreude by those who have sucked out less of life’s marrow the evening previous; and which, too, is considered unworthy of any real sympathy, because the condition seems so clearly self-inflicted.

I would like very much to contribute to the literature of the hangover, to do my part filling in that gap which Amis has identified. I want to shine the light of consciousness into that strange state of mind and body, at once completely confounding and at the same time, infinitely more attenuated and acute than that of any hale, sound person. However, in my opinion, fiction and verse are more appropriate media for such inquiries than is the (pseudo) critical essay. Despite Amis’s claim that “a full, direct description of the metaphysical hangover” would be “no fun to read or write,” I do believe, as does my own most frequently overhung protagonist, that “an artist who refuses to be confounded and contorted by the madness of his society becomes gradually but increasingly irrelevant and useless to it. Although this leads toward tranquility and wellness on the one hand, it leads also toward isolation and effective exile on the other.”

In the meanwhile, for all of you laboring at this very moment under the pain and befuddlement of too many good times, if you can bear to lift your eyes and drag them across the screen, let me offer my very own Amis-inspired, but significantly augmented regimen. For your enjoyment, your relief, and perhaps even, in the most extreme of cases, for the salvation of your very life, I offer you “Clive Watson’s Seven Step Fool-Proof Hangover Cure.”
 

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Step 1: Sanus per Aquam (hydration, hydration, hydration!)

“Health by water” is the rough translation of this Latin phrase, which provides us with the word “spa,” via acronym, and ain’t it true as ever a thing was. We are, after all, largely comprised of water. We die without it, and a wide variety of ailments worsen when we don’t get enough of it. The hangover is one of these ailments.

In fact, your hangover is a result of rapid dehydration, plain and simple. Abandoning regular doses of this vital substance, you’ve gulped down substantial quantities of its opposite, a draught among whose many magical properties is that it makes you shed your precious reservoirs of water at an alarming rate. Quenching thirst with a Singapore Sling or a Belgian blonde is like trying to tunnel your way out of a sinking ship.

We hear many complaints about the uselessness of the oft-repeated prescription of hydration. “If I’d had the sense to drink an adequate amount of water the night before, then I wouldn’t have woken in this dreadful state in the first place.” And it’s true: much of the benevolently distributed wisdom masquerading as remedy amounts to little more than sanctimonious jeering. “If you’d had the good sense and proportion to pace yourself and drink water, you wouldn’t be suffering now,” and the like. In other words, you deserve what you get. True? Who can say. Helpful? Hardly. Humane? Not in the least.

No one is in need of more compassion than those suffering in such self-afflicted states of extreme fragility, and ironically, or perhaps merely as demonstration of exactly how beastly man is to man on a regular basis, in the most mundane of matters, and by habit, no one is more likely to receive inhuman doses of spite instead.

It’s never too late to rehydrate! (Well, you know. Unless …)

In fact, you’re never going to get over your headache, your vague queasiness, or any of the hangover’s myriad fever-like conditions until you re-hydrate. Your only meaningful decision: to bounce back with surprising speed, or to wallow through an interminable recovery?

Not all hangovers are created equal, of course. Alcohol of poor quality tends to contain much higher quantities of toxic congeners (what’s a congener? Look here for an indepth discussion of what they are and why they may end up in your glass), toxic byproducts that work various kinds of voodoo on your skull. Add to this the fact that you may still be experiencing the lingering disproportions of the poison’s primary effect, and the full force of the hangover’s dreaded triple-whammy looms into view. The very same lens of inebriation which can transform an evening into a whirligig of giddiness and communal joy can, in turn, distort an already grim physical state into something positively nightmarish.

Nevertheless, the root of the problem is mainly one of fluid imbalance, and this can be remedied in simple steps. Let this solid fact be your guiding light. Despite what may well be a tendency towards gloomy thoughts and irrational fears, there’s no need to despair in the claustrophobic labyrinth of post-inebriation. Celebrate the knowledge that you can easily alter your condition. Hold it aloft, as one would a torch in a darkened cave. And then, begin to take the first steps toward liberation: pour yourself a glass of water. Repeat as often and frequently as able.

The Shortcut:

Ingesting fluids is a great start, and by all means, do. But it’s the speed of relief that is of the essence to the overhung, so let me suggest a multi-pronged approach: don’t just hydrate internally. Solid as your skin seems, it’s worth remembering that it is in fact a fine mesh which allows moisture to pass through gradually, not just out, but also in (remember how your fingertips begin to wrinkle after too much time in the bath?) Now I’m not suggesting you sit in the bath all day long — extreme exposure is harmful in its own right. But a dip in the pool, the lake, the jacuzzi, etc., can really do a lot to boost your recovery. A simple shower can work wonders.

Bonus:

The mere sensation of these activities can be deeply pleasurable. I once achieved tremendous relief simply by rolling up my trousers and dangling my legs in a pool. Extreme sensitivity to temperature is a common symptom of a hangover, so if you feel overheated, take a cool dip. If you feel chilled, a bit of time in the bath or hot tub will ravel two knots at once.

It’s hard to know exactly how much of the relief of submersion is from its replenishing effects, how much from the pleasure of sensation, and how much just from the small psychosomatic thrill we get whenever we do anything for ourselves. We could take some time and do some experiments to tease out these elements. But recovery isn’t a time for such strenuous questions. Most importantly, remember that anything which makes you feel truly good is worth pursuing in such a state. The portion of suffering which is not strictly physical is emotional and/or, as Amis puts it, metaphysical. Treating all sides of the problem at once is the best way to proceed. Water will get you started.

Up next, step 2: only in dreams

Posted in How To, Reflections., Selfhacking, Uncategorized | Leave a comment

Running is Magic.

Many thanks to The New Green Podcast, which kindly featured excerpts from this piece in their episode on running. Much obliged!

Do not try and float the shoe. That’s impossible.

I’ve been running awhile, and I’ve finally figured out why I like it so much: running is magic. It was in the middle of a run that I realized this, and I don’t know if I could have discovered it anywhere else. It’s as much a trip as a journey, and the world you wind up in is far different than the one where you began.

But what kind of magic are we talking about? Houdini? Pen and Teller? Merlin? Are we talking mirrors and rabbits, or flying monkeys? Well, it was Aleister Crowley’s oft-quoted definition that first put me onto this whole idea, so I ought to start out there. Crowley called magick “the Science and Art of causing Change to occur in conformity with Will” (Magick in Theory and Practice, Book 3 of 4 by Aleister Crowley, via wikipedia’s entry on magick). And yes, he did spell it with a ‘k’, purportedly to differentiate it from stage magic, but also, I’m assuming, to make it look all cool and old-timey.

Science, Art, Will, and Change. See? No crystal balls or newt-eyes required.

Now, I should mention: one thing I’ve always found curious about this definition of magic is that it seems to include all human action. Every time I write, say, or craft something, eat a roast beef sandwich, apply for a job, clean out my ears with a q-tip, I’m trying to change the world, if only in small ways, if only in my tiny corner of the world. And if my efforts are to acquire any weight, any chance of success, then I have to repeat them, thereby establishing a pattern of repetition, an order of practice, which pretty soon begins to look like ritual.

So, given such definitions, is there any human action born of will, (and isn’t every human action born of will, at least on some level?) that isn’t magic? Perhaps not. But maybe this is why I prefer Crowley’s broad definition. This is not calling on dark energies or forces … although it seems as if Crowley may have done more than his fair share of that too. But this, this is simply allowing the self to act. This is responsible agency. And when we begin to talk about shaping or creating the world through will and responsible agency, we’ve already left the realm of the oogity-boogity paranormal and entered the turf of well known philosophers such as Hegel and Sartre, for example. But then, perhaps the distance between these two realms has never really been so great as we typically imagine.

But we were talking about running. When I run, I run to change the world. Granted, I don’t change much of it, at least not all at once. But in another sense, I change every bit of it, in an instant — abracadabra-style. I change the world by changing myself. How does running change my self? Well, for starters, it changes me the way every action does, by becoming my experience, occupying me, enveloping me. My perspective on the world shifts.

But running is a particularly transformative experience. You’re moving, of course.  But when you run, the tempo is changed. You see the same things, but you see them more immediately, in faster succession. Strangely, as you begin to move faster, time seems to move more slowly. And in this new stream of the familiar, everything becomes new. You see things again for the first time. Everything startles you with what you’ve forgotten about it, or what you’ve never noticed.

And of course, you interact with everything. You see most things from at least three sides, for starters. You wrap yourself around things — houses, telephone poles, fences, pastures — twining the trail of your perspective around city blocks, across bridges, down and back the culs de sac. And in so doing, you learn them all much more completely. It’s the same multi-point-perspective intimacy which cubism tries to collect for us on a single plane of canvas.

Things feel a certain way, too, when you closely pass them by. Overgrown hedges, parked cars, the walls of tunnels, all announce themselves to your senses. You might feel the cool of their shade, the warmth they’ve accumulated after baking awhile in the sun; Or you might gradually become aware of the way a place smells: even just an undercurrent of clean stone, or decaying pine needles. Whatever you run over, under, alongside, or through, you experience intimately. And whenever you run, invariably, you experience something you wouldn’t have come across otherwise.

Mind is, among other things, an amalgam of experiences, stored, sorted, and matrixed, and when you run, you refresh and restock and revisit this amalgam. It’s a stimulating and refreshing experience, this recirculation — a bit like a hard drive defragmentation.

Of course, much of the self’s transformation through running is chemical. We flood our moods and our minds with endorphins when we run, and it feels amazing. I can’t speak for everyone, but whenever I run, I become giddy, euphoric, abuzz with energy and anticipation. And all of this leads not into a crash, but to a serene and nearly imperturbable calm, deep, practically post-coital in nature.

It’s not surprising, really. All our moods — whether gloomy, anxious, hopeful, calm, angry, frustrated, or bored, are the results and perpetuators of our chemical states. And it is these states which determine much of the character and quality of our experiences. My mood may not make a tree appear or disappear (though it might prevent me from noticing it), but it is very likely to determine whether or not I see a beautiful tree, or simply another healthy specimen; whether I see a sagging barn on its way towards being reclaimed by the earth as a testament to the beauty of all things in all stages of the life cycle, or as an ominous symbol predicting gloom, decline, and dissolution.

So mood determines how we see, and to a certain extent, what we see. And running, unlike many forms of exercise, also circulates me through the world, giving me a vastly more expansive spatial playground, version of the world, set of things to see, while simultaneously transforming these objects, these places, alchemizing, transubstantiating them by changing my own chemical state, and as a result, changing the way in which I see everything else.

And the way(s) in which I see everything constitutes my world; makes up, in fact, the only world I can access. And that world which we, collectively, feel, is the only world to which we collectively have access — and it’s this collaborative picture of the world which shapes all of our actions in it, and toward it, which actions in turn change and recreate it — both materially and perceptually.

This is this dance, between world and feeling self, between what there is, what we sense, and how we respond, that shapes the arc, the contour of the ever-shifting nebula of being. And it is this dance which I enter, this transformation, this magical ritual I undertake to change the world, both on an intimate, felt level, and on a global, collaborative level, every time I step out into the world and go for a run.

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iPhone and the Invisible Tether

Can’t be fixed? Try breaking it.

Visions and revisions

I love my iPhone.

Don’t I? Maybe I’m just addicted to it. I’ve certainly been known to display some of the signs of addiction … or obsession, at the very least: fidgeting with it, taking it out to look at for no particular reason, spinning it on the table, or just gazing distractedly at it as I poorly uphold my half of the conversation, keeping an eye on it while it just sits there, generally glittering.

But it really is an amazing device. Every time I think of leaving it behind and going out on the town free of my digital tether, I wonder: what amazing snapshot, video clip, instant price comparison, or timely, indispensable definition will I find myself wanting for this time? So maybe it’s a bit complicated: let’s call it a little from column A and a little from column B.

Either way, I felt a most peculiar twinge as I slid it from my pocket one evening in June, perhaps a bit more vigorously than was entirely necessary, and watched its oh-so-smooth and beguiling form slip out of my fingers and ride a grand arc in slow motion through the air to land with an acrobat’s precision on its very Achilles heel, the edge where glass meets metal. I’d dropped the thing about a hundred times before, but I knew right away that this one would be different. I scooped it up off the ground with a totally pointless nimbleness and fluidity, as if to compensate for the embarrassing fumble, or who knows, to save a shred of dignity in case anyone had been watching, and as I took in the truly beautiful lattice of tiny fractures that had suddenly leapt across my screen, I felt myself injected with an intense gamut of conflicting emotions. I was not just ambivalent. I was polyvalent.

Once the moment’s immediate micro-anguish and embarrassment were well behind me, I began to make an effort to glean whatever of value the experience might be offering. I’m not talking about finding the silver lining here, or calling something Shinola that, well, simply ain’t. I’m talking about the waiting. The sitting still and watching as, one by one, the well-concealed insights of a small but unpleasant collision begin to appear and reluctantly present themselves. Despite the urge to rush out and replace or repair it, I decided to wait awhile. This new screen design, I decided, would become my Unnecessary iPhone Access Filter (UiAF, for all you acronym fiends). More than a month later, I have to report that it’s been performing really well in that capacity. Whenever I find myself simply unable to wait another moment for that hilarious fail video, to check my e-mail for the twelfth time in an hour, or even to get back to Buckminster Fuller’s Everything I Know on YouTube, the mesh pattern of opaque strands lancing across my screen sets me back for a beat.

Is that really what you need to be doing at this very moment? Is the air around you, the people, the view, the silence, really so inadequate, so unbearable that it must be escaped? Or, to borrow a line from a Zen master, “What in this moment is lacking?” Generally, the answers are no, and no, and nothing. And then I have to laugh at myself: at how atrophied has become my patience in this climate of perpetual consumption, everything all of the time, and above all else, no waiting. And to smile wryly at myself, for all of the ways in which I’ve taken the bait; at how dull and poor and weak become all of my experiences, whenever they are each nothing more than another blip in the stream of constant noise, light, action, sound and smell. In the absence of lack, it would seem, plenty itself becomes invested with lack, hollowed out by the the real vacuity, the nothingness which can never truly be banished or evaded.

The matter continues to perplex me. I will replace the screen eventually, I expect, despite my reservations. The art it helps me to make, the people it helps me to contact, to say nothing of just the plain fun it provides, finally outweigh the risk of the thing, at least for the time being. But the occasion to reflect upon it has helped to clarify for me the boundary line between use and abuse, between using the thing and being used by the thing. Much as I might like to ignore the fact, it’s true here as elsewhere: that which offers me access to everything also offers everything access to me, and it’s never been more important or more difficult to tease out where the one turns into the other, where the tide turns. And when we ourselves become the agents of all the various voices vying for our attention, then we have given up the contest without struggle. The conclusion will all have been foregone. I did some musing on the subject in a recent morning free-write, and I’ve attached below a few of the more interesting notions that washed up, in their cleaned and dressed form.

“There is the matter of the cracked iPhone screen. I feel conflicted about it. In some respects, it feels like a chance to get moving on into the newer gen, to get my video project going in earnest. On the other hand, it feels like an opportunity to cut back the thing’s influence on me. I have been frustrated for some time by what might be described as its intrusion into my life. To be sure, it’s an amazing tool, offering a seemingly limitless list of tasks it can perform, treasures it can deliver. But this is, in a way, the real problem with it. It tends to become the universal solution machine. And its power as objet d’art, fetish, totem, shouldn’t be ignored either. It is, after all, not only a beautiful piece (endowed with an elegance comparable to that displayed by the Zippo, for example, when it first appeared) and a powerful tool, but it is also a symbol of affluence and taste, a not-so-secret handshake for the club of smart, tech-savvy gadgeteers. It’s equal parts technology and accoutrement, really, the IT-thing for the techcessorizing crowd. But what explains it sway over us, really, at bottom? Why must we constantly be pulling it out? Why does it own our focus?

A host of reasons present themselves: sometimes, obviously, to communicate; to learn things, for necessity or curiosity. Sometimes, we must admit, to feel its weight, to enjoy its smooth, seamless design. And then sometimes, simply as a prop. A thing to play with, to appear busy and not idle, not at loose ends, not bored. And often, we pull it out to discover why it is that we are pulling it out. Maybe we are bored, or can’t remember what it was that we had meant to do, or whether we were trying to do anything at all. We pull it out by habit, mostly, or out of reliance on the simplest answer (or that which appears most simple), the closest nexus which offers us access to the widest array of answers, questions we hadn’t yet thought to ask, seems to let us command or else traverse cities all over the world, allows us to gaze with telescopically augmented retina into deep space, lets us collect the definitions of rare flowers, or imaginary cities, or secret societies. It offers all of this, and it rides around in our pockets.

This truly is a bijou, a talisman, the reigning token or standard of modern technology, successor to the computer, the telephone, the automobile, the Zippo. So we pull it out to find out from it why it is that we are pulling it out; because it has answered all of our other questions. We gaze into it with expectation or curiosity, and sure enough, it gives us an answer, whether inspiring, or hypnotizing, or lobotomizing. And then we are occupied. It does bring us the world, or a mosaic of the world. But everything it brings to us, it brings to us in a tiny rectangle. It’s the pinhole aperture, the keyhole in the door of the world, through which we peer, transfixed by what we see, but always also maddened by what we must be missing in the periphery. A scrying stone, softly backlit. And the world it delivers to us itself becomes miniature, replaceable, sucked dry of grandeur. That vista it brings us, no matter how staggering its actual scope may be, no sooner has it arrived than it becomes commonplace, already familiar, and almost immediately, a nuisance, in danger of blocking up the queue, clogging the channel, and making us miss the next three things.

Whatever else it does: it surely banishes all reflection and solitude, and deadens awareness of the body and everything going on around it. This seems reason enough to keep a close eye on it, to keep it on a leash, instead of vice-versa; or better yet, to bind it in a tiny oubliette. A bag, the Crown Royal bag, I think, within another bag. Yes. That will be my method.”

Well, that about wraps up my reflections for the moment. Anyone else want to share? What’s the climate of your relationship with your smartphone? And do you ever get the eerie feeling that it’s working against you?

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The Liquid Renaissance at Mediterrano

New flavors from an old standby.

Here's lookin' at you, kid. Reeves's Tunisian Whiskey Sour, at Mediterrano: Bulleit rye, lemon juice, and house-made orgeat, shaken, and poured over a two inch ice cube containing a mini rose bud, in a rose water-rinsed glass. Photo courtesy of Travis Reeves.


With the recent arrival of Raven’s Club and The Last Word , downtown Ann Arbor has achieved a truly staggering ratio of mixologist to fair citizen. If liquid culture is to have a Mecca, tree town has certainly thrown its hat into the ring as a contender. But what with all the hip new tipplin’ spots cropping up between Huron and Williams, it would be easy to overlook other exciting developments in local quaffable culture, such as the recent rebirth of the barspace at Mediterrano. This Ann Arbor staple, long familiar almost to the point of invisibility, has taken on new life with the acquisition of a few talented creatives, and we stopped by recently to sample a few of the new offerings.

The Aviation, pictured left,  is a classic, a great ice-breaker, and a good measure of a bar’s merits. As looks suggest, this one was delicious. Plymouth gin, lemon juice, Luxardo Maraschino, and a sink of Bitter Truth Creme de Violette, garnished with a lemon twist.

 

Travis Reeves, Mediterrano’s new bar manager and mixologist, got his start in the craft designing drinks for Eve: the Restaurant and Pacific Rim. He’s just plain fun to watch in action, which is lucky, as in action is where you’ll likely find him. Like any prolific artist at home in his medium, he’s always working on something new, or what’s much more likely, he’s working on six things new. When he’s not dreaming up the perfect vehicle for the new house-infused syrup, he’s figuring out how to inject your drink into a sphere of ice. And if he’s not doing any of that, he’s probably just acquired a fun new amaro with a really unique set of aromatic qualities, and he’s looking for just the right seasonal citrus to complement it.

Never tried an amaro before? Well then, you’re in for some fun. I could tell you about the stuff, but you should ask Travis, who enjoys discussing up and coming projects. But be warned: thirst is an inescapable consequence. This works out well for me, as talking about drinks is always way more fun when you get to taste them too. In the meantime, enjoy a few more highlights of our visit.

Keep an eye out for ephemeral sculptures floating in your glass, like this rose petal, frozen in a block of ice.



Kraken black spiced rum, Amontillado sherry, Ramazzotti amaro, and Aztec chocolate bitters, served in a sphere of ice. This cocktail comes with a hammer! Check out my own efforts in the video below.

 



 


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