Not only should connoisseurs of bourbon not read this article, neither should persons preoccupied with the perils of alcoholism, cirrhosis, esophageal hemorrhage, cancer of the palate, and so forth—all real enough dangers. I, too, deplore these afflictions. But, as between these evils and the aesthetic of bourbon drinking, that is, the use of bourbon to warm the heart, to reduce the anomie of the late twentieth century, to cure the cold phlegm of Wednesday afternoons, I choose the aesthetic. What, after all, is the use of not having cancer, cirrhosis, and such, if a man comes home from work every day at five-thirty to the exurbs of Montclair or Memphis and there is the grass growing and the little family looking not quite at him but just past the side of his head, and there’s Cronkite on the tube and the smell of pot roast in the living room, and inside the house and outside in the pretty exurb has settled the noxious particles and the sadness of the old dying Western world, and him thinking: “Jesus, is this it? Listening to Cronkite and the grass growing?”
If I should appear to be suggesting that such a man proceed as quickly as possible to anesthetize his cerebral cortex by ingesting ethyl alcohol, the point is being missed. Or part of the point. The joy of bourbon drinking is not the pharmacological effect of the C2H5OH on the cortex but rather the instant of the whiskey being knocked back and the little explosion of Kentucky U.S.A. sunshine in the cavity of the nasopharynx and the hot bosky bite of Tennessee summertime—aesthetic considerations to which the effect of the alcohol is, if not dispensable, at least secondary.
Excerpt: “Bourbon, Neat”, by Walker Percy. Claremont Review of Books Fall 2001.