Classic books, cocktails, and connections.

I’m a long-time fan of Abe’s Books. Their emails and posts are imaginative, clever, and—for book loves—totally engaging. (Abe’s also has a great inventory of very special first editions and such.)

Here’s an example of how they promote books by way of a theme:

Books are remembered for their characters, plots, language, humor, and heartbreak. They’re not typically remembered for their cocktails, and yet many of literature’s most famous stories are so full of booze their pages practically reek of it. In fact, alcohol plays a role in many important literary scenes, from the moment Ebenezer Scrooge endeavors to assist Bob Cratchit’s struggling family in Charles Dickens’ A Christmas Carol, to the sweltering hot afternoon at the Plaza Hotel in F. Scott Fitzgerald’s The Great Gatsby.

While we y not recall that it’s a bowl of smoking bishop Scrooge offers Cratchit, or that Daisy insists Tom and Gatsby cool down with a mint julep, there are some cocktails a reader cannot forget, like James Bond’s iconic martini, or the moloko plus in A Clockwork Orange. From the iconic to the hardly-noticed, we’ve compiled a list of literary cocktails fit for a bibliophile.

You can read Abe’s entire post here. And, you can learn how to make a real gimlet, my goto theatre intermission drink, by way of The Long Good-Bye.

We sat in a corner of the bar at Victor’s and drank gimlets. “They don’t know how to make them here,” he said. “What they call a gimlet is just some lime or lemon juice and gin with a dash of sugar and bitters. A real gimlet is half gin and half Rose’s Lime Juice and nothing else.

Happy Holidays from BrockelPress. Cheers!

By Stephen Brockelman

As a Sr. Writer at T. Rowe Price, I work with a group of the best copywriters around. We belong to the broader creative team within Enterprise Creative, a part of Corporate Marketing Services. _____________________________________________ A long and winding road: My path to T. Rowe Price was more twisted than Fidelity’s green line. With scholarship in hand, I left Kansas at 18 to study theatre in New York. When my soap opera paychecks stopped coming from CBS and started coming from the show’s sponsor, Proctor & Gamble, I discovered the power of advertising and switched careers. Over the years I’ve owned an ad agency in San Francisco; worked for Norman Lear on All in the Family, Good Times, Sanford and Son, and the rest of his hit shows; and as a member of Directors Guild of America, I directed Desi Arnaz in his last television appearance— we remained friends until his death. In 1988 I began freelancing full time didn’t look back. In January 2012 my rep at Boss Group called and said, “I know you don’t want to commute and writing for the financial industry isn’t high on your wish list, but I have a gig with T. Rowe Price in Owings Mills…” I was a contractor for eight months, drank the corporate Kool-Aid, became a TRP associate that August, and today I find myself smiling more often than not.

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