Editor’s Note: This summer will mark the 100th anniversary of World War I’s outbreak. Today, contributing editor Nicholas K. Johnson brings us the first installment in a five-part series on alcohol, drugs, and the Great War.
World War I has often been associated with intoxication in popular culture. Cocktails like the French 75, so named for the kick of a common artillery piece, became popular during the interwar period. During the “Spirit of 1914”– a burst of popular enthusiasm upon the war’s outbreak– European intellectuals likened war hysteria to mass intoxication After the war, Ernst Jünger depicted modern combat as an intoxicating rush (or Rausch) in his popular novelizations of his own experiences on the Western Front. More recently, HBO’s Boardwalk Empire explored drug abuse, alcoholism, and the rise of organized crime through the stories of traumatized World War I veterans Jimmy Darmody and Richard Harrow. This entry explores how alcoholic intoxicants like wine and absinthe were used and depicted during the war. Our guide for this exploration is the poilu , the typical French soldier, and his fondness for wine.
This 1917 image depicts a poilu saluting a barrel of “father Pinard,” the wine issued to French soldiers throughout the war.
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Editor’s Note: This cross-posting is part of a series featuring items from the Julio Mario Santo Domingo collection recently acquired by Harvard University’s Houghton Library. Thanks to rare book cataloger Ryan Wheeler for producing the original post at Houghton’s Modern Books and Manuscripts blog.
The opium dens prevalent in France and the United States during the 19th century, as well as the culture surrounding them, resulted in copious literature, such as this rarely-seen work: Le livre de la fumée, by French author, musicologist, and student of Chinese culture Louis Laloy. This treatise on opium’s use and history both domestically and in China features a preface by Claude Farrère, author of the novel Fumée d’opium. It was published in 1915 by Dorbon-Ainé in a lavish limited edition of 220 numbered copies with illustrations throughout.
The Santo Domingo Collection includes several of the 220 copies; the one shown here is bound in full tan morocco with gilt stamping and embroidered cloth endsheets by the French bindery Marius Michel. The binding preserves the publisher’s original wrappers, themselves sumptuously illustrated in color.
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