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What is a Flat Character — Types of Character Arcs Explained
By Kyle DeGuzman on September 10, 2020
When you think of the most iconic films in cinema, odds are there is a well-rounded, memorable, maybe even complex character attached to it. However, you may be surprised that many of these great films also use simple characters that lack complexity. These are flat characters. In this article, we'll take a look at what a flat character is, how they differ from round characters, and why writers intentionally use flat characters in their stories.
flat character definition
First, let's define flat character
Flat characters come in many varieties, but they all fall under the same definition. Let's take a look at the flat character definition to better identify what a flat character is.
What is a flat character?
A flat character is a character that lacks complexity and has a one-dimensional personality. Flat characters typically stem from a stereotypical character like "bully" or "boss". They can often be described in just a few words.
Flat characters, often called stock characters, never deviate from their rather simple traits. They are the opposite of "round characters" who have complex personalities and change throughout the course of a story. Flat characters are often used to support main characters in a story.
Characteristics of a flat character:
Conform to a stereotype
Lack an arc or development
Flat Character in detail
Traits of a Flat Character
To better distinguish what a flat character is and what defines one, let's look at the traits of a flat character in detail.
Flat characters are exactly that — flat. They are one dimensional and lack any complexity. Flat characters lack complexity in that they have no internal conflict, no complex relationships, and only a few defining qualities. A "bully" is a common flat character that lacks any defining qualities besides being mean and nasty.
Stereotypical
Flat characters usually stem from some type of stereotype or character archetype. These stereotypes assign flat characters their defining qualities. A great example of this can be found in the character Crush from one of the best animated movies Finding Nemo.
Crush is a flat character that stems from the surfer stereotype. His entire personality can be summed up as "surfer turtle." Yet he serves an important purpose in moving the plot forward.
Finding Nemo Marlin Meets Crush
Crush may be a stereotype, but in the scene, the stereotype immediately informs the audience on everything they need to know about his personality.
No arc or development
Flat characters are also typically static characters. Static characters are characters that remain unchanged from the beginning to the end of a story. They have no character arc or character development. While most flat characters are static characters, not all static characters are flat characters. So what is the opposite of a flat character?
Read More: Character Archetypes with Examples →
Read More: How to Introduce Characters in a Screenplay →
Read More: Character Development: Write Stronger Characters →
flat character definition BY contrast
Flat vs Round Character
A flat character is a character that lacks complexity. As we mentioned in the flat character definition, most flat characters can be described in a mere few words. Flat characters are usually also static characters that have no arc. Along with being rather simple, flat characters behave rather passively in a story and do not make any critical decisions.
The opposite of a flat character is a round character. Round characters are more fleshed out with complex personalities. Audience's know more about a round character's history, motivations, fears, and relationships. Round characters are also more dynamic and typically change over the course of the story as they deal with more conflict. For this reason, protagonists and antagonists are typically round characters. For some examples of a round character and why they are not flat, check out the video breakdown below.
Round vs Flat Characters
You might be thinking that a round character in all aspects sounds better than a flat character. So why do writers use flat characters intentionally? Well, flat characters are not always uninteresting or not useful. There are many examples of iconic characters that can be defined as flay and actually are great for specific purposes.
how to use flat characters?
Purpose of a Flat Character
There are several reasons to use a flat character in a story. The important thing is to know the purpose of a flat character before you write them in. Otherwise, the character will be uninteresting and unnecessary.
Move the plot along
The first reason to use a flat character is to simply move the plot along. This is common in genre stories that are more plot-driven than character driven films or a character study. Using flat characters to move the plot along is effective because they do not distract the audience with any character details.
In this interview, screenwriter Travis Seppala talks more about how and why flat characters are commonly used as plot devices that move a story forward.
Flat Characters in screenwriting
As Seppala mentioned in the interview, flat characters actions and behavior is driven by the story and plot rather than their character. This can be valuable for writers who need to use them as a device to keep the plot moving.
Symbolism and theme
Sometimes, flat characters can personify an idea such as a symbol or a theme. A common example is a villain or bully being the personification of evil. Yet this is the main if not only defining quality they have.
A great example of this type of flat character is Colonel Quaritch from one of James Cameron's best movies Avatar. Firstly, the Colonel stems from a military stereotype. He is used to represent the human resistance to change, cooperation, and perhaps even peace. Take a look at his first scene in the movie. What do we learn about him besides that he is military and about his feelings for Na'vi?
Avatar • Jake Meets Colonel Quaritch
At the end of the movies, the Colonel is still unchanged and his aggression toward the Na'vi is unchanged. His role in the film is to personify a threat and the theme of human beings taking rather than cooperating.
Comedic effect
Flat characters are often used for comedic effect and comedic relief. While they may lack dimension, they can serve as the writer's way to introduce comedy into a scene. This may mean they are often the butt of a joke or the one who always cracks jokes.
At the end of the day, understanding what a flat character is is important so that you can avoid creating flat characters in your main characters. However, it's also important to keep in mind that flat characters can serve a purpose when used intentionally and to serve the story.
Read More: How To Write The Best Character Arc →
Read More: What is an Antagonist? Definition and Examples →
Read More: Understanding Character vs. Plot-Driven Narratives →
How to Write Stronger Characters
Now that you understand what a flat character is, you may want to learn how to write round characters. In our next article, we take a deep dive into the components of writing strong characters that are capable of carrying a story and connecting to an audience.
Up Next: How to Write Stronger Characters →
Tags: Avatar, Finding Nemo, Screenwriting
Kyle DeGuzman
Kyle DeGuzman graduated from San Diego State University with a Bachelor of Science in Television, Film, & New Media. He currently resides in Denver, Colorado spending his time writing, filmmaking, and traveling.
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Based in Tortola British Virgin Islands Tel: Currently Unavailable
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> Smaller Islands
> Moskito Island
Moskito Island in the British Virgin Islands
Moskito Island in the BVI
It is impossible to speak about Moskito Island or the old Drake's Anchorage Resort, without paying homage to Bert Kilbride, owner of Dive BVI. Bert and (then wife) Menine bought the island in 1964 and together they established the resort that opened in June, 1966.
Bert was what most would describe as a BVI legend who spent the better part of 50 years searching for underwater treasure. He described himself as the "Last Pirate of the Caribbean". The resort was built overlooking South Bay, tucked up behind Colquhoun Reef. It quickly became a favourite hangout for scuba divers as well as a popular stop for the sailing crowd.
The principal photo shows you what the island looked like back in the day. You can see the original buildings that comprised the resort dotted along the north west side of the island. I will get new aerial photos soon. MUCH has changed in recent years.
My guess is that Bert, who spent years trying to find the elusive wreck of the St. Ignacio a.k.a. the "mother load" that went down somewhere off the Anegada Reef ... was hoping to hit pay dirt should a yacht or ship of substance hit the reef off Moskito Island and sink here. At the resort, he would be sitting atop whatever treasures (or salvage rights) there were to be had.
This reef has claimed its share of yachts over the years and demands respect from all approaching the North Sound.
Colquhoun Reef off Moskito Island, BVI
In an effort to downsize his workload and enlarge his bank account, Bert sold the island to Edward Fredkin and his wife Dorothy in 1970. Bert promptly turned around and bought tiny Saba Rock, which is just a hop, skip and jump away ... and set about turning that island into his own private oasis.
Drake's Anchorage continued to operate until 1997, when it was closed for the first time since Bert opened it. There was a brief reopening from 2000 until 2001, when it was finally and permanently closed.
In 2007, Sir Richard Branson, who also owns nearby Necker Island, bought Mosquito Island from the Fredkin's, reportedly for the tidy some of 20 million dollars. His intent at the time was to build an eco-resort, consisting of 20 solar powered villas and a restaurant.
However, he changed his mind about the resort and decided to turn part of the island into a family compound and sell off the remainder of the land. I believe there were 6 other parcels sold ... but I could be wrong. So look for further land development here in the near future.
There are a couple of notable beaches on Mosquito Island. My favourite is Hay Point Beach. This is a lovely, white sand beach which offers great snorkeling immediately offshore. Honeymoon Beach is another nice little spot but since the Branson's new development overlooks that beach, it's doubtful use of the beach (although quite legal up to the high water mark) would be very welcome.
Moskito Island & Necker Island
In the photo above, you can see Mr. Branson's other amazing bit of real estate. The lovely Necker Island is directly behind Moskito Island in the top left hand corner of the photo with Prickly Pear Island to the right and Eustatia Island immediately behind that.
Disambiguation:
Back in the early 1990's, Bert Kilbride, who owned the island from 1964 to 1970, told me the name was spelled "Moskito", he also showed me an old chart with that spelling. I have since found a chart dated 20th February, 1775 printed by Robert Sayer Map and Printsellers which also notes it as Moskito.
However, Ermin Penn, who is the historian for the Tourist Board (and has a mind like a steel trap) says that according to the BVI government, the correct name is Mosquito Island. I guess it all depends upon which century you prefer! Neither spelling is wrong if you take history into account and quite frankly, I like to stick with historical names. I have no clue when it was changed to Mosquito Island by the government or even if it was ever formally changed. I'll have to look into that!
Richard Branson, calls it Moskito Island, as did Mr. Kilbride. So long as we know there is some confusion on the issue, either name is good enough for me, though I must admit, I prefer the original spelling. Mr. Branson may want to know that Necker Island was spelled "Nicker" on the same chart dated 1775. Being a Brit, he may find that amusing. :)
Last updated: Jul 30th 2016
© COPYRIGHT 2021 BAREBOATS BVI

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MPO staff selected the roadway corridor consisting of Summer Street, Rockland Street, and George Washington Boulevard in Hingham and Hull for the federal fiscal year 2015 Boston Region MPO study, "Addressing Safety, Mobility, and Access on Subregional Priority Roadways." The study identified and analyzed a number of safety, mobility, and access problems that various transportation modes face in the corridor, including challenges for pedestrians and bicyclists. The study proposed short- and long term improvements for the entire corridor as well as for specific locations along it, such as the Route 3A rotary on Summer Street. The proposed improvements will help ensure that the corridor operates safely and efficiently for users of all transportation modes, according to the MPO's vision for future transportation in the area.


The E 25 is a German tier 7 premium tank destroyer.
The development of the E 25 was part of the "E" program, supervised by the Waffenprüfamt 6 committee. The E 25 was developed by the Argus company (Karlsruhe, Germany) under the supervision of Dr. Herman Klaue. No prototypes were manufactured.
Also known as "Cockroach" -- a premium tank which, if tanks were personified, would be considered to be that of an impish nature. An incredibly fast, agile, and stealthy tank destroyer, the E 25 brings an extremely high rate of fire to whatever part of the battle it visits. Because of its low damage per shot the E 25 punishes unaware or distracted players disproportionately more than any other and is capable of borrowing tactics normally shown by fast medium and light tanks. Don't be surprised if in a heated battle a player finds themself with a heavy tank fighting in front of it and an E 25 suddenly chipping away at their health from behind in what was supposed to be a safe area. Use of such tactics allow the E 25 to disrupt a battlefield in such a way as to turn what was a stalemate into decisive victory.
This tank was removed from the in-game tech tree on 22/12/2014 and from the gift shop on 15/1/2015 E 25: Withdrawal from Sales. Afterward it has appeared in the shop two times for a very short period and could be awarded from "large boxes" during the 2019 holiday event.
- Excellent mobility, able to keep up even with light tanks.
- Very low profile, hard to hit when moving.
- Incredible camo, one of the highest in the game. Nearly impossible to spot when it's hiding behind a bush.
- Excellent aim time, accuracy, and shell velocity. Amazing gun handling.
- Incredible DPM -- with good equipment and skills it is higher than the DPM of most tier 9 tanks!
- Preferential matchmaking; never sees tier 9 battles.
- Premium ammunition cost is low.
- Armor can pull off some lucky bounces.
- Low alpha damage and poor standard ammo penetration for a tier 7 tank destroyer, but both are more than offset by all other stats, as well as availability of cheap premium ammo.
- Low ammunition count -- a player can easily find himself toothless.
- Hated with a passion by many players; becomes a primary target when spotted. Artillery loves to catch you!
- Very high momentum. Tends to flip and slide even on hard ground.
- Vulnerable against ramming, but can deal massive damage to light armored targets.
Overall the E 25 should be played as a very mobile sniper, or a passive scout in case of emergency. It features an impressive 26.62 hp/ton ratio, making it quite fast and allowing you to reach positions quickly, as well as climb into some hard to reach locations only light tanks normally can reach. Distance is your friend, mostly because of your relatively very poor armor, but also because you sport top accuracy, allowing you to hit weak points even at distance. Your gun has an extremely high RoF, which allows you to deal consistent damage against exposed enemies. If you manage to destroy the track of a tank you'll be able to keep it stuck there until an enemy chases you off or until the target is destroyed. If you find yourself in close combat you'll need to use your mobility and fast turning speed to push into the side or rear of the enemy, constantly shooting and removing its health with incredible speed. You have no turret, so driving skills are vital in doing this correctly. Bear in mind that your low penetration means you'll have trouble penetrating a handful of tier VII tanks, and most Tier VIII tanks from the front. Luckily the low premium ammunition cost and very good accuracy and aim time should offset this, and even the heaviest of armor can eventually be damaged. This tank has an insane capacity to be decisive, even against tier VIII enemies.
The Entwicklung series, more commonly known as the E-series, was a late-World War II attempt by Germany to produce a standardized series of tank designs. There were to be standard designs in six different weight classes, from which several specialized variants were to be developed. This was necessitated by the extremely complex tank designs that had resulted in poor production rates and mechanical unreliability. The E-series designs were simpler, cheaper to produce and more efficient than their predecessors, however their design involved only modest improvements in armor and firepower over the designs they were intended to replace, such as the Hetzer, Panther G, and King Tiger.
The E 25 was planned to be developed into a tank destroyer and reconnaissance tank. The company Argus developed the vehicle whose design was very similar to the design of the Jagdpanzer Hetzer. The five built [discrepancy -- it says above no prototypes were made] in Alkett were driven by the 12-cylinder Maybach HL 230 P 30 -- rated 700hp, designed to be able to reach 65 kilometers per hour. The 26.3-ton vehicle carried a four-man crew and was armed with the 7.5cm PAK L70 gun. Additionally there was the anti-aircraft flak -- a 2cm gun in a small rotating tower. Later versions were supposed to mount a 10.5cm Kw.K. L/28 gun.
The actual planned length, width and height of the E 25 is 5.66m, 3.41m and 2.03m respectively. In World of Tanks, however, the E 25 is significantly smaller -- measuring only 4.5m in length, 2.78m in width, and 1.75m in height.
This page was last modified on 2 April 2019, at 19:36.
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Spa Aparthotel Cap de Creus is a 3 star hotel. Built in 2007. It has 24 rooms, all with private bath with shower or single jacuzzi bath tub integrated. Most rooms feature a fully equipped kitchenette.
It has 3 types of rooms: Double Standard, Double Superior Sea View, and Double Superior Sea View with terrace.: Double Standard, Double Superior Sea View, and Double Superior Sea View with terrace.
Seafront hotel with spectacular views of the Mediterranean Sea and the port of El Port de la Selva.
Our Hotel Cap de Creus features a restaurant-pizzeria "La Timba" for hotel breakfast.
In season you can taste a delicious Italian cuisine with panoramic views of the sea and the mountains.
We offer massage services and beauty therapy.
Rooms with modern design decoration and some adjustable beds, with option of towin or double bed. Full bathroom in room. Free wireless and cable internet, LCD TV, mini-bar, safe, work desk, air conditioning and heating.
Rooms with modern design decoration and some adjustable beds, king-size beds double jointed. Full bathroom in room. Some rooms with single whirlpool tub or shower. Free wireless and cable internet, LCD TV, mini-bar, safe, work desk, air conditioning and heating.
Rooms with modern design decoration and some adjustable beds for up to 4 people with a double bed and large sofa bed for 2 people. Full bathroom in room. Fully equipped kitchenette corner and single jacuzzi in the bathroom. Free wireless and cable internet, LCD TV, mini-bar, safe, work desk, air conditioning and heating.
It is located at the Aparthotel Cap de Creus. La Timba Restaurant is open for breakfast and dinner with panoramic views overlooking the harbor.
Enjoy your buffet breakfast reading the papers and enjoying the magnificient views of the sea.
La Timba restaurant opens in high season for dinner and Italian cousine. The restaurant specializes in pizzas and fresh pasta.Romantic menus, set menus, extensive wine list or takeaways are offered.
All a la carte restaurant La Timba meals are available to take out to your room.
The hotel features a spa area with sea water for in-house guest, consisting of a jacuzzi, sauna and shower.
You can reserve the Spa exclusively for you and your companion for an hour.
We have a massage room and beauty treatments which perform various treatments as: Reflexology, stress massage, moisturizer or even chocolate.
Services include massages, facials, hand and foot treatments, body scrubs and wraps and waxing.


SS30 Diamante sew on, or 5.75mm. Crystal rhinestones in 4 hole settings. Grade A genuine crystal rhinestones for dress making. Genuine leaded crystal. Not just glass!
Crystal Sew On Diamante also called Rose Montee, is a rhinestone that comes pre-mounted in a pronged metal mount with 4 holes in an x-shape in the back of the mount. They are rather flat, almost like a flatbacked stone in the mount.
Sew On Diamante are great for sewing onto wedding dresses, costumes, carnival costumes, bead weaving designs, bracelets and more! The rhinestones are prong set (not glued - the mechanical nature of the prong is more secure than glue).
RHINESTONES have been primarily used on costumes, apparel and jewelry by SEWING ON. There are holes at the back, which needle and thread can pass through. Sew On Diamante are made of crystal, NOT acrylic or plastic, the rhinestone origin is "MIDDLE EAST", it is a sparkling or shiny one !It is easy to sew on fabric, clothes, shoes, dog collar, home decor etc.
Description: SS30 Diamante sew on, or 5.75mm. Crystal rhinestones in 4 hole settings. Grade A genuine crystal rhinestones for dress making. Genuine leaded crystal. Not just glass!


These courses are designed for graduate seminary students pursuing degrees and/or auditing classes related to a Master's degree in theological studies (M.A. or Th.M.). If you intend to receive academic credit for these courses then you must register with Chafer Theological Seminary and order the course material through them.
Students without the proper registration will not be given credit for the coursework. Contact information may be found at www.chafer.edu.
A thematic study of the Life of Jesus the Messiah with a special emphasis on Jewish, Rabbinic and cultural backgrounds. This course will include all four Gospels by the use of a harmony of the Gospels.
View the course outline and syllabus by clicking on the notes and slideshow links respectively in the first session.
This course seeks to define the origins and development of the theology of the church. It will trace the historical development of the major branches of systematic theology, noting specifically the formulation and modification of each branch from the early church to the present day. In addition, an attempt will be made to define the major formulation of doctrine, whether orthodox or heterodox. Finally, an investigation of the contemporary trends in Protestant thought will enable the student to gain perspective on the issues with which the church is grappling.
Israelology is a systematic theology of what the Scriptures say in regard to the people of Israel. Dr. Fruchtenbaum surveys Israel's past, present and future from the perspective of four major schools of theology (postmillennialism, amillennialism, premillennialism and dispensationalism). Israelology is a dispensational study of this topic, how it is central to a proper systematic theology and, thus, critical in terms of issues such as Messiah's return, evangelism, anti-Semitism and, ultimately, God's entire agenda for Jews and Gentiles alike.
Click here to view the outline for this course.
The servant of Jesus Christ must know about the history of the New Testament text to avoid mistakes, and to appreciate what God has done through faithful men and women.
The student will study the Greek manuscripts of the New Testament, the history, methods, and status of New Testament Textual Criticism (TC), and collation practice. The history of the printed Greek New Testament, apparatuses in the Greek New Testament, and practical applications of textual data are covered. Textual, translation, and preservation theories are evaluated.
Those attending will learn the basics concerning New Testament textual criticism, appreciation of historic textual studies and the reliability of the inerrant Word of God. Also, the student will learn the use of Greek New Testament textual apparatuses and do research in New Testament text and translations.
See the slideshow link under the first item for the slides for this course.
Instructor: Dr. Ronald Minton, Th.D.


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As with any passionate interest, there are those of us who fetishize absinthe and obsess over every detail to the point of distraction. It's amusing to me how oblivious we homo sapiens can be about this shared tendency of ours. When I see a sports fan shake his head in disgust or derision at comic book geeks and their bagged-and boarded collections, then chug a beer and go into a 'roid rage because his fantasy football team didn't win, I can't help but smirk at his ridiculous hobby and then go home to reorganize my antique absinthe spoons. Oh, the humanity.
I'm not sure if there is a rating system for 'roid rages (I like to think the baseline is "Over the Top!!" and then goes up from there into a Mortal Kombat-styled hierarchy of "Fatalities"), but there are for comic books (both content and condition), and there certainly are for absinthes as well. The idea of a numerical scoring or rating system for absinthe is a fairly new one, considering that genuine absinthe was largely unavailable for close to a century (and doesn't seem to have been rated that way in the 19th or early 20th century), but since its return to the stage there have been at least two systems developed for the drink. The first appeared on the La Fee Verte forum in 2005 and is a 100-point system which provides for a quite detailed review of each drink, but as a result may be intimidating to newcomers and somewhat cumbersome to use. Another rating system appeared on the Wormwood Society forum a couple of years later, and is a simpler 5-point scale which was based on the U.C. Davis 20-point scoring guide for wine. It has fewer categories than the Feeverte system ("Louche Action" and "Color After Water" are both dropped) and is weighted to give more heft to certain categories. Each one of these is fine, but both reflect a good bit of that fetishistic behavior that we enthusiasts can exhibit from time to time.
While the idea of a rating system is to be able to both appreciate and enjoy our drink more, as well as provide a means of comparison for someone who may be looking to purchase a new absinthe, it takes some of the fun out of my sipping pleasure to go too far and overthink the matter. So I've created my own simple rating system for folks who would like to provide a numerical score without having to spend a whole lot of time doing math.
That's it. Two categories, each worth 5 points for a combined total of 10 points. (You can add a zero to the end of your final score if you want to convert it to a 100-point scale). And here you thought you'd have to print this out on graph paper and break out your old scientific calculator.
The general idea is that you pour your absinthe into a glass, taking note of the color and clarity, then add water while observing both the loucheing action and final louche, as well as breathing in the fragrance as it wafts up from the glass; afterward, write down a number between 1 and 5 which represents how you would rate the experience overall. Some simple concepts to keep in mind are that absinthe should smell like a crisp, alpine meadow (as a result of grand wormwood, which it must contain) with the scent of other herbs (chiefly green anise) being detectable, but it shouldn't smell grassy or spinachy. The liquor should be clear if it is a blanche, and a natural peridot green if it is a verte, and should not have organic material or sediment of any sort floating in it.
After that, sip the finished drink and evaluate the taste, mouth-feel, and finish, then write down a number between 1 and 5 evaluating these aspects, with 1 being the lowest rating for a terrible-tasting beverage which you want to scrape off of your tongue, and 5 representing a drink on par with the nectar of the gods that you'd punch a puppy in the face to get another bottle of. Keep in mind that it should have a notable but pleasant bitterness at it's core, with flavorful herbs shaping the overall taste, and a slight numbing and cooling of the tongue. When you're done, add the two numbers together, and you've got yourself an absinthe rating score that you can take to the bank (good thing too, considering the price of absinthe). Effective and elegant.
There are probably some veins throbbing in foreheads out there (in between the dismissive shrugging and the haughty eye-rolling), but the fact is, the more complicated a scoring system becomes, the less reliable and accurate it seems to be. Of the two existing score charts, the Wormwood Society system is closer to my ideal, but I disagree with the weighted percentage they have allotted to certain categories (such as having Flavor counting only a little more than, say, Louche). In fact, their two categories of Appearance and Louche are cumulatively worth more (32%) than the two combined categories of Flavor, Mouthfeel and Finish (30%); as much as I enjoy good presentation, how pretty something looks is never going to count for more to me than how it actually tastes. Based on the no-nonsense stare of the absinthe professors below (taken from the April 1889 issue of Harper's New Monthly Magazine), I don't think I'm alone in that line of thinking. With my system, I've basically accounted for the three attributes of color/clarity, aroma, and the louche for the first half of the score, while giving more weight to both flavor and finish to account for the second half of the score.
Of course, you could write down some specific notes, observations, thoughts and inspirations obtained during the entire process (and I would encourage you to do so), but by definition those are not part of the score; the number you arrive at as a result of evaluating those observations forms the score, while the actual observations form the basis of a review. That may seem obvious, but I find it helpful to make a clear delineation of the two concepts. Not everyone needs or wants a five-paragraph essay on exactly why a particular bottle scored a 2 out of 10 — the fact that it scored only a 2 is sometimes as much as they need to know in order to avoid it, and then if they want to know more, they can read a review. Whichever way you choose to drink and/or evaluate your absinthe, make sure that you don't work so hard at coming up with a number or an opinion that you fail to take the time to savor and enjoy it!
Lump it or leave it?
To sweeten, or not to sweeten: that is the question when it comes to preparing a glass of absinthe. Absinthe is distinctive in the world of alcohols for a variety of reasons, but one of the most interesting to me is that, while it is technically a liquor (and not a liqueur, which by definition is pre-sweetened in the bottle), it has been overwhelmingly popular to prepare it with sugar. Consider the additional distinction that absinthe as bottled is basically a concentrate, and you have yourself a most unusual alcohol, indeed.
From the tidbits of information I've been able to glean regarding distilled absinthe's transformation from medicinal tonic in the 1700s to mealtime aperitif in the 1800s, it appears that the very earliest versions of absinthe liquor were not intended to have sugar added at all. This makes sense to me given the medicinal origins of absinthe, and also if I consider distillers to share some commonality with chefs, in that they have worked hard to formulate a balanced creation intended for consumption as is, and if you reach for the salt and pepper (or, in the case of absinthe, sugar), there's an implication of imbalance. For an exacting artist and professional, this is practically akin to a slap across the face and a fart in their general direction.
However, the fact that absinthe is bottled as a concentrate which is meant to have a significant amount of water added to it, but that the ratio of water-to-absinthe was approximate, indicates that there had to be some leeway allowed for individual taste for preparation. In addition to this, folks in the 19th century are said to have had quite a sweet tooth compared to modern-day drinkers (something which is difficult to believe, considering today's preponderance of things like high-fructose fake grenadines without real pomegranite, and the terribly sweet sweet-and-sour mixers found in stores and out of the gun at any given bar or club, but that's an argument for another time). Given that absinthe was barely one step removed from still being considered a medicine that folks simply grit their teeth together and choked down because it was good for aiding digestion, it makes sense that there would be a no real objections to allowing folks to add their own measure of water and sweetener to temper the wormwood's natural bitterness. Interestingly, some photographs and illustrations from the period show no sugar being used at all, while some show two or even three sizable cubes of sugar being used per drink, although it has been surmised that the cane sugar used for cubes produced in that time were not quite as sweet as present-day sugar cubes.
The chronological order in which the Belle Epoque absinthe ritual as we know it today arrived at its ultimate destination is a little murky. It's generally accepted that absinthe first gained popularity with French legionairres in Algiers (the capital of French Algeria) and other colonies beginning in the 1830s, for whom it was "prescribed" as a salutary method of purifying local water. By the time the North African campaigns ended and the soldiers returned to France, they had developed a taste for the beverage and brought it with them to the local cafes which were just then beginning to become so popular in Europe. For another decade or two, drinking absinthe was largely restricted to the military and the upper classes because it was relatively expensive compared to beer and wine, but it would soon become more affordable as production costs went down. It also skyrocketed in popularity as artists and bohemians consumed it with abandon and began to sing (and paint, and write) its praises; ultimately, it became the pre-dinner drink of choice throughout all of France, and a special perforated absinthe spoon was developed to make the addition of sugar even easier for those who wished to. Even women were getting in on the act, which was a relatively ground-breaking notion in that day given that hard liquor was considered to be for the menfolk.
While it's a matter of personal preference on how much sugar to add, if at all (hey, I tend to like a teaspoon of agave for many brands of absinthe), see below for one young lady's lesson on how to prepare a sweetened absinthe and party like it's 1899.
One of the things which I admire most about the storied history of absinthe is precisely that – the story and the history. While the absinthe-fueled accounts of various playwrights, poets, murderers and thieves are intriguing, they don't compare to living your life and making your own stories and memories. For me, absinthe has played a central role in several memorable moments, more so than any other drink. Red wine comes in a close second, but it usually plays a supporting role and I very rarely remember the specific wine for a particular occasion.
Which is why, even though it was not a surprise to me, I was saddened to hear the official word that Trillium Absinthe would no longer be produced. In the interest of full disclosure, I should say up front that Trillium is not a very good absinthe. Mind you, it isn't bad; the distiller at least had the decency to use actual grande wormwood and to not use unnatural colors (something which, shamefully, the modern Pernod absinthe cannot say). However, the color was a bit too straw-like and pale, indicating a poorly done coloration process, and the wormwood itself did not taste like top-grade wormwood which I've detected in the very best brands.
Having said that, Trillium was distilled by Integrity Spirits in Portland, Oregon, as close to a hometown in my adult years as I'll likely ever know. It's my understanding that Trillium was actually the second American-made absinthe to be released after the lifting of the "ban" in the United States (perhaps we'll discuss at a later date how, technically speaking, there appears to have never been an actual ban on absinthe here), the first being St. George. As it was such an early absinthe leading the charge into the 21st century, I had hoped that Trillium would fulfill its potential and fine-tune its recipe into something very tasty indeed. As superficial as it may seem, I love the name and Trillium flower, and they had an attractive sky blue and white color scheme for the bottle. Unfortunately, it was officially announced on the Distillery Row website this week that Integrity Spirits is no more.
This was not truly a shock, as the Integrity Spirits site had gone dark months ago. In January or February, I saw smaller 375 cl bottles appear on the shelves of Portland liquor stores after the standard 750 cl bottles had disappeared, which I presumed meant they were selling off the last of their stock. Still, seeing the last nail driven into the coffin lent it a finality that was saddening. There aren't that many absinthe distillers to begin with, and each one lost brings the drink closer to the brink of obscurity yet again.
On a more personal note, Trillium was the first (and in fact, is still the only) absinthe I ever ordered out. While I tend to drink fine liquor at home (partly to be in a more intimate environment with friends, and partly because I don't want to pay the exorbitant markups), and especially absinthe because it's so rare to find a bar which stocks even one decent brand, in 2010 I was tipped off to the fact that Hobnob Grille, which was a mere two blocks away from my (then) apartment on Belmont St., stocked two absinthes. Ok, in point of fact they only stocked one, since the other was Le Tourment Vert, a faux-absinthe which was mercifully booed into retirement some time ago, but I was more than ready to try the Trillium. My girlfriend and I walked in and sat down, noting the unique environment of what amounted to a sort of sports bar which nevertheless had only one television and wrap-around bar on one side of the restaurant, and a wide-open space with a few tables and a ping-pong (table tennis) table in the center.
We ordered some food (I believe some creole calimari, and definitely some french fries), and then we ordered our drinks, including the Trillium. The waiter asked me if I would like a glass of water to pour into the absinthe (a rare insight for wait staff in 2010 and maybe still today, from what I understand), and then he apologized that they didn't have an absinthe spoon. To his amusement, I pulled my own out of my pocket. I was never in the Boy Scouts, but I had the "Be prepared" motto down cold. He brought our drinks, and I set about louching up the Trillium. I was happy, my girlfriend was happy for me, and it was a nice feeling to simply be able to enjoy a glass of absinthe at the green hour out in the wild as if it was a mundane, everyday occurrence. The waiter offered to bring us paddles and a ping-pong ball in case we wanted to have a game, but we played it cool and just soaked in the eccentric atmosphere. It was a moment. Incidentally, while local Portland favorite (and fantastic singer-songwriter regardless of geographical location) Laura Viers wasn't playing on the sound system, her hauntingly beautiful songs were reverberating in our ears from her albums (and her in-store performance in the Apple store). If you'd like a taste of the July Flame album from 2010, I recommend "Life is Good Blues", although "Galaxies" might be my favorite song of hers. Ah Portland, all of your quirky coolness is missed.
In addition to Trillium absinthe, Integrity Spirits also produced a few other spirits, the most notable of which may be 12 Bridges Gin. I'm not sure of what other promotional items they may have had made up for the distillery, but below you will find an extremely rare Trillium-branded absinthe fountain. Mind you, I have no numerical evidence on which to base that notion, but I triple-dog dare you to try to find another one. If you do, we should share a drink.
Of all the various accessories associated with liquor and cocktails, arguably none of them are as unique and specific in use as the absinthe spoon. These little trowels of tastiness are essentially spoons with holes poked in them, and the apparent perversion of such an austerely utilitarian tool as the common spoon was undoubtedly pointed out by more than one of absinthe's detractors before the Great War as the sign of a damnable and devilish product. 'Babylon has fallen!' proclaims the sweaty revivalist/prohibitionist, dramatically attempting to quench his thirst with water from a nearby well, yet painfully unable to do so because the water falls through the holes before he's even able to bring the spoon to his lips. One can almost hear the weeping and the gnashing of teeth.
Or perhaps it never came to that. Based on noted historian Benoît Noël's research of hundreds of documents of the period (which hey, I would have been happy to do myself, except that I don't speak French), it seems that the iconic absinthe spoon did not make it's debut until approximately 1889, nearly 100 years after distilled absinthe as a beverage made it's debut (and at least 20 years after the anti-absinthe contingent mobilized). Prior to that, absinthe seems to have been served most often without sugar, a concept which makes sense given that almost no other liquor has sugar added to it. Presumably, the idea of adding sugar came into play as a method of minimizing the bitter wormwood taste and making the drink more palatable to those used to Swiss blanches (which are naturally sweeter), as well as to women, who were increasingly becoming more independent and empowered during the latter half of the 19th century.
The Swiss seem themselves to have introduced the absinthe grille a few years before the absinthe spoon, and an absinthe grille functions in much the same way: it is placed over a glass containing a dose of absinthe, and sugar cubes are rested on its perforated surface, ultimately to be dissolved into the drink by dripping water onto them from a carafe or fountain. However, grilles do not have a handle, and they are also too wide to fit inside of most glasses, so a standard spoon had to be used to mix the sugar granules into the finished drink. At some point, it would seem that some anonymous soul had the brilliant idea of combining the two implements into one magnificently elegant tool; and yet, as loathe as I am to admit it, it may be that we owe the invention (or at least the popularization) of the absinthe spoon to marketing.
The year 1889 isn't an arbitrary one to use as the date of the earliest known absinthe spoon (as well as the earliest-known illustration featuring an absinthe spoon – see below for that). As much of an icon as the absinthe spoon became, the most iconic piece of metal associated with France is unquestionably the Eiffel Tower. This architectural masterpiece was completed in 1889 as the entrance to the 1889 World's Fair, and as impressive as it is today, it must have been a jaw-droppingly marvel to the average fair-goer in the late 19th century. A plethora of memorabilia associated with the Eiffel Tower was soon to follow, and one of the first was a commemorative absinthe spoon. This detailed and somewhat baroque spoon has since become one of the most highly sought-after collectibles in the absinthe world.
After the idea of sugaring absinthe via a perforated spoon came into fashion, a wide variety of spoons entered the marketplace, although most of the types typically used in cafes and bistros throughout France tended to be fairly simple. That being said, in the satirical illustration of General Boulanger done by Sem (Georges Goursat) below, you can just barely make out a long, curved tip on the spoon, a feature found on a type of absinthe spoon called "Losange étirée," or "elongated Diamonds"). This elongated type of spoon is quite a bit rarer than those without the curved tip, and appears to have been intended as a way to rest the tip of the spoon on the edge of a bistro saucer so that the spoon did not come into contact with the table and remained sanitary (or at least, that's the conclusion S—- and I came to after examining one — I haven't yet been able to confirm that through any historical reference).
I'll go into much greater detail about absinthe spoons at a later time. In the meantime, enjoy the comical art and feel free to come up with your own slant on what it means. To date, there hasn't been any definitive interpretation of the humor here. General Boulanger did have a large base of support around 1889 and had a window of opportunity to gain great power in France, then inexplicably fled to England, after which his backers turned away in disappointment, he was pronounced a traitor by the French Senate, and a couple of years later he came back across the English channel to Belgium, where he killed himself at the graveside of his mistress who had died the year before. Ironically, while he seems to have been a user of opiates, General Boulanger does not seem to have been much of an absinthe drinker at all, and so the absinthe glass and spoon are likely symbolic of French decadence, excess, or something else entirely. If you think you might know, by all means, please comment!
Satirical illustration of General Boulanger, by Georges Goursat (aka, "Sem"), 1889.
Suisse – This term may denote a grade of absinthe (the absolute highest) and/or a style of absinthe, produced by the "suisse" method and usually uncolored (i.e., a blanche). In modern times, it is mostly used synonomously with "blanche," and there is not specific recipe aside from the "holy trinity" herbs used in absinthe distillation prior to the coloration step: grand wormwood, anise, and fennel.
Pontarlier – Considered to be the definitive style of absinthe, the Pontarlier-style is also the most streamlined recipe, consisting only of six botanicals: grand wormwood, anise, fennel, petite wormwood, hyssop and melissa (lemon balm). A rural town in the farthest reaches of eastern France near the Swiss border. This small community became the nexus of absinthe production beginning with the 1805 opening of Pernod's distillery, and lasting through the French ban on absinthe effective in 1915. Pernod Fils absinthe is the quintessential example of the Pontarlier style. Modern examples include Jade PF 1901 (which was reverse-engineered to be a clone of preban Pernod Fils circa 1901), and Walton Waters.
Besançon – This style of absinthe contains the same six herbs of Pontarlier-style (grand wormwood, anise, fennel, petite wormwood, hyssop and melissa), but with the addition of coriander and veronica. The city of its origin and after which it is name is also in the eastern-most part of France, just northwest of Pontarlier. I am not aware of any modern absinthes which have attempted to replicate this style.
Fougerolles – While containing the same six herbs of Pontarlier-style (grand wormwood, anise, fennel, petite wormwood, hyssop and melissa), with veronica being the only additional herb in the recipe, this style is best-known for having used the least amount of wormwood. The city in which this style originated and is named after is in the northeast of France, located north of Pontarlier and relatively close to Besançon. I am not aware of a modern absinthe made in this style; ironically, Verte de Fougerolles (now known as Enigma Verte) is reported to be noticeably wormwood-forward, which I suppose may have been what prompted the name change.
Lyon – A style of absinthe containing the same six herbs of Pontarlier-style (grand wormwood, anise, fennel, petite wormwood, hyssop and melissa), with the addition of angelica and veronica. Lyon is located in the mid-east area of France, southwest of Pontarlier. One historical brand made in this style was Absinthe Suisse Grande Distillerie Lyonnaise. To my knowledge, there are no modern absinthes which have attempted to duplicate this style.
Nimes – In addition to the six herbs of Pontarlier-style (grand wormwood, anise, fennel, petite wormwood, hyssop and melissa), the Nimes-style adds elecampane, veronica and mint. A city of southern France, located far south of Pontarlier and just northeast of Montpellier. Modern examples include: Belle Amie and "Tex Wreck" (a homemade or HG absinthe which is not commercially available). It is possible that the forthcoming Blues Cat absinthe from Delaware Phoenix will be a take on this style.
Montpellier – A style of absinthe, containing the same six herbs of Pontarlier-style (grand wormwood, anise, fennel, petite wormwood, hyssop and melissa), with the addition of coriander and angelica. This style's name is taken from the city of the same name, located in the south of France near the Mediterranean coast. The only modern example distilled in this particular style is Pacifique.
Absenta (or Spanish) – This style of absinthe is a relatively latecomer, with absinthe production in Spain having first become established in the early 20th century. Spanish absinthe is known for having hints of citrus and for being slightly sweeter than typical French absinthes; the sweetness is due in large part to the anise which is sourced from the Alicante region in the southernmost part of Spain, although the typically lower ABV of absentas also contributes to it's light airiness. While there is no truly definitive list of ingredients common to all absentas, the six ingredients of the Pontarlier-style (grand wormwood, anise, fennel, petite wormwood, hyssop and melissa) are commonly used with the addition of some star anise, angelica, and a little bit of coriander. Historical brands made in this style include Absenta Argenti, as well as the Pernod Fils Tarragona from the 1940s through 1960s. A modern example of a good absenta is Obsello.
But wherein lies the devil in these details, you may wonder. The marketing of absinthe in the 19th and early 20th century depended partly on quality grades, the lowest of which no longer exist (fortunately). In short, while "absinthe suisse" was the nomenclature for a liquor of the highest quality, it was almost always used exclusively for blanches, while absinthe supérieure usually denoted the highest-quality vertes. After this came less expensive absinthes, starting with 'absinthe fine' as a sort of mid-shelf selection, before dropping downward to absinthe demi-fine ("half-fine") which had a wide-ranging ABV of anywhere between about 40% to 53%, and finally 'absinthe ordinaire,' which generally had a higher ABV of around 46%, but was colored artificially with "indigo blue". It was within these lower-shelf categories that the requisite cutting of corners would sometimes take a toxic turn. The coloration step of absinthe production is one of the most expensive because of the cost of high-quality herbs and other botanicals. To some folks' minds (both then and even now), it also seems like one of the most superfluous steps, even though it isn't just the color which is added during this stage, but also a final tweaking of the flavor.
Regardless, those distillers who were looking to save money knew that they had to replicate a proper, peridot-green color in order to sell their product. As such, they decided to take short-cuts during this final step of production by using additives which ranged from the harmless (if not exactly flavor-enhancing) inclusion of herbs such as spinach or parsley (largely to help produce a cloudy louche effect), to the Oh-My-God-That-Is-Poisonous! addition of copper sulfate or antimony trichloride. While medical science had not yet advanced far enough for them to know it at the time, chemicals such as these can cause cardiac dysrhythmia (a.k.a., arrhythmia). I suspect that if there is any truth to preban absinthe having produced hallucinations during the Belle Epoque, it is very likely due to some poor soul having ingested one of these low-grade, poisonous absinthes.
So remember this little mantra, my friends: If it's absinthe ordinaire, you don't want to be there!
Delaware Phoenix update – the Blues Cat is out of the bag!
The third Delaware Phoenix absinthe which last month I hinted at being in development has just had its label approved this week by the TTB. Congratulations to Cheryl Lins (the Master Distiller) and to the other three folks involved with the project. I can hardly wait to buy a bottle of this one! DP's Walton Waters absinthe is still my favorite absinthe, with Meadow of Love not far behind, so it will be interesting to see how the new Blues Cat will rank among them. There's no word yet about which ingredients were used in this one, but hopefully fish bones on the front label aren't any indication!
In all seriousness though, note how DP specifies that their absinthe is "distilled with herbs and colored with herbs," and don't settle for anything less with your own absinthe. Unless you're on a budget and can happen to find a good oil-mix absinthe (in which case, please let me know what it is, because boy are those difficult to find).
I'm a relative newcomer to the world of absinthe compared to many enthusiasts, I've been fortunate to have been able to try one sample of preban absinthe in my three years of chasing the green fairy. That was a life-changing event bordering on religious experience, but don't tell Bill Mahr I said that or he might throw some of his hilariously clever (yet disturbingly mean-spirited and sometimes misogynistic) snarkiness my way.
At some later date I'll tell you the story about mine and S—–'s dance with a 1905 (or thereabouts) glass of Edouard Pernod. In the meantime, I'm happy to report that, in celebration of S—-'s completion of her Master's thesis, an arduous project which my ladylove slaved away at for more than two years while working full-time, we indulged in a glass of 1910 (or thereabouts) Pernod Fils.
Bear in mind that Pernod Fils was essentially the flagship absinthe of the Belle Epoque, or the gold-standard marque of the Gilded Age, if I may be permitted to mix geographically-specific terms, if not metaphors. It was the best-selling brand of absinthe in France, and by all accounts it was a high-quality liquor universally recognized as representing the finest of the distiller's art, and best of what absinthe could be. Of those few folks who love absinthe enough to invest in a vial of the ever-dwindling supply of preban absinthe (a venture which should not be undertaken lightly, mind, as there are some unscrupulous folk who try to pass off newer absinthe as vintage preban), Pernod Fils is not only one of the more desirable marques to sample, but is fortunately also the most commonly encountered, by sheer virtue of how much was made and bottled in the last 20 years or so of absinthe production in France before the ban.
We had been waiting for some time to try this particular sample, and this past weekend, after all the "t"s were crossed, the "i"s were dotted, and the stars finally aligned, we pushed the button on firing the final draft of S—-'s thesis into the ether of the net on Friday, and set about celebrating on Saturday with this liquid time-machine. I'll confess that my experience with the Edouard Pernod had set the bar almost impossibly high (is there a pun in there somewhere?), and not surprisingly, the Pernod Fils did not make it over.
What? You're surprised? In fairness, I should point out now that despite all the overwhelming superlatives which rush out in almost every review of a preban absinthe (most of them justified, perhaps), it's important to temper them with the knowledge that in most cases, we are not really drinking the same absinthe that our predecessors did 100 and more years ago. Even in those rare instances where the bottles have been well-kept in cool, dark environments for the past century, absinthe by its nature of being a botanically-based and infused liquor will age more noticeably, even in a sealed glass bottle, than will almost any other liquor or liqueur (with the exception of other botanically-based boozes, such as chartreuse). As such, the aged absinthe we are drinking might have gotten "better" over time in terms of taste (although this is still technically due to degradation); likewise, it may have gotten worse, or simply been altered in a way that is neither better nor worse.
The Pernod Fils sample we had, as it exists now in 2012, was an excellent absinthe. In fact, I'd say it ranked in the top 5 of absinthes I've tried in terms of quality, and I've tried more than 30 in my three years of exploration. It had a lovely floral aroma in which the exceptional Pontarlier wormwood was prominent (although not extremely powerful), followed by the noticeable softness and fragrance of hyssop. It may be an overused adjective in the absinthe world, but the word 'alpine' came to mind with a focused clarity. Still, this absinthe had an almost feminine quality in terms of how subtle is was in many respects. That isn't a criticism at all, as exceptional subtlety is something to be celebrated by anyone who can appreciate it. Nevertheless, I'll confess that I was a comparatively disappointed since I had been expecting this absinthe to boast a powerful presence akin to the preban Edouard Pernod absinthe I had tried.
That's when I had to stop and consider how very well-preserved this sample of Pernod Fils was in comparison to the Edouard Pernod. The 30 milliliters of this very rare drink had a bit of a peachy-brown color to it (see a picture of the louched sample below in an antique "egg" glass), and while it may not have retained much of the peridot green color that it undoubtedly had at the time of its production in or around 1910, it was still fairly clear and bright with noticeable trails of essential oils, the scent of which wafted up from the glass. In contrast to this, the Edouard Pernod sample from two years ago was a dark brown, with a deep, smoky-sweet aroma. Of the two, it's most likely that the Pernod Fils was the closer to its original state, based on contemporary descriptions of each absinthe from a century ago. Therefore, while I may have enjoyed the Edouard Pernod sample more, that was due in significant part to how 100 years of aging affected the original Edouard Pernod, so that it was questionable how representative my glass truly was.
After our celebratory sampling was over and I took a little more time to reflect on the experience, I realized that tasting the subdued yet sublime Pernod Fils made me appreciate how close many absinthes of today have come to capturing the essence of those fine old absinthes of yesteryear. After over 100 years of refining the art of distilling absinthe in the 18th and early 19th century, folks in the early 20th century had the luxury of taking for granted the number of high-quality absinthes available to them. While many of the details of that knowledge were lost after various prohibitions on alcohol in general (and bans on absinthe specifically), distillers are slowly rediscovering the best ingredients and recipes for making wonderful absinthe. I'll happily toast to their continued progress with a glass of the finest of modern absinthe, but I wouldn't refuse another dose of the rare old stuff if you're offering.
Absinthe mythology is as dark, alluring, and angsty as a heroin chic lead singer of any '90s band. Admittedly, I'm looking hard at you, Hope Sandoval (of Mazzy Star, lately of the Warm Inventions), but from the 1990s, I could also look farther back and into the 1890s. Oscar Wilde sang lead for a band of one as it were, and is a wonderfully iconic and ironic figure when it comes to "absinthe fiction," considering that at least three well-known quotes regarding absinthe are attributed to him, despite the fact that some assert he barely ever indulged in the drink.
This type of fanciful exaggeration of the power of absinthe undoubtedly served as a two-edged sword in terms of the future of the drink, as it both inspired some souls to sample it for the first time with the hopes of gaining some sort of artistic enlightenment, while it simultaneously fueled the fires of the abstinence contingent who zeroed in on absinthe as the primary cause for the decline of Western (European) civilization, even as other alcohols were ignored. In truth, the concept of alcoholism as an disease which could accurately be diagnosed had not yet gained a foothold, and the "drys" actually gave the thumbs up to anyone and everyone drinking as much wine as they wanted, so long as they gave up hard liquor and spirits made from "industrial" alcohol. Ah, those heady days of yesteryear.
Within this rather topsy-turvy environment, Oscar Wilde posited a famously rhetorical question about absinthe: "What difference is there between a glass of absinthe and a sunset?" A legion of conservative zealots with a complex agenda responded with force.
And yet, as easy as it is to castigate these folks as being single and/or simple-minded for vilifying one alcohol over another, there's no doubt that absinthe has a certain allure to it which other drinks do not. Perhaps it's the almost hypnotic ritual of its preparation with the sugar and the spoon; or maybe it's in how there is a mild but noticeable "awakening" effect after enjoying a glass, an effect which does not instill artistic talent in those who may lack it, but can provide a warm, healthy atmosphere in which creativity may bloom.
Today isn't the anniversary of Oscar Wilde's birth, or death, or any other date of note during the course of his lifetime. As such, it's the perfect day to raise a toast to the chap, and so I do. This one's for you, Oscar.
In the mind of most Americans with a passing familiarity with absinthe, it is almost exclusively identified with the 19th century France. Some folks who have done a little research would spread the map out a little further and be able to link it with Switzerland (absinthe's birthplace), as well as the surrounding countries in western Europe where it was also consumed, but they are often genuinely surprised to find out that absinthe was actually consumed here in the good ole' U.S. of A (even if it wasn't exactly flying off the saloon shelves).
While you'd think that absinthe might have been popular in the "little Paris" of New Orleans (and you'd be correct), one of my favorite tidbits of absinthe history comes from the Pacific Northwest. I know, right? It's hard to imagine the land of towering evergreens and the rough and tumble loggers who cut them down for a living as being particularly partial to a fancy-pants French aperitif, what with its flowery scent and sugared serving method, and yet there were apparently at least a few open-minded fellows (or perhaps simply some carpetbagger dandies from the Northeast who got lost on their way back from the Deep South after Reconstruction). No doubt there'd be a few Europeans who would be equally surprised to discover that absinthe was sampled by residents of a little town called Yakima. Now, I don't know what Yakama means, but the town was named after the Yakama Indians, from whom the land was taken by men who could not properly spell.
Suffice it to say that the battles came to an end soon enough, and an agriculturally-based township began to grow in the 1850s. It must have been a fairly successful one, because by 1890 they had some genuine, bona-fide absinthe stocked on the bar shelf (no mention is made of if it was American-made absinthe, which, believe it or not, did actually exist back in that proverbial day). As you can see by the text of the article, though, it seems that the residents didn't have much more of an accurate idea of what to do with absinthe than they did of how to spell proper nouns. Imagine how scrambled their brains would have been if they'd actually drank some of the stuff!
Never let it be said that there are no imaginative swindlers running amok in the world. Of course, I'd love to be able to say that and have it be true, but then again, we'd have very little to talk about if everyone were good boys and girls. That being said, if you're going to be such a cutting-edge crook that you're going to fake an antique absinthe bottle and label combination, you really should learn how to read first. Otherwise, you'll end up looking silly when the glass seal on the bottle reads "Pernod Fils," while the label itself reads "Premier Fils." Yes, yes, I know, there are only a few letters of difference there in the middle, but they do tend to be important.
It probably won't be shocking to anyone to discover that the bottle pictured below was being sold on eBay recently. Oh how I do miss the relatively innocent days of endearing "ghosts in a jar" and "Mother Mary on toast" auctions on the ole' Bay. What's particularly said is that the bottle itself does appear to be a genuine 19th/early 20th century Pernod Fils bottle, and the "Premier Fils" label likewise also appears genuine (although this is more difficult to tell based on pictures alone). Unused vintage labels can be found without too much difficulty, though, so it's likely that some unscrupulous person bought one of those and artificially aged and distressed it so that it would appear to be a time-worn antiquity. Of course, it isn't necessarily the seller who did this (hey, it could even be a 100-year-old fake or gag, which would actually be appealing if proven), but one does wonder how it escaped his attention, or why he didn't mention it in the auction description if he did in fact notice it.
In any case, it sold for 42 euros (about $65), which isn't unreasonably high for an authentic Pernod Fils bottle without the label. Whether the buyer would have the heart to tear the presumably antique label off of it or not is something of a Sophie's Choice, and I'm surely glad that my name isn't Sophie.
But don't call me Shirley, either.


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How Phobias Differ From Other Mental Disorders
More in Phobias
Symptoms and Diagnosis
Lisa Fritscher
Lisa Fritscher is a freelance writer and editor with a deep interest in phobias and other mental health topics.
Reviewed by David Susman, PhD on February 12, 2020
David Susman, PhD is a licensed clinical psychologist with experience providing treatment to individuals with mental illness and substance use concerns.
David Susman, PhD
martin-dm/Getty Images
Many mental health disorders show similar symptoms. However, there are important differences that mental health professionals look for in order to provide an accurate diagnosis. Provided here is a brief look at the differences between phobias and other mental health disorders.
Some of the psychotic disorders, such as schizophrenia and delusional disorder, can cause fears that resemble phobias or another anxiety disorder in many ways. However, those with psychotic disorders typically believe that their fears are well-founded and based in reality.
Adults with phobias or another anxiety disorder typically recognize that their fears are irrational. They understand that the feared object or situation is basically harmless and that their fears are out of proportion to the genuine level of risk.
It is common for people with obsessive-compulsive disorder to avoid a specific object or situation, which is also common for people with phobias. However, obsessive-compulsive disorder, unlike a phobia, is marked by consistent worrying and dwelling on the fear, even when far removed from the feared situation. People with OCD can develop elaborate rituals, known as compulsions, that they feel they must complete in order to minimize anxiety.
People with a phobia, on the other hand, typically do not think much about the feared object or situation unless exposed to it in some way. They may dwell on an upcoming event, such as giving a speech, that is related to the phobia, but do not experience persistent fear in daily life.
While phobias are focused on a specific object or situation, generalized anxiety disorder is much more broadly based. Those with generalized anxiety disorder worry excessively over a variety of day to day situations. They may have difficulty performing tasks due to their anxiety disorder, but may not go out of their way to avoid specific situations or objects.
People with depression may display symptoms of phobias such as turning inward. Many people with depression turn inward, preferring to stay at home alone rather than spend time with friends.
People with depression, however, do not actually fear a specific situation. If coerced into participating, they may or may not enjoy the situation, but they will not show a phobic response. They are simply uninterested in participating.
Anxiety is a common symptom of bipolar disorder, particularly during manic episodes. However, this rarely manifests as a fear of something specific. Bipolar disorder is a complex condition with numerous specific symptoms that are not present in those with a phobia.
It is possible to have a specific phobia of one or more food items. This phobia is known as cibophobia, or fear of food. Additionally, some people with social anxiety disorder, formerly known as social phobia, can be uncomfortable eating in front of other people. These phobias can cause symptoms that resemble an eating disorder.
Eating disorders, however, are not caused by a fear of food or fear of eating in public. Typically, someone with an eating disorder has a distorted view of his or her own body weight and shape. It is this distorted view of the self that leads to an eating disorder.
Diagnosing a mental disorder is often complicated, requiring the structured assessment and clinical judgment of a professional. Many mental disorders have similar symptoms, and multiple disorders may be present in the same person. Therefore, it is very important to see a qualified mental health professional receive accurate diagnosis and treatment.
The 9 Best Online Therapy Programs We've tried, tested and written unbiased reviews of the best online therapy programs including Talkspace, Betterhelp, and Regain.
American Psychiatric Association. Diagnostic and statistical manual of mental disorders (5th ed.). Washington, DC. 2013.
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Do Ethics Committees Facilitate Research?
Ethics and Research into Vulnerable Groups
David Gladwell
Image: Andrea Yori – Big Brother is Watching
The BACP's Ethical Guidelines for Researching Counselling and Psychotherapy (Bond, 2004), presently under review, open with the bold, and in my view proper, assertion that:
"The credibility and public standing of counselling and psychotherapy require that practitioners systematically and continually seek to enhance the quality, effectiveness and safety of their practice on well-founded evidence."
And not only does the credibility and standing of our profession require well-founded evidence, our clients deserve it. The Department of Health's Research Governance Framework (2005), equally properly, requires that:
"Whatever the context, the interests of research participants come first. Those responsible must be satisfied they have taken all reasonable steps to protect the dignity, rights, safety and wellbeing of participants. We have to be frank about risks, and businesslike about managing them."
Between these two reasonable propositions, however, lies the riddle of the Sphinx with the accompanying threat of being strangled and devoured, or at least of having your research project scuppered if the subjects are considered to be 'vulnerable'. Two examples, given to me by postgraduate researchers I know personally demonstrate the dilemma.
'A' wished to do research into the value of counselling for the fathers of children who died at or near birth. She was a medical professional who had been told by fathers in that position that they felt that their distress was not recognised. 'B' sought to do research with clients who were on the autism spectrum. Both were told that that the proposed participants were vulnerable and that accordingly they should seek an alternative area for research.
My own experience was similar. I had retired early from a career as a lawyer and was studying for an MSc in Therapeutic Counselling, a BACP accredited course. My particular interest was in rehabilitation counselling, which had been known to the university from the outset. Moreover, in the first year I undertook a literature review of the subject. And in Year-2 I submitted my initial research proposal: The experience of traumatic disability and the role of counselling in rehabilitation. The examiner commented that:
"Your selection of participants was clear and transparent, as was the data collection process … The questions you propose to ask have been thought through in such a way as to elicit a rich store of data … Overall, this is an extremely good start to your project."
So far, so encouraging. The expectation was that the initial proposal would form the basis for the third year's research so at the appointed time I submitted my draft proposal for ethical approval to my supervisor.
The proposal in outline
The study involved a combination of phenomenological and descriptive methodology, focusing on the subjects' experienced meaning of becoming disabled, as well as investigating their overt behaviour. The research population was designed to include:
individuals aged between 18 and 40
who had experienced either a spinal cord injury or the amputation of a limb following trauma
whose injury had been sustained between one and five years prior to the date of the interview
who would have been discharged from hospital, and
should have been in receipt of some form of rehabilitation counselling either before or since discharge.
These participants were to be recruited through relevant national charities and should have the capacity to provide full and sensitive descriptions of their experience (van Kaam, 1966, as adapted by Polkinghorne, 1989). Data-gathering was to be by open-ended, semi-structured face-to-face interviews, tape-recorded and transcribed. The object was to gather "naïve descriptions from people who have had the experience under investigation, prompted by open-ended questions" (Polkinghorne, 1989). There were to be these six questions:
What was your pre-injury image of people with the type of disability you now have? Do you remember any specific experience or encounter with someone with such a disability?
Select a photograph [showing individuals of the same gender as the participant and with the same disability] –
o Why did you select that particular photograph?
o Construct a brief story around the image, taking whatever approach you like in whichever way you wish. It's not a case of 'guessing' what's happening, but of using the picture as a stimulus to your imagination.
Try to describe your emotional journey since your injury, the experiences rather than your actions or behaviour –
o Try to describe your feelings just as they were
o Please don't stop until you feel you have described your feelings as completely as possible
What was your experience of counselling?
What factors have contributed (a) positively (b) negatively to your rehabilitation, insofar as they have not already been covered?
What one thing do you feel others should know about your experience of disability?
I had shared this proposal with four national charities working either with amputees or with people with a spinal cord injury, and each had offered to help with identifying possible participants. The reactions from all four were positive, including:
A consultant clinical psychologist working in a charity supporting those with SCI: "I have to say I find this kind of thing really exciting! It could be really good"
The director of a charity supporting amputees, who thought it was "very, very useful…We do plenty of counselling but have no real evidence whether it works."
My supervisor's response to the draft proposal was that:
"It is possible that the [Departmental Research Ethics Committee] will simply not accept a proposal that is explicitly working with a vulnerable group. The bottom line is that it will either get thrown out simply because of this, in which case you will need to rethink completely or, which is what I hope, the adjustments I suggest below will satisfy."
The adjustments were largely presentational, although one objection was significant and that was the use of photographs. The 'projective' use of images, the creative use of fantasy and ambiguity, had been intended to encourage the expression of deeper feelings (McLeod, 2003:80). Nonetheless, I accepted my supervisor's advice and dropped that question. The decision of the Departmental Research Ethics Committee, as well as being patronizing, was perhaps predictable:
"The opinion of [the Departmental Research Ethics Committee] was that this project would cause significant distress to participants and this outweighed any potential benefits of doing it. It was also felt that this is too major a project for a novice researcher undertaking a master's level project. He needs to get a new topic and start again. This also means that he has 2 attempts left for getting through [the Departmental Research Ethics Committee]."
Please note the wording it "would cause" significant distress, not "might cause" or "could cause". After 18-months I was blithely told to "get a new topic". There was no opportunity to make oral representations and, I am led to believe, the Committee's decision was in fact a simple endorsement of a rapporteur's recommendation. An intervention by my supervisor prompted a slight shifting of ground on behalf of the Committee, whose Chairman wrote that:
"The committee still have concerns that this study has the potential to cause distress to a participant. It also involves participants who have experienced a traumatic disability and who have had an amputation of a limb or paraplegia. [Moreover] the Committee was not set up to assess and approve projects that involve participants with illnesses or disabilities. It is more appropriate in these cases for projects to be reviewed by the NHS Ethical Committee procedures. We therefore suggest that NHS ethical approval is sought for this project."
This was clarified as meaning that if I got NHS ethical approval the project would 'normally' receive Departmental Committee approval. But, of course, alternatively, I could reapply with a different proposal. I was not going to let this lie, and eventually I gained the concession that I might put my proposal to the University Research Ethics Committee which, with minor conditions, approved it (Gladwell, 2015). It is significant that that committee had a much wider membership than university functionaries. The lesson might be: persevere, be obstinate!
What is the definition of a 'vulnerable group'?
The British Psychological Society's Code of Human Research Ethics (British Psychological Society, 2010, chapter 3), states that research involving vulnerable groups would normally be considered as involving more than minimal risk and that special safeguards need to be in place, including having ample opportunity to understand the research. However, in chapter 10.1 it defines 'vulnerable population' thus:
"Vulnerable populations include children under the age of 16, people with learning or communication difficulties, patients in care, [individuals in a dependent or unequal relationship]."
'Vulnerable populations' are thus seen as those who suffer some long-standing disadvantage, whether that be intellectual or being in some manner dependent, or by being a student or a patient of the researcher. It does not, it seems to me, include those suffering emotional disturbance resulting from a particular event, whether that be trauma or the breakdown of a relationship. Were it to do so, most counselling clients would be ineligible. As the BACP's Ethical Guidelines acknowledge "Much of the research undertaken in this area of work will include or be exclusively concerned with areas of vulnerability in people's lives." Moreover, the BPS's special safeguards and the BACP's good practice guidance (Bond, 2004, chapter 3.3) are no more than perfectly reasonable.
Three issues in particular arise from this experience: the nature of the application process; the role of the ethics committee; the interpretation of a 'vulnerable group'.
Why does getting approval for a research project have to be so combative, adversarial, gladiatorial? The resulting approach isn't so much "Let's see if we can't find a way through this"', but more that of a Victorian schoolmaster seeking to humiliate some wretched pupil in order to enhance his own status. During my own journey to ethical approval, the head of department's single contribution was to comment that I needed to learn that research was a tortuous business.
The BPS's Code (British Psychological Society, 2010, chapter 9.2) makes it clear that a Research Ethics Committee is normally responsible for making informed recommendations to the researcher if the proposal is found to be wanting in some respect. Is not that need for informed recommendations the kernel of the problem? This should surely be an iterative process. There are two reasons, I suggest, why the role of ethics committees has been reduced to that of crude gatekeeper.
The first is, somewhat understandably, resource: time and money. But to deny these committees the necessary resources is to undermine the importance of research, even if it is 'only' being conducted by postgraduate students. My own supervisor conceded that my proposal represented the sort of research we should be doing. The second reason for the committees' diminished role is fear, fear of litigation. Have universities' lawyers advised them that at all costs they must avoid being sued? Has a parallel (in my view mistaken) been drawn with biomedical research (Hoffman and Berg, 2005) where frequent litigation could indeed have a profound effect on that research community? The way to avoid that risk is seen to be to set the bar so high that anything remotely controversial would be excluded. And the best way to do that is to encourage people to use themselves as their research subject. Problem solved. Only, it won't produce anything of wider application, anything that is publishable, which is surely the whole object of undertaking research. Research using oneself might be safe, but it is seldom of wider intellectual interest.
What the committees should be doing is something much more constructive, avoiding gross violations by sensitivity to the more subtle ethical implications of counselling research and practice and recognizing the balancing act required around the ethical issues involved, with the aim of minimising harm (West, 2002). But that involves making an assessment of the researcher's competence, his or her interpersonal skills, their level of tact, their level of respect. Although one might think that such skills would be an intrinsic element of a psychology or counselling course, they are qualities that cannot be taken for granted and should correspondingly enhance or detract from a proposal. Indeed, the BACP's Ethical Guidelines (Bond, 2004, Chapter 4.3) require that the competence of the researcher to undertake the proposed research should be considered in the initial risk assessment – which then becomes another issue which can be sidelined if the researcher is his or her own subject.
An exhaustive definition of vulnerable groups is impossible, but the codes and guidelines give a sensible steer. The problem arises from the apparent desire to avoid any risk rather than to adopt West's 'balancing act'. Thus the approach is largely subjective – if in doubt, say "No". In my own case, I had the support of four relevant charities but in the absence of its own experience, their support didn't count with the departmental committee.
At the end of the day, these 'vulnerable people' are adults, volunteers who give informed consent, and, most importantly, people who want their story heard. As researcher 'B' put it:
"My clients have mental capacity so I struggle to see why giving them an informed choice about whether to participate in research is unethical. Surely it's important to have a voice? I know my clients would be hugely offended if they were aware that they were considered inappropriate for research due to their vulnerabilities. Autism is a spectrum disorder, and it seems unfair to assume everyone is vulnerable; some of my clients have jobs and families. People with disabilities matter, their opinions matter and it seems unjust not to include them."
This also highlights the important issue raised in the BACP's Ethical Guidelines (Bond, 2004, Chapter 3.3.4), that consideration should be given to the impact on clients of being excluded from the research, for example, would they conclude that they are deficient in ways that may adversely affect their wellbeing? Disability casts people into a passive role, but one of my participants was able to say, "at the moment I'm the teacher, and that's fantastic."
What I've described is, of course, based on my personal experience. Whether that experience is universal I cannot say, but it would not appear to be unique (Jenkins, 2013; Goldman, 2015; Kierski, 2015). It is not the frameworks that are such an impediment to research, but the leaden, bureaucratic way in which they are applied. I do not for a single second wish to underestimate the importance of the safety, wellbeing and dignity of the participants but in seeking so assiduously to protect them perhaps ethics committees are in fact doing them a disservice. One participant said to me, "While I was waiting for you I thought, I must be mad inviting someone I don't know into my home to discuss such a personal matter." The fact that he and the others did, is humbling. I am profoundly grateful to each and every one of them.
David Gladwell qualified as a barrister. After 35 years as a lawyer, he took early retirement and re-qualified as an integrative counsellor. Since 2007 he has been an honorary counsellor with Oxleas NHS Trust, and for five years was an honorary counsellor with Guy's and St Thomas' NHS Trust, working in an artificial limb centre. He also has a private practice. He is a registered and accredited member of the BACP. [email protected] www.davidgladwell-counsellor.london
Bond T (2004) Ethical guidelines for researching counselling and psychotherapy Rugby: British Association for Counselling and Psychotherapy
British Psychological Society (2010) Code of Human Research Ethics Leicester: British Psychological Society
Department of Health (2005) Research Governance Framework for Health and Social Care London: Department of Health
Gladwell D (2015) The experience of sudden disability and the rôle of counselling Academia.edu
https://www.academia.edu/15486181/The_esperience_of_suddden_disability_and_the_r%C3%B4le_of_counselling
Goldman S (2015) "Why make research so hard to do?" in Therapy Today 26(2) p22
Hoffman S, Berg JW (2005) "The suitability of IRB liability" in University of Pittsburgh Law Review
67 (2) p365
Jenkins P (2013) "The only way is ethics? University ethics committee and the future of psychotherapy research" in Contemporary Psychotherapy 6(2)
https://www.contemporarypsychotherapy.org/volume-6-no-2-winter-2013
Kierski W (2015) "Excessive ethical demands in research" in Therapy Today 26(4) p43
McLeod J (2003) Doing counselling research London: Sage Publications
Polkinghorne DE (1989) "Phenomenological research methods" In RS Valle and S Halling (eds) in Existential-phenomenological perspectives in psychology: Exploring the breadth of human experience New York: Plenum Press
van Kaam A (1966) Existential foundations of psychology Pittsburgh: Duquesne University Press
West W (2002) "Some ethical dilemmas in counselling and counselling research" in British Journal of Guidance and Counselling 30(3) p261


My name is Cinnamon McCullum and I knit.
I tinker with thread, knots, twists and beads.
I fondle fiber and spin yarn.
I admire textures and textiles.
I like to deconstruct, reconstruct and embellish.
I make handcrafted pieces for myself, a few select people and a beloved canis lupus familiaris who is the best dressed Boston Terrier in New York City.
In the past, I would look for sites that were more forward thinking and in tune with the creative people who were pushing boundaries, yet still held a deep respect for craftsmanship and these ancient art forms.
I never found that site, so I decided to create it myself.


Marianne Brandt, the only student featured here amongst the profs; Ashtray, 1924. Now being produced by Alessi.
Wassily Kandinsky: On White II, 1924.
Ludwig Mies Van Der Rohe; Barcelona Chair, 1929. Available through Knoll.
If you can't make it to NY, the MoMA site is rich with Bauhaus content and definitely worth a look. I'm sick with upset that I missed this one. Hope that you got to see it in person!