Author Archives: Jayson Gallaway

June 7, 2025

I learned in this morning’s Fecal Creek Witness that Mayor Skutchinson has issued an executive order establishing a new town motto.  “Fecal Creek – A Place to Live.”  What absolute pedestrian drivel.  This new “motto” is an affront, a limp-wristed platitude so devoid of imagination it could only spring from the dullest crevice of the Mayor’s bureaucratic skull.  A place to live?  Would that not properly apply to literally any municipality?  Is that the best Mr. Mayor’s puny intellect could muster?

To be fair, it’s probably not his fault.  Not entirely, anyway.  I know Skutch.  He lives about 5 houses down from me.  We’ve gotten heroically drunk together; we play the occasional round of golf.  He’s an alright guy, and I’m confident, given the correct circumstances, he could come up with a superior motto, dripping with the sardonic flair our town deserves.  But he’s dealing with constraints, limits only residents of the Creek know about.  Until now.

Here’s the deal: prior to about 1992, Fecal Creek was known as Shotgun Junction.  The town popped up during the Gold Rush as a railroad junction between Sacramento and the gold-filled foothills.  Obviously, with all that gold flowing through it, the town became a target for outlaws, smugglers, Mexicans, and all manner of ne’er-do-wells.  Which led to the over-arming of the residents, and their overwhelming preference for arming themselves quickly became the shotgun.  Thence, obviously, the name.  It was a badass town with a badass name.  But around ’92, the idiocy of political correctness came to town, and those nefarious forces successfully berated the town’s leadership into dropping the “Shotgun” from the name, leaving it known as simply “Junction.”  Far less poetic and badass, but still acceptable to most folks.  Despite the abbreviated name, not much had changed in the town since its founding in 1850.  The population remained below 50K, and virtually everybody worked for the railroad in some capacity, or they worked In services to support the railroad workers.

But big change came in 1994, when the Clinton administration seemed to suddenly take interest in the town.   The exact mechanisms used to implement the administration’s will remain classified and guarded, so we may never know, but what we do know is that almost overnight, the name of the town was arbitrarily and capriciously changed to Fecal Creek.  Just as suddenly, Fecal Creek State Prison was built on the northern outskirts of the town, and then, everybody who lived in the town seemed to work for either the railroad or the corrections department.  Fine.  But the biggest change went unspoken and unnoticed for a couple of years: when the name was changed to Fecal Creek, the town was quietly but officially designated as not only a federal witness protection town, but it was to be the largest federal witness protection town in the country.  In other words, pretty much every federal witness was given a new name and sent to live in Fecal Creek.  The population exploded to well over 100K, most of which were fairly dangerous criminals or at best, vaguely shady characters.  With this influx of basically random shitbags, the town (having graduated to the level of small city), the identity of the place got watered down and muddy.
And now we’re getting shit like this motto: a Place to Live.

I think it’s high time that we return to our wild west roots.  We are and always have been hard-drinking, meat-eating, gun-toting badasses. All of the adults (and many of the children) are drunk and heavily armed.  It’s time we lean into our violent heritage.  I’m considering starting a petition to change the name back to Shotgun Junction.  And I minor alteration to this stupid motto would improve it exponentially: “Shotgun Junction – A Place to Die.”  Fuck yes.  Or something more aggressive, more reflective of popular sentiment in the city.  Yes.  I’ll come up with some suggestions to send to Skutch.

N.P.: “Till the Day I Die” – Halford

June 6, 2025

Hot damn!  I just love Fridays, dear reader.  I’m especially pleased with this Friday because yesterday, as I was working on the book…breakthrough!  The progress has been slow for the last month, which has been frustrating, but yesterday afternoon, significant forward movement on a chapter that has been particularly tricky.  Today was already fully scheduled, but I managed to keep things going today.  So that’s all good.

But it means that I did not, however, get to write the simply bitchin’ thing I was going to right about D-Day, which is, as I’m sure you know, dear reader, today.  This was as far as I got:

Let’s talk about June 6, 1944: D-Day, the Normandy invasion, the big ugly pivot of the Second World War, the moment when a bunch of shivering, seasick kids from Kansas and Birmingham and Winnipeg decided—or, more accurately, were decided for—to storm a beach that looked like the mouth of hell itself.

Not nearly the remembrance or tribute the day the Americans began to beat back those rotten Nazis and ultimately stomp them out in Berlin deserves, but that’s all I could do today.  I wanted to at least give it a nod.

And with that, back to it  Not sure why, but I really like writing on Friday nights.  Always have.

N.P.: “Gun for You” – Black River Delta

Word of the Day: sounder

 

Sounder (noun): A group or herd of swine.  Yes, pigs.  Not the kind of word you’d toss around at a suburban Chili’s while the server microwaves your queso (which is where I am and what’s going on as I’m writing this), but a term with just enough feral heft to make you feel briefly alive in this fluorescent hellscape we call modernity.  A sounder, per the dusty tomes of lexicography, refers to a collective of wild boars – those tusked, bristly agents of chaos rooting through the underbrush, snorting and shoving with zero regard for decorum.

Etymologically, it’s Old English, from sundor, meaning “apart” or “special group,” which got mangled through Middle English into this delightfully specific collective noun, mostly for pigs that’d sooner gore you than pose for your Instagram.  But language, being the slippery beast it is, lets us repurpose it for other herds of the uncivilized – say, the teeming masses at a shopping mall on a Saturday.

The mall smells like stale pretzels and despair, which is to say it’s exactly how I remembered it.  My therapist suggested I browse a public space as some sort of exposure therapy for my alleged “antagonistic worldview.”  Her words, not mine.  I got here, parked 300 feet away from the entrance because the parking garage is less “convenient structure” and more “Pit of American Gladiator Doom,” and stepped inside to witness that special kind of chaos only retail capitalism can birth.

The escalators were broken, naturally, which meant the central artery of this shiny consumer mausoleum had coagulated into an angry vein of foot traffic.  Children squealed, parents shouted, teens scrolled, and boomers yelled at the phantom of customer service, all moving with the unified chaos of a sounder tearing into a discount trough.  I paused by the fountain.  Some sad kid had tossed a giant pretzel into the water, and it bobbed there in existential resignation, soggy and forgotten, like me on every date I’ve been forced to endure. 

I braved the first store, and it was everything I expected (awful).  A labyrinth of racks, blaring pop music that felt like punishment for having ears, and mannequins with faces so dead-eyed they made me nostalgic for the comforting judgement of Victorian portraits.  A sales associate hounded me until I muttered something vague about “just looking” and fled, leaving her with my bad vibes and zero commission. 

Somewhere between the perfume-spritz hellscape and the food court littered with ketchup-streaked sadness, I realized I had made a grave mistake.  Therapy?  Overrated.  Public spaces?  Designed to break the human spirit.  I should’ve just stuck to online shopping and left the sounder to their pasture of artificial light and clearance bins. 

By the time I navigated out of Sears (yes, it still exists, and no, I don’t know why), my dysanthropy had solidified to the tensile strength of anti-tank steel.  If people are going to herd together like pigs, is it too much to ask for mud pits and apple cores to complete the aesthetic? 

Needless to say, that’s the last time I’m listening to advice involving either “immersion” or “society.”

N.P.: “Return of the Mack” – Mark Morrison

June 4, 2025

 

Well, shit, dear reader…no point in trying to ignore it anymore…it’s my birthday.  For the record, I hate my birthday and think that, like all birthdays past the age of 21, it is a completely pointless thing to acknowledge.  Which opinion I made most crystalline to Mgmt on this morning’s call.  But they were, as usual, insistent.
“I don’t even want to acknowledge my birthday, let alone write about it,” I said with all the authority I could muster at 06:00.
“Your readers want to know about you.  They want to celebrate things like your birthday.”  Which is simply bullshit of the lowest order.  “Let them think I was created in a lab,” I told them, already fairly drunk for that time of morning.
I know you don’t think I was created in a lab, dear reader, but I also know that adults who put significant emphasis on their birthdays, especially men, come across as, well, rather pathetic and weird to the rest of the adults who have been far too busy with real concerns to worry about anyone’s random-ass birthday for decades.
I don’t mean to be a killjoy, another curmudgeon yelling at the damn kids to get off his lawn and please, dear God, quit singing Happy Birthday at him.  [Note to self: the lyrics to that insipid fucking song should be changed to “Happy birthday at you.”  Because that’s really what’s going on here.  Most people over the age of 30, certainly 35, would really rather you not make any kind of big deal about it.  After a certain point, the “celebratory” nature decreases to almost nil, and birthdays become rather brutal and cruel reminders another year of the rapidly decreasing number of years we have in this life is gone forever.  The Clock is ticking, and there is no denying that the hour is growing late.
Of course, I know people are just trying to be nice.  It’s the one day out of the year when people are comfortable telling you that they’re glad you’re around.  And that’s great.  But a simple, maybe, dare I wish, discreet “Happy Birthday,” is plenty.  But I get it…and despite whatever bluster you read here, being wished happy birthday doesn’t actually make me conniptive or cause me to launch a cake in anger.  I like being Happy Birthdayed as much as anyone else.
I guess it’s just my age and stage of life.  Children’s birthdays are milestones and therefore almost demand celebration.  They have all these things they want to do but can’t until they’re older/taller/heavier/whatever.  They have Goals.  But in middle age, whatever goals you still have to accomplish are typically not related to or dependent upon age, outside of the rather dark “I’d better get this done before I drop dead.”  But once you’ve been adult for a good long while, and most milestones are distant in the rearview mirror, the only milestone left is Death.  And at that point, birthdays start to pack a bitter punch.
But never mind all that, dear reader…today we shall celebrate!  My personal celebration shall include lunch with the fuckin’ loved ones at some inappropriately ritzy steakhouse, getting absolutely shithoused on a wicked whiskey flight or two, and over-priced deserts that are literally on fire.  Then back to the Safe House for an orgy of homemade chocolate cupcakes, Jack Daniels, and writing.  As your mentor/role model/ersatz life-coach, I advise you to do the exact same thing.  Let’s get weird.

N.P.: “Happy Birthday – Epic Version” – Rok Nardin

June 3, 2025

On this blistering June 3, 2025, we’re raising a double-barreled toast to two literary titans born on this day—Allen Ginsberg (1926–1997) and Larry McMurtry (1936–2021)! Ginsberg, the Beat shaman, detonated Howl like a lysergic pipe bomb, his ecstatic, jagged verses a middle finger to Moloch’s mediocrity, chanting for the dispossessed with a cosmic wail that still echoes through America’s underbelly. Meanwhile, McMurtry, the Texas bard, carved Lonesome Dove and The Last Picture Show from the sun-bleached bones of the West, his pen a Bowie knife slicing open the bruised heart of the frontier—cowboys, dreamers, and misfits spilling their melancholic beauty onto the prairie dust. One howled at the moon, the other sang about its sorrow; together, they torched conformity and mapped the wild soul of this land. So crank the jazz, pour the whiskey, and drink deeply to these two badasses.

N.P.: “Lost My Mind” – Left Lane Cruiser

Word of the Day: immure

 

To immure means to enclose or confine someone or something within walls, often in a literal sense, like being bricked up in a dungeon, but it can also lean metaphorical – think trapping someone in a situation they can’t escape.  It’s got a deliciously dramatic vibe, perfect for tales of gothic intrigue or self-imposed isolation.

The word immure comes from the Latin in- (meaning “in” (duh)) and murus (meaning “wall”), so it literally means “to wall in.”  It slipped into English via Old French emmurer around the late 16th century, carrying a medieval flavor of castle keeps and secret chambers.  Picture a monk scribbling by candlelight, deciding someone’s fate with a quill and a stone wall – that’s the energy immure brings.

Brother Thaddeus, the monastery’s most insufferable know-it-all, had a peculiar habit of correcting everyone’s Latin chants – mid-verse, no less.  One frosty evening, the monks, fed up with his sanctimonious droning, decided to immure him in the abbey’s oldest wine cellar with nothing but a crust of bread and a particularly judgmental rat for company.  By morning, Thaddeus was chanting apologies through the keyhole, promising to keep his pedantry to himself if they’d only let him out to finish his turnip stew. 

N.P.: “Set It Free” – Buckcherry

June 1, 2025

 

Happy June, dear reader.  Yo rent is due.

I’m once again running behind on the production schedule for the two books I’m working on (one officially, the other not), so I’m going to keep things on the brief side today.

Today we pour some out for literary badass Edith Wharton.  The details and timeline of the final events of her life seem to vary greatly depending on which source one consults, but all accounts agree: on this day in 1937, Edith collapsed from a heart attack.  Some sources say this happened at her French country home, while others insist it happened at the home of Ogden Codman, a big-deal architect and designer.  She survived the heart attack, but she dropped dead two months later from a stroke, hitting her at Le Pavillon Colombe in Saint-Brice-sous-Foret, France, where she died at 5:30 p.m.  But that moment on June 1 marked the beginning of the end for a writer who wielded her words like a blade, carving out truths about wealth, class, and the human condition which still sting today.

Wharton didn’t dick around with pretty illusions. Books like The Age of Innocence and The House of Mirth aren’t polite little tea-party reads—they’re a liver-kick, peeling back the suffocating traditions and quiet savagery of a world obsessed with appearances. She wrote with a fierce, clear-eyed intensity that makes you feel the rot beneath the polish, the ache behind the opulence. In 1921, she became the first woman to snag a Pulitzer for The Age of Innocence, which winning was a fuck-you to anyone who thought a woman couldn’t cut to the bone of the human condition.

Her death was the end of an era for a writer who made us see the cracks in the American Dream, the ones we’re still tripping over today. Wharton’s legacy demands we face the mess of our own making, unblinking. So here’s to the literary titan who never flinched, whose words still burn with a clarity that’ll wake you up faster than a shot of Jack. Let us pour some out today for Auntie Edith.

N.P.: “Black Betty” – The Dead Daisies

May 31, 2025

 

Today is hot as balls in Fecal Creek.  Day two of triple digits, dear reader, and its technically not even June!  All the prognostications, scientific and otherwise, indicate that this is going to be a violently and punitively hot summer.  As I may have mentioned before, I’m actually going to try to lean into the heat this year.  Sort of an “if you can’t beat it, join it” resignation, I suppose.  To that end, I may road trip to Death Valley this summer.  If I’m feeling really ballsy, I might even book a stay at the notorious Tarantula Ranch.  After a couple of days dealing with scorpions and vipers in 120F+ heat, coming back to The Creek will feel downright autumnal.  Such drastic measures may be ill advised though…even a couple of days in those sorts of conditions can permanently scramble a person’s mind, even if it doesn’t kill him.  Rumor has it that Charles Manson was a pretty reserved, well-adjusted dude before he decided to take up residence in Death Valley.  I dunno.  We’ll see.

There’s no getting around the fact that aside from personal misery and discomfort and swamp ass, this heat makes life around here difficult.  I’m pretty much stuck in the Safe House for the time being…the asphalt on the street outside is so hot that it causes tires to melt completely in a couple of blocks.  Regrettably, I didn’t stock up on booze before the heat wave hit, so I’m shit out of luck in the tequila and whiskey department.  The heat seems to block satellite signals, so there’s no reliable internet connection.  The garage door quit working, though that might be due to demonic possession rather than extreme heat…who knows.  No one’s talking.  Even my Mexican puppy, who was whelped in the brutal Tijuana heat, finds the present conditions untenable.  She’s on strike, refusing to even be cute until the situation improves.

But never mind all that…today is massive on the Dead Poets Society calendar.  On this wild, untamed day—May 31, 1819—a raw force of nature roared into being in West Hills, New York. Walt Whitman, the untethered soul who’d soon carve his name into the beating heart of poetry, came kicking and screaming into the world. This isn’t our usual birthday nod, dear reader…it’s a full-throated howl for the man who’d become the father of free verse, a literary outlaw who tore through the stuffy rules of his time with the reckless abandon of a storm. His work, sprawling and sweaty like Leaves of Grass, doesn’t play nice with polite society—it’s transcendental, sure, but it’s also got the grit of realism, the kind of voice that makes you feel the dirt caked under your nails and the thrum of your own pulse.

Whitman’s words aren’t here to coddle you. They’re a call to the wild, a dare to embrace the messy, beautiful chaos of the human spirit and the body electric. His poems still get hauled into classrooms, thank Christ, not because they’re tame or safe, but because they’ve got the kind of fire that makes you feel alive, line after line. It’s the sort of fearless, in-your-face brilliance that keeps poetry kicking through the ages.

To demonstrate Whitman’s current cultural significance, remember, dear reader, that it was Walt Whitman who ultimately brought down Walter White.  If it hadn’t been for Uncle Walt, Breaking Bad would likely be into its 10th amazing season by now.

So here’s to Whitman, the rugged bard who showed us how to sing our own song, unapologetically, with every ounce of our being. Let’s raise a glass (unfortunately the strongest thing on hand is lemonade) to the man who’s been shaking things up for over two centuries—may his spirit keep us restless, always.

N.P.: “The Heat” – The Bones of J.R. Jones

Word of the Day: phantasmagoria

 

Phantasmagoria (noun): An extravagant or rapidly shifting series of images, scenes, or events.  Often surreal, like the fever dream offspring of Salvador Dali and a fog machine that accidently got doused in absinthe.

This six-syllable beast is French by the way of Italian (phantasma, meaning apparition) and Greek (phantazein, “to make visible”).  It originally described spooky lantern shows in the last 1700s, where ghastly apparitions cavorted on the walls to the audiences who clearly hadn’t discovered Netflix yet.  Fast-forward a couple of centuries, and now the word applies to anything dazzling, surreal, or chaotic enough to make you question what you just saw.

Last Tuesday, I found myself on a regrettably misjudged blind date at a “conceptual sushi” bar.  The walls were painted in migraine-inducing hues of magenta.  Tiny drones floated around distributing soy sauce, landing in your palm like mutant fireflies.  Somewhere about us, a DJ dressed as a sixteenth-century plague doctor spun trance tracks that sounded like a Roomba choking on a harmonica.  My date, a professional “life coach,” was Instagramming her un-photoshoppable sashimi while babbling at me that mercury was in retrograde.
Somewhere amid all this aesthetic carnage, the dried seaweed I was chewing achieved an unfortunate synergy with the sake I’d been guzzling wholesale to cope.  And then, like clockwork, the bathroom hit me with an urgency that felt almost biblical in its scope.  On the way there, I tripped over an LED art installation of “origami tigers,” clawed at a neon bonsai tree, and landed in front of a video montage projected onto the bathroom door.
It was a phantasmagoria of winding anime pandas, old Godzilla clips, and stock footage of oil spills.  “Experience Transcendence Through Crisis,” the caption advised.  I stared at it, utterly destroyed by existential malaise and the sushi equivalent of a bad acid trip.
Needless to say, there won’t be a second date.  

N.P.: “Living For The City feat. Tash Neal” – Slash

May 29, 2025

Strap in, you uncultured heathens, because today we’re going to the fucking ballet.  Because we’ve got class, don’t we, dear reader?  Damn right.

Rewind to May 29, 1913, when Paris’s Théâtre des Champs-Élysées became ground zero for a creative detonation that’d leave the arts bleeding and begging for more. Igor Stravinsky, a mad Russian genius with a penchant for sonic mayhem, unleashed The Rite of Spring—a ballet so raw, so primal, it made the powdered-wig crowd lose their goddamn minds. No tutu-and-slippers affair, this; this is a feral, earth-shaking ritual that’d ripple into the literary sphere like a tidal wave crashing through a library.

The setup alone is a fever dream: Stravinsky’s score is nuts (at least it was considered so then), all jagged rhythms and dissonant howls, conjures a pagan rite where a young girl dances herself to death to appease the gods of spring.  The premiere was a straight-up scandal. The audience rioted—fists flying, boos drowning out the orchestra—because this wasn’t art as they knew it; this was a declaration of war on tradition. Stravinsky later said he’d never seen such a “terrifying” reaction, and Nijinsky (the choreographer) had to shout counts from the wings just to keep the dancers on beat amid the chaos.

Why does this matter to a literary fiend? Because in addition to pretty much breaking music and dance,  The Rite of Spring cracked open the cultural psyche, inspiring writers to chase that same raw, untamed energy. Modernist scribes like T.S. Eliot and Ezra Pound, already stirring the pot with their own rule-breaking verse, found a kindred spirit in Stravinsky’s rebellion. You can draw a straight line from the ballet’s savage pulse to the apocalyptic undertones of Eliot’s The Waste Land, published just nine years later in 1922.

This event, a glorious middle finger to the establishment, redefined what art could be. It dared to be ugly, to be real, to rip the veil off human nature and show the blood beneath. On May 29, 1913, Stravinsky lit a fuse that’d burn through the century, and we’re still feeling the heat. In that same spirit, let’s write something today that’d make the old guard clutch their pearls all over again.

N.P.: “Hau Ruck 2025” – KMFDM