December 26, 2025 – Boxing Day

 

Christmas 2025 was another great one, spent overindulging in both food and drink with family (with one conspicuous absence).  Meteorologically, it may have been the best Christmas in Fecal Creek history.  Holy shit!  Truly violent storms on both Christmas Eve and Christmas Day…biblical thunder and lightning, lashing winds, multiple inches of rain, extensive flooding…it was beautiful.

But today, the goddamn sun is out, dear reader…the skies are clear.  And there’s nothing left to talk about except the Day After.  The Great Hangover.  That weird, gray, interdimensional fart of a day squashed between the forced cheer of Christmas and the looming dread of New Year’s Eve.  I speak, of course, about December 26th, a day, according to my calendar, some of our more, shall we say, monarchically-inclined cousins across the pond have apparently christened “Boxing Day.”  I know this only because it pops up every year on my calendar with a parenthetical “UK” next to it, as if I’m supposed to know what it is and how to celebrate it.

I’ve traditionally ignored it, but this year, I’ve decided it was high time I figure this horseshit out.

I started with this fact: nobody in America knows what the hell Boxing Day is.  Not really.  Not in any way that would survive even the gentlest cross-examination by a bored customs agent or a half-sober pub historian.  At best we treat it like some cryptic British ritual involving foxes, tweed, and the ghost of Queen Victoria handing out coupons for discounted marmalade.  And yet – every December 26th – there it is on the calendar, staring at us like a smug, overfed cat.  Boxing Day.  A holiday that sounds, for my money, like a mid-tier UFC event sponsored by a failing energy drink.

Which is what I was hoping for as I began to dissect this calendric pustule.  Because taken at face value, the name itself suggests some sort of officially sanctioned, post-yuletide pugilism, which I could absolutely get behind.  A national holiday dedicated to settling familial scores that had been building up all year.  Maybe it involves bare-knuckle brawls in a parking lot behind a pub.  Or at least some quality fisticuffs after Uncle Tommy starts whining and bitching like some old lady about Republicans over the turkey carcass.  That would be the shit.  Uncle Randy made another crack about your “creative” career path?  Fine.  To the ring.  Grandma Mildred weaponized her disapproval with a strategically gifted bathroom scale?  Lace up, Mildred, it’s time for the main event when you get your dentures knocked out of your octogenarian skull.  Hell yes.  A glorious, kingdom-wide festival of fights, with the King himself officiating from a gilded ringside seat, perhaps nodding sagely as a cousin gets a well-deserved right hook for snatching the last pig-in-a-blanket.

Yes, this I could get behind.  This has a certain raw, cathartic honesty to it.  It’s a vision of beautiful, state-sponsored chaos.

But no.  A quick and deeply disappointing dive into the digital muck reveals a truth far more mundane, more depressingly…British.  The theories are as limp as thirty-day-old tinsel.  One story claims it’s the day the landed gentry, their bellies swollen with swan and their hearts filled with microscopic drops of noblesse oblige, would box up their leftovers and gift them to the downstairs staff.  Here you go, Jeeves.  Enjoy this gnawed-on drumstick and a half-eaten terrine.  A spectacular display of generosity that I’m sure made up for a year of serfdom.

Another, equally soul-crushing theory suggests it’s about alms boxes in churches being opened and distributed to the poor.  Which, again, has a certain Dickensian charm if you’re into institutionalized pity.  But it lacks the unadulterated madness the name promises.

The modern reality, of course, is a monster of a different stripe entirely.  It’s a day of rabid, foam-mouthed consumerism.  A retail-driven bloodbath where otherwise sane people trample each other for 40% off a 73-inch television they don’t need.  It’s the Black Friday of the Commonwealth, a second, even more pathetic lap in the unending marathon of buying shit. We’ve just finished a holiday centered on the ritual of giving and receiving objects, and now, not even a full 24 hours later, we’re back in the trenches, wrestling a stranger for a discounted Nespresso machine.

It seems to be a holiday that feels like a symptom of a deeper sickness.  A cultural glitch.  An excuse to either A) do absolutely nothing, melting into the sofa like a forgotten cheese sculpture, watching sports and picking at the desiccated carcass of the Christmas feast, or B) participate in a full-scale assault on the local shopping mall.  There is no middle ground.  There is only sloth or savagery.

No.  This will not do.  I say we reclaim this hollowed-out husk of a holiday and give it some real American spirit.  Let’s create our own “American Boxing Day,” where the name isn’t just some quaint, dusty relic of classist charity.  No, our Boxing Day would be a glorious, nationwide catharsis.  The “Boxing” would be a mere vestigial nod to tradition, as we’d embrace all forms of glorious combat to settle our post-holiday grievances.  Did your brother-in-law burn the roast?  Settle it with a round of arm-wrestling.  Neighbor’s inflatable snowman still blinking obnoxiously?  Challenge him to a duel, swords or pistols, his choice.  From organized jousting tournaments in suburban cul-de-sacs and martial arts showdowns in public parks to the satisfying finality of a disagreement resolved with Mac-10s, this would be a day for clearing the air.  It’s the American way: turning a confusing and stupid foreign custom into a spectacular, heavily-armed festival of personal expression.

N.P.: “Body Burn” – Cubinate

December 24, 2025

 

Here we are, dear reader…Christmas Eve 2025.  All is quiet on the West Coast…almost boringly so.  I was bitching about being bored at a bar today when I was reminded of the Eggnog Riot of 1826 and I thought, “Hot damn!  That’s right.  This is something my dear reader needs to be reminded of.”  So let’s get to it.

It was Christmas Eve, 1826, and the United States Military Academy at West Point was sitting on a powder keg of repressed adolescent testosterone and enforced sobriety.  The administration, in a fit of puritanical buzz-killing pique, had declared the campus dry.  No booze.  Nary a drop.  Which, if you know anything about military history or just human nature in general, is sort of like trying to stop a tidal wave with a sternly worded memo and a napkin.  You are essentially begging the universe for catastrophe.

Which, of course, is precisely what they got.

The cadets – one of whom was a young Jefferson Davis, who would later go on to make some arguably poor career choices involving secession, decided that a Christmas without spirit(s) was unconstitutional.  Or at least un-American.  So, they did what any self-respecting group of future leaders would do: they pooled their resources, bribed a sympathetic enlisted man (bless his mercenary heart), and smuggled in gallons of whiskey.  Gallons.  Enough rotgut to pickle a horse.

This illicit nectar was destined for the holiday eggnog.  Of course, eggnog is a polarizing beverage at the best of times – a sludge of dairy and regret that sits in your stomach like a concrete block – but when spiked with contraband whiskey by a bunch of sexually frustrated cadets in wool uniforms, it becomes a revolutionary accelerant.

The evening started quietly enough, presumably with some light caroling and the surreptitious passing of cups.  But as the ethanol hit the bloodstream, the shit hit the fan, and the decorum disintegrated faster than a cheap tent in a hurricane.  By the witching hour, North Barracks had transformed into a scene from a Bosch painting, if Bosch had been really into muskets and drunken singing.

The logistical grandeur of the chaos is staggering to contemplate.  This was about 70 cadets – roughly a third of the student body – getting absolutely, catastrophically shithoused.  Far beyond tipsy, they were operating on a plane of existence where gravity was a suggestion and authority was a hilarious abstract concept.  Around here, we refer to people in this state as Alconauts.

When the officers (the poor, beleaguered “tactical officers” whose job it was to maintain order) tried to intervene, things went sideways.  Captain Hitchcock, a man who probably just wanted to go to bed, burst into a room to find a party raging.  He tried to read the Riot Act.  In response, a cadet tried to shoot him.

Let me repeat that for the folks in the back: a cadet tried to shoot a superior officer over eggnog.  The pistol misfired, or Hitchcock would have been the first casualty of the War on Christmas.

The riot spread.  Windows were smashed – glazing being apparently being the enemy of liberty.  Banisters were torn from staircases.  Furniture becomes airborne.  Muskets – actual functioning muskets – are waved around with the kind of reckless theatricality that suggests both a deep commitment to chaos and a total misunderstanding of firearms safety.  Additional officers attempting to restore order are greeted not with obedience but with slurred threats, drunken philosophy, and the kind of belligerent holiday cheer that makes you wonder whether the entire institution was built on a cursed ley line.

Swords were drawn.  One cadet reportedly tried to duel a superior officer.  Another attempted to lead a breakaway faction of equally hammered comrades in what can only be described as a proto-revolutionary splinter movement.  It was Animal House with bayonets.  At one point, Jefferson Davis, thoroughly pickled, stumbled into a room to warn his comrades that the officers were coming, only to realize the officers were already there.  He shouted, “Put away the grog, boys!” which is 19th-century slang for “Hide the evidence, we are so fucked.”

The “Eggnog Riot,” as it was later dubbed by historians with a flair for the absurd, raged until Christmas morning.  When the sun rose over the Hudson, the barracks looked like they had been shelled.  The hangover was no doubt biblical.  The commandant was apoplectic.  The court-martial that followed was one of the largest in U.S. military history.  Nineteen cadets were expelled, though many, including Davis – managed to wiggle out of serious punishment because they hadn’t actually broken anything important or successfully murdered anyone.  Nonetheless, careers teetered.  And the academy’s reputation is dragged through the snow like a corpse.

And yet, American survives.  Hell, America thrives.  Some of the riot’s participants go on to be  respected officers, engineers, and public servants.  The republic doesn’t crumble because a bunch of 19-year-olds got black-out drunk on weaponized eggnog and tried to overthrow their dorm monitors.

It’s a beautiful, stupid reminder that even the most disciplined institutions are only ever one bad decision and two gallons of whiskey away from total anarchy.  And I kind of respect the commitment.  If you’re going to ruin your military career, you might as well do it while defending your right to get wasted on spiced milk punch.

So raise a glass – preferably one not spiked with enough whiskey to trigger a congressional inquiry – and toast the cadets of 1826, who gave us the greatest holiday riot on U.S. military history.

And if I don’t see you tomorrow, have a very merry Christmas.

N.P.: “You’re a Mean One, Mr. Grinch” – Gary Hoey

December 23, 2025

 

Alright, dear reader, I suppose it’s time to officially switch into Christmas gear for a couple of days, so here we go:

As my young and historically benighted reader might not know, Christmas in the 19th century was a very different thing than what we have now.  No Santa, no reindeer, none of that horseshit.  What changed?

It’s December 22, 1823.  The world is a grimy, pre-industrial smudge-pot of coal dust and dreadful hygiene.  Christmas, to the extent that it’s even a thing, is a muddled affair of stern religious observance mixed with a bit of wassailing-adjacent public drunkenness.  The idea of a jolly, fat man delivering toys is about as plausible as a steam-powered unicorn.  St. Nicholas is still some gaunt, vaguely terrifying Turkish ghost bishop, not a cookie-addled home invader with a branding deal.

Then, some ink-stained wretch at the Troy Sentinel in upstate New York, likely fueled by bad whiskey and the bleakness of a Tuesday, decided to run a poem.  Anonymously.  Because of course.  You don’t sign your name to something so patently deranged.  It was less poetry and more hallucinatory fever dream printed on newsprint, a piece of pure, uncut narrative insanity that would, against all odds, hijack an entire holiday.

As one who has always cherished and aspired to the societal role of writer as cultural terrorist, I say with certainty that “A Visit from St. Nicholas” is the single most effective piece of cultural propaganda ever deployed.  Before this poem dropped, our conception of Santa was a chaotic mess.  But after?  Bam.  Instant fat-guy-in-a-red-suit consensus.  This anonymous screed built the character of Santan from the ground up, bolt by bloody bolt.  It dictated the whole damn scene: the sleigh, the eight tiny named reindeer.  Before this, did anyone think to call a flying ungulate “Vixen”?  No.  It’s genius.  It’s the kind of specific, world-building detail that worms its way into the collective brainstem and just stays.

The poem itself is a masterclass in lexical precision, sort of a high-velocity descriptive barrage.  The narrator, roused from a “long winter’s nap,” witnesses a whole psychotropic tableau unfold on his lawn.  It goes beyond a “jolly old elf.”  The text insists on a near-forensic level of detail.  The twinkle in his eye, the dimples, the cherry nose, the beard “as white as the snow.”  And the stump of a pipe held tight in his teeth, the smoke encircling his head “like a wreath.”  He’s not described as a saint but a hard-living, possibly Dutch, magical trucker with a serious tobacco habit and a bottomless sack of contraband.  He is a “right jolly old elf,” a creature of pure, unadulterated joy who laughs with a belly that shakes “like a bowlful of jelly.”

This portly specter doesn’t just arrive; he comes in “with a bound.”  He works fast, a blur of fur and soot, filling stockings with a twitch of his wrist, a creature of pure, libidinal efficiency.  He’s like Seal Team Six.  He’s all business.  No small talk, no bullshit.  Just a quick nod, a finger laid aside his nose, and then – poof – up the chimney like a bat out of hell.  The closing lines, “Happy Christmas to all, and to all a good-night,” aren’t a gentle blessing; they’re a mic drop.  A declaration of a new world order delivered from the seat of a flying sleigh, disappearing into the cold, indifferent sky.

The poem is a Trojan horse of holiday mythmaking.  You read it thinking you’re getting a cozy fireside ditty, but what you’re actually getting is a full-scale cultural operating system update.  The whole thing is engineered – whether consciously or not – to be repeated, recited, reprinted, and ritualized until it becomes indistinguishable from the holiday itself.

And we certainly complied.

We recited it in classrooms with the same solemnity usually reserved for national anthems.  We printed in on greeting cards, stitched it onto pillows, slapped it onto department-store displays.  We let it take over our Decembers until the poem wasn’t a poem anymore – it was the blueprint for an entire season of sanctioned madness.

For decades, the authorship was a literary mystery.  Clement Clarke Moore, a stuffy academic, eventually claimed it, but the family of a Dutch-descended dude named Henry Livingston Jr. screamed bloody murder, insisting their guy wrote it.  Personally, I think authorship is a very big deal, but most seem to think the mystery is an essential part of the power of the poem.  They argue the point isn’t the author, but rather the blast radius.  This anonymous poem, slipped into a provincial newspaper, became the foundational text for the modern commercial-religious-industrial complex we call Christmas.  It’s one of the most reprinted poems in the language, not because it’s high art, but because it’s a perfect machine.  It did its job with such terrifying competence that we’re all still living inside its weird, sugary, reindeer-powered world, more than 200 years later.  You can’t escape it.  It’s in the air.  It’s in the goddamn malls.  It’s the ghost in the machine.  And it all started on a Tuesday, with a little bit of anonymous ink.

N.P.: “Forsaken” – Adam Hurst

December 22, 2025

 

On This Day in Doom

Let’s be honest, dear reader: history is a malfunctioning carnival ride operated by a meth-addled gibbon, and December 22 stands as a particularly glitchy gear in the machine.  It’s a day that grabs you by the lapels, shakes the loose change out of your pockets, and whispers, “Hey kid, wanna see something really fucked up?”
Because on this specific calendar square – separated by roughly 130 years and several thousand miles of icy/suburban wasteland – we have two distinct flavors of nightmare fuel.  One involves the near-death of literature’s gloomiest heavyweight, and the other involves a clown who wasn’t joking.
Strap in.  The brakes were cut miles ago.

The Great Siberian Psych-Out (1849)
First up, we have Fyodor Dostoevsky, the guy who made existential dread fashionable before French people ruined it with cigarettes and turtlenecks.
Imagine this: you’re 28, a literary upstart with a naïve taste for utopian socialism who’s been arrested for reading banned books and talking too much about justice.  The Tsar doesn’t like that.  So you’re sentenced to death, natch.
It is cold.  Not “put on a sweater” cold, but “your soul is freezing into a jagged little icicle” cold.  You’re dragged out to Semyonov Square.  You and your Petrashevsky Circle buddies are lined up.  You are read your death sentences.  You are given the white shirts of the condemned, which is a fashion statement no one wants to make.  You’re blindfolded.  You hear the click of rifles being raised.  The drums roll.  The priest does his mumbling bit with the cross.  You feel the cold breath of eternity on your neck.  You stand there, probably thinking, “Well, this is going to severely impact my ability to write 800-page novels about guilt.”  This is it.  The Big Sleep.  The dirt nap.  And then a messenger gallops in – presumably in slow motion, possibly while an eagle screeches overhead – waving a piece of paper.  “Psych!” screams the Tsar (paraphrasing).  “Just kidding!  You aren’t dying today!  You’re going to Siberia for four years of hard labor.  Four years of frostbite, dysentery, and theological whiplash.  Enjoy!”
It was a mock execution.  A prank.  A piece of psychological theater designed to break his sprit so thoroughly that he’d be sweeping up the shards of his own psyche for decades.  And it worked, sort of.  He walked away from the firing squad with a rewired brain.  Dostoevsky went to the klink, got epileptic, found Jesus, and came back to write Crime and Punishment, The Brothers Karamazov and other breakup letters to God.
Essentially, the Tsar’s twisted sense of humor gave us the entire canon of Russian existentialism.  If the command to “Fire!” had been given three seconds earlier, your college lit syllabus would look drastically different, and we’d have fewer metaphors for suffering.  The Tsar played Russian roulette with a writer’s soul and lost.

The Clown in the Crawl Space (1978)
Fast forward to 1978.  We trade the frozen wasteland of Russia for the frozen wasteland of Des Plaines, Illinois.  Different continent.  Different kind of horror.
Enter John Wayne Gacy.  A contractor.  A precinct captain for the Democrats.  A guy who dressed up as “Pogo the Clown” to entertain sick kids, which in retrospect is the darkest irony in the history of polyester costumes.
By December 22, the cops had been buzzing around Gacy like flies on roadkill.  He’d been playing this cat-and-mouse game, strutting around with an arrogance that suggested he thought he was smarter than the collective moral universe.  He wasn’t.  He was just a contractor with a really bad smell coming from his heating ducts.
On this day, the dam broke.  Gacy, likely realizing the jig was up or perhaps getting tired of the charade, started talking.  And once he started, he didn’t stop.  He admitted to killing 33 young men and boys.  He drew a map.  He pointed to the crawl space beneath his house – a ranch-style suburban home that looked exactly like every other ranch-style suburban home – and essentially said, “Yeah, they’re down there.”
It’s hard to process the logistical horror of it.  Twenty-nine bodies buried under the floorboards while he ate dinner and watched TV about them.  It’s the ultimate suburban gothic nightmare: the monster isn’t in the closet; the monster is the guy checking your permits, and he’s literally built a life on top of his victims.

N.P.: “Scarecrow” – Meg Lee Chin

December 21, 2025

Solstice

The sun gives up early, slipping out the back door
like someone who knows they’ve overstayed their welcome.
By late afternoon the sky is already bruised,
a slow-moving storm of ink and cold breath.

The longest night arrives without ceremony.
Streetlights blink awake one by one,
their halos trembling in the wind
as if even they’re not sure they can handle
what’s coming.

The world feels paused –
a held breath, a skipped heartbeat,
a hush that settles over rooftops
and creeps under doors.

Out in the fields beyond town,
the trees stand like a congregation of silhouettes,
their branches raised in some ancient,
untranslatable prayer.

The ground is stiff with frost,
cracking softly underfoot
like old bones remembering weather
from centuries ago.

Somewhere an owl calls out,
a low, resonant note that feels less like sound
and more like a reminder
that darkness has its own custodians.

And yet the night hums –
not with menace, but with a strange,
almost tender gravity.

As if the world is leaning closer,
whispering that this is the hinge of the year,
the pivot point,
the place where endings and beginnings
blur into the same breath.

People sleep behind their windows,
unaware of the quiet negotiations happening
between shadow and dawn.

But you – wanderer, insomniac,
keeper of small, stubborn hopes –
you feel the pull of it.

The reminder that light is a fragile thing,
and still it returns.
That even the longest night
has a seam somewhere,
a thin line where tomorrow
is already leaking through.

So you stand there,
listening to the cold wind thread itself
through the bare branches,
and imagine your own vow –
not carved in stone,
but carried in breath:
To keep walking.
To keep watching.
To keep a spark alive
Even when the dark feels endless.

N.P.: “More” – Miazma

December 20, 2025

 

The Democracy of Dirt

The streetlights flicker their last tired breaths

as the night settles in, thick as damp velvet.

Somewhere beyond the trees,

a siren wails and then thinks better of it.

The world exhales.

Here, in this forgotten cemetery

where the city’s glow dies at the gate,

the gravestones lean like old drunks

whispering secrets to the moss.

The names carved into them have been sanded down

by rain, wind, and the indifference of passing centuries.

No one remembers these people. No one visits.

Even the crows have moved on to better neighborhoods.

And yet the place hums.

Not with ghosts — nothing so theatrical —

but with the quiet, stubborn dignity of

lives that never made the history books.

The butcher who sang to himself while sharpening knives.

The seamstress who dreamed of Paris but never made it past the county line.

The boy who wrote poems no one read and

buried them under his mattress like contraband hope.

They lie here now, equal in the democracy of dirt.

The world never saw what they could’ve been.

Maybe one of them had a mind sharp enough to split atoms or write epics.

Maybe one carried a heart big enough to save someone who needed saving.

But poverty, circumstance, and the grinding machinery of daily

survival swallowed their brilliance before it ever sparked.

The city rushes past them,

headlights slicing through the fog,

unaware that it drives over a thousand unwritten stories.

And the speaker — me, you, whoever wanders here at dusk —

feels the tug of that anonymity. The reminder that

ambition is a fragile thing, easily crushed under the weight of

rent, illness, heartbreak, or the simple fact of being born in the wrong century.

In the end, the grave doesn’t care about résumés.

But there’s a strange comfort in that. A leveling. A mercy.

So I stand here, listening to the wind thread itself through the iron gate,

and imagine my own epitaph — not carved in marble,

but drifting somewhere between the branches:

A wanderer who tried.

A voice that cracked but kept speaking.

A heart that beat, stubbornly, against the dark.

And whatever walks here — memory, time, the echo of the forgotten — walks with me.

 

N.P.: “Worlock” – Skinny Puppy

December 16, 2025

 

It is 04:00 and the typewriter is mocking me.  It sits there, a dull gray beast of burden, demanding tribute in the form of coherence, which is a commodity currently in short supply in this suburban bunker.  My head feels like it’s being compressed by the gravitational pull of a collapsing star, likely the result of a misguided attempt to mix a shitload of Ny-Quil with high-grade existential dread.  But we must press on, mustn’t we, dear reader?  We must push through the mire of our own synaptic failures because today – December 16th – is a holy day.  A day of reckoning.  A day when the cosmos, in a fit of absolute, unadulterated irony, decided to birth Arthur C. Clarke, the British Baron of the Space Elevator, and Philip K Dick, the Paranoia King of Point Reyes, onto the same spinning rock.

To understand the sheer statistical absurdity of this coincidence requires a level of mental gymnastics that usually results in a pulled groin muscle of the soul.  On one hand, you have Arthur C. Clarke.  The man who looked at the sky and saw geometry.  He was the sort of guy who could sit in a bungalow in Sri Lanka, sipping tea that probably cost more than my car, and calmly calculate the trajectory of humanity’s ascent into pure energy.  Clarke gave us the monolith.  The clean, black slab of infinite possibility.  He gave us a computer that murdered astronauts with the polite detachment of a DMV employee denying your license renewal.  His prose was like a freshly polished chrome fender reflecting a binary sunset – clean, scientific, and optimistic in a way that makes you want to check your wallet to see if you’ve been robbed.  He made us believe that if we just did the math right, we could all turn into giant space babies and float around the cosmos listening to Strauss.

And then. Then.  You have the other one.

If Arthur C. Clarke was the cleanroom of the future, Philip K. Dick was the grimy alleyway behind the simulation.  Dick didn’t look up at the stars; he looked at his neighbor’s window and wondered if the man inside was a robot sent by the government to steal his neuroses.  He was a creature of amphetamines and pink lasers, a man who wrote about the fluidity of reality because his own reality was melting like a Dali clock left on a dashboard in the Mojave.

He didn’t give us starships; he gave us empathy boxes and spray cans of reality-restorer.  He asked the question that haunts me every time I try to assemble IKEA furniture: Is any of this actually real, or am I just a brain in a jar hallucinating a particleboard bookshelf?

It is fundamentally unfair that one day gets to claim them both.  It’s like scheduling a chess match between Arthur C. Clarke – the supercomputer – and Philip K. Dick – the feral raccoon that just at a bag of espresso beans.  Clarke offers you a vision of technology as salvation; Dick offers you a vision of technology as a trap laid by a gnostic demon.  One is the Apollo program; the other is a bad trip in an Orange County strip mall.

So here I sit, surrounded by empty Ny-Quil bottles and half-finished manuscripts, trying to reconcile these two visions.  An I a Star Child, waiting to shed this fleshy husk?  Or am I just a replicant with a four-year lifespan and a cough syrup problem?

The truth, as usual, is somewhere in the static between the channels.  We need to cold, hard vacuum of Arthur  C. Clarke’s logic to keep us from dissolving into puddles of god, but we need the frantic, sweat-soaked panic of Philip K. Dick to remind us that the systems we build are just as broken as the people who build them.

I raise a plastic shotcup containing a green fluid of suspicious viscosity, to Arthur C. Clarke and Philip K. Dick.  To the Sentinel and the Scanner.  To the man who saw God in the machine, and the man who saw the Devil in the wiring.

Cheers.

N.P.: “No Feelings” – Sex Pistols

December 14, 2025

 

Sobriety, dear reader, has been a trip.  Not the fun, kaleidoscopic kind where you’re riding a wave of serotonin and questionable decisions, but the kind where your brain decided to chuck a I.E.D into your circadian rhythm just for the fuck of it.  In the early days, I became what I can only describe as “insomniatic.”  [Yes, I know it wasn’t (previous to today) a recognized English word, but I found the English language to be lacking in this specific instance, so I created this neologism.  You’re welcome.]  Sixty-two hours.  That’s how long I was awake.  Sixty-two hours of raw, unfiltered consciousness.   It was like being trapped in a David Lynch film, minus the jazz and creepy dwarves.  Fascinating, sure, but also the kind of fascinating that has you questioning the nature of reality itself.

Then came the dreams.  Those annoyances had been gone for decades, and they weren’t missed.  But they’ve come back now, in 4K resolution, Dolby surround sound, and full fucking Technicolor.  And they sucked.  Not in a “wake-up screaming” kind of way – I don’t do nightmares, thank you very much – but in a “why is my subconscious so goddamn annoying?” kind of way.  They were petty, irritating little vignettes that stuck to my brain like gum on a hot sidewalk.  But last night?  Last night, my dreams finally got their act together.  They started with a delightful little scene of vengeance – me, absolutely eviscerating a certain pitiful bitch who had the stupid audacity to approach me in a restaurant.  It was glorious.  Then, a hard cut to something far more wholesome: a dream about the release of my next book, the one I’m about to hurl into the publishing void.  No spoilers, of course, but let’s just say I woke up feeling like a goddamn superhero.

That feeling didn’t last.  Because, as is the way of the world, reality came knocking with its usual bag of horrors.  The news of the antisemitic terrorist attack in Australia hit like a liver kick.  Utterly vile.  My hat’s off to the badass who wrestled one of the attacker’s guns away – and act of courage that deserves more than a passing mention.  Would that he had finished the job, though.  My thoughts are with the victims, their families, and my Jewish friends around the world on this first day of Hanukkah.  It’s a bitter reminder that the world is still full of monsters, and not the fun, fictional kind.

On a brighter note, let’s talk about Shirley Jackson.  Today marks the birth of one of the most ferocious minds to ever put pen to paper.  If you didn’t read The Lottery in school, stop what you’re doing and fix that.  It’s a short story that will slap you across the face and leave you questioning everything you thought you knew about human nature.  And then there’s The Haunting of Hill House, a gothic masterpiece that opens with one of the most chilling paragraphs in all of literature:

No living organism can continue for long to exist sanely under conditions of absolute reality; even larks and katydids are supposed, by some, to dream.  Hill House, not sane, stood by itself against its hills, holding darkness within; it had stood so for eighty years and might stand for eighty more.  Within, walls continued upright, bricks met neatly, floors were firm, and doors were sensibly shut; silence lay steadily against the wood and stone of Hill House, and whatever walked there, walked alone. 

Chills. Every damn time.  That opening is a masterclass in atmosphere, a slow, deliberate tightening of the noose before you even realize it’s around your neck.  Jackson dissected the human condition with the precision of a surgeon and the malice of a cat toying with its prey.  Suburban conformity, psychological terror, the uncanny – she turned these into her playground, and the results were nothing short of devastating.  She was, in every sense of the word, a literary badass.

I aspire to write something even a fraction as haunting, as sharp, as utterly unforgettable as her opening paragraph to Hill House.  Until then, I’ll keep hammering away at these keys, dreaming in 4K, and occasionally indulging in a little dream-world vengeance.

Here’s to Shirley Jackson, to the courage of those who stand against Islamic-extremist hate, and to the strange, maddening, beautiful journey of sobriety.  Stay weird, stay wild, and for the love of all things holy, stay awake for less than 62 hours at a time.

Happy Sunday, Merry Christmas, and Happy Hanukkah.

N.P.: “I Stay Away” – Alice In Chains

December 13, 2025

 

Okay, confession time, dear reader: if you’re reading this on December 13th, congratulations – you’re three days late to the party, just like me (and frankly, just like Faulkner would’ve preferred).  But hey, what’s a Nobel speech anniversary without a little tardiness and existential disarray?  Time is a flat circle, calendars are a social construct, and whiskey tastes the same on any day ending in Y.
So, let’s rewind to December 10th, 1949, and picture it: in the icy, buttoned-up heart of Stockholm, a gaggle of Nordic royalty and tuxedoed stiff-shirts are waiting.  Waiting for a small, mustachioed man from the humid, gothic morass of Mississippi to stumble up to a podium, likely completely shit-housed, and accept the shiniest of all literary hood ornaments: the Nobel Prize.  The man is William Faulkner, author of The Sound and the Fury and cartographer of the broken human soul, and he very nearly told them to all to shove it.
This whole affair, this trans-Atlantic flight into the glacial maw of European high culture, was, for Faulkner, the type of bullshitty literary root canal he had zero intention of undergoing.  The man hated speeches.  Hated them with a passion usually reserved for tax collectors and people who dog-ear pages.  His initial, and let’s be honest, deeply admirable plan was to dispatch a two-sentence telegram.  Something along the lines of, “Fuck off.  I’m busy.” and then get back to the serious business of drinking whiskey and wrestling sentences into submission.
But pressure, for some  people, can be a hell of a thing.  Family, friends, maybe the ghost of Conrad himself, they all conspired.  So Bill gets on the goddamn plane, a tweed-clad ghost haunting the fuselage, probably already marinating his liver for the ordeal ahead.  He arrives in Stockholm, a place as alien to his Rowan Oak porch as a Marian landscape, and proceeds to do what any sane man would do when faced with a week of stilted small talk and ceremonial pomp: he gets absolutely, unequivocally hammered.
And then comes the moment.  The culmination of a year-long delay and a lifetime of torturing typewriters.  He’s shuffled to the dais, looking less like a literary titan and more like a man searching for the nearest exit and a stiff drink.  The world holds its breath, expecting a mumbled thank you, a polite nod, and a quick escape.
What they get instead is five minutes of pure, uncut, lightning-in-a-bottle prophecy.  This titan of tragedy, this man who writes novels so dense with despair you could drown in them, stands up there, swaying, and delivers the single most potent dose of secular scripture in modern history.  He talks about the atom bomb, the fear, the universal dread hanging over everyone like a shroud.  Here’s the core:
“I feel that this award is not made to me as a man, but to my work…Our tragedy today is a general and universal physical fear so long sustained by now that we can even bear it.  There are no longer problems of the spirit.  There is only the question: When will I be blown up?  Because of this, the young man or woman writing today has forgotten the problems of the human heart…
I decline to accept the end of man…I believe that man will not merely endure: he will prevail.  He is immortal, not because he alone among creatures has an inexhaustible voice, but because he has a soul, a spirit capable of compassion and sacrifice and endurance.”
It’s a speech so powerful, so fundamentally at odds with the bleakness of his own work, that it feels like a cosmic joke and a profound truth all at once.  Faulkner, in that moment, becomes the reluctant prophet of postwar literature.  He tells the world that the writer’s duty is to remind humanity of its courage, its honor, its hope, and its capacity for compassion.  He says this while still metabolizing a truly heroic amount of whiskey.
He drops the mic, pockets the prize money, fucks off back to Mississippi , and goes right back to writing labyrinthine masterpieces that most of America wouldn’t touch with a ten-foot pole.  Back to the porch and the typewriter and the dogs and the ghosts.
He keeps writing.
Books that no one buys.
Books that confuse people.
Books that bleed.
So today, we raise a glass (cheap bourbon preferred, neat, no ice) to the man who took the Nobel, told the world to get its shit together, and then went back to the swamp to keep doing the work.
He didn’t endure.
He prevailed.
And he did it broke, drunk, and brilliant.

N.P.: “Bellum Terrae Mediae” – Dogukan Ozturk