Today’s word is so delightful in its phonetic jaunt that you might be tempted to think it’s a term of endearment – it is not.  At its core, “hokum” is a linguistic middle finger dressed up in folksy clothing.  It’s the sweet-sounding assassin of shitty ideas, bad writing, and con-artist theatrics.  Merriam-Webster, may God have mercy on their stuffy woke souls, defines it as “nonsense” or “unsubstantial material presented as if it were significant.”  More pointedly for our purposes, it’s also a literary indictment – a tire iron to the knees of hacky prose and storytelling cliches.  I’m looking at you, James Patterson industrial complex?
It’s a term that slinks out of the American vernacular like a whiskey-soaked conman, promising truth but delivering a swift kick to the cerebral cortex with a steel-toed boot of bullshit.  The word dates back to 1917, birthed from the American theater scene.  It likely evolved from “hocus-pocus,” which itself is just medieval bullshit Latin for “I’m fooling your dumb ass.”  Hokum came to refer to the corny, manufactured sentimentality peddled on stage by second-rate vaudevillians.  Flash forward, and today we have hokum in chain bookstores, high-school drama productions, and at every Netflix-funded rom-com Bulgarian dump yard.

Hector Mengel was drunk in a way that would make Hemingway sit up in his grave, slack-jawed with secondhand liver pain.  The Mountain Lion Saloon was his temple, tequila the sacrament, and the congregation was a couple of barflies who hadn’t seen sobriety since Woodstock ’99.
“Writing’s gotta be real,” Hector slurred to Marty, the kind of tragically bald bartender who always looked like he just lost a fight to a squirrel.  “You start doing it for the clicks and the algorithms, you’re no better than those hokum-slinging MFA pricks who keep comparing their stepdads to the mists of Yorkshire.”
“Inspiring,” Marty droned as he chipped away at what could have either been line rind or unclaimed dental work.
Hector tipped his chair back – weightlessly at first, until gravity got possessive.  The crash was museum worthy.  Flat on his ass and buried under an avalanche of spilled booze and shame, Hector waved blindly toward a pack of peanuts someone kicked out of reach.  The crowd of zero laughed with gusto.
Just as he lumbered upward, muttering curses that would make sailors call HR, the door flung open.  Enter Brittney Stone, her reputation a howling storm known across two counties and recently defamed at the Yellow Pages Yelp party.
“Hector, you bigoted windbag!” she shouted, slapping a dog-eared printout of his latest op-ed on the bar top.  The title appeared to be “Is Dipshit the Only Flavor Modern Poetry Knows Anymore?  Discuss.”  She jabbed her toothbrush-thin finger at his use of the word “triteness.”  “Your metaphors are rotten cheese!”
“I’ll have you know,” Hector wheezed, retrieving his now-drenched fedora from the floor, “that my metaphors are artisanal cheese.  Funky by design but adored in Paris.”
“This?  This right here?”  She held up the printout like a preacher flaunting sins in the Psalms.  “It’s hokum – pure, cattle-grade, waffle-stomping hokum.”
Hector stood.  The bar stilled.  “Says the woman who rhymed ‘ablaze’ with ‘my gran-pappy’s malaise’ in Fecal Creek’s poetry mag.”
It devolved quickly after that.  A couple of punches were thrown, Brittney chugged someone else’s gin, and Hector left with both a black eye and four new haikus rattling in his whiskey-slick head. 

N.P.: “Camino” – Calva Louise