You probably heard the stories.
A thing out in the dark.
Three legs, no welcome, wrong shape. No thank you.
They called me the Enfield Horror.
Hell of a nickname.
Sounds like a punk band that never sold a single record but still haunts the jukebox in a bar that burned down before you were born.
I don’t correct them.
Names are for people who fit into systems—phones, payrolls, gravestones. I’m not in your system. I’m the burn in your tape. The blur in the corner of your Polaroid that shouldn’t be there—but always is.
You don’t see me. You remember me.
I move like a whisper with a limp. Like a jazz note in the wrong key that still makes the whole thing sound right. I’m not here to hurt you. I’m here to remind you that you never really understood what was lurking behind all that asphalt and indoor lighting.
I pass through your town—not out of hunger, not even out of curiosity.
Call it instinct. Call it a rhythm I’m wired to.
I don’t knock. I don’t howl.
I just am.
And when I move, birds pause. Not out of fear. Out of respect.
They remember what you’ve forgotten.
I’ve seen your kind build towers and forget why they were afraid of the woods.
I watched you pave over the bones of things older than your gods.
And then cry out when something with no name steps out of the brush and doesn’t blink.
But me?
I don’t judge. I’m not here to preach.
I’m the pause between your thoughts.
The stutter in your story.
The proof that some patterns don’t want to be completed.
You call me horror.
That’s fine.
But deep down, you’re not afraid of me.
You’re afraid of what I prove:
That the world isn’t finished.
That reality has holes.
And some of them walk.
