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Bodies in the Lowcountry ©️
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It was never just about murder, not really. Down in the lowcountry, where the oaks hang low like secret keepers and the humidity wraps around your neck like a soft noose, the Murdaugh name was more than a name—it was a spell. A charm passed from man to man, whispered in courtrooms and golf courses, murmured at barbecues like a family hymn. You didn’t win cases in Hampton County. The Murdaughs decided who won. For nearly a hundred years, they held the gavel and the gun, sometimes at the same time.
But something had turned inside that bloodline, a rot that smelled sweet like bourbon gone bad. You could see it in the boy’s eyes—Paul, they called him Timmy when the drink took over, and that wasn’t just a nickname. That was possession. And Maggie, oh Maggie, a pretty wife in pearls who smiled too long, like she’d read the ending of the story but didn’t know how to rewrite it. She’d begun to drift. Not far, just enough to make Alex feel the old panic—that someone else might own the last piece of him he still respected.
They say Alex snapped. They say opioids, debt, lawsuits. But snapping implies a break. This wasn’t a break. This was a slow pour, like molasses off a blade. It had been coming for years.
See, when men like Alex lose control, they don’t run. They perform. They write a final chapter with sweat on the brow and blood on the soil. If he was going down, he would go down the way Murdaughs were raised to: with narrative. And so, he placed the bodies like punctuation marks. One at the kennel. One a few feet over. A quiet period. A louder exclamation.
But the real tragedy isn’t in the act—it’s in the motive no one wants to say aloud. What if the murders weren’t about escape, but about sacrifice? What if, deep inside that man’s southern-twisted soul, he believed that in order to save the Murdaugh name from the shame of ruin, it had to be baptized in fire? That by removing the son who wrecked boats and futures and the wife who was slipping out of orbit, he could freeze the Murdaugh myth in place before it collapsed under the weight of its own lies?
And maybe he thought he could hold the center. That Buster, the quiet one, the last son standing, could rise from the ashes with a new face and the old name polished clean. They always save one in these family operas. One boy to walk the wreckage and pretend the house wasn’t built on bones.
Now Alex sits in prison, but the lowcountry still trembles with his ghost. And if you drive through Moselle in the blue hours, you’ll feel it. The hush. The heaviness. Like the dirt remembers. Like the air is holding its breath.
Because when old Southern dynasties fall, they don’t go quietly. They go operatic. They go tragic. They go Murdaugh.
Don’t Blink ©️
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.
They’re Inside of All of You ©️
Mushin
It begins as a whisper in the dark, a presence felt rather than seen. The air carries a strange stillness, a chill that settles deep in the bones, a pressure just beyond perception. It is the kind of cold that doesn’t sting or bite but lingers, seeping inward, pressing against the ribs with invisible weight. At first, there is no reason to question it. The world is full of silences, full of moments where the mind wanders and the body tightens without explanation.
Then comes the hesitation. A pause where there was once certainty. A second thought where there should have been action. A feeling, quiet and nagging, that something isn’t quite right. The cold deepens, not in temperature, but in its presence—it is not simply felt but known. The pulse slows. The air thickens. The moment stretches.
A small pressure builds in the chest. A shallow breath that wasn’t there before. The thought takes root: something is wrong. The mind circles it, first as a passing worry, then as an undeniable fixation. The body reacts before the mind can rationalize it—shoulders tense, the hands grow clammy, the throat tightens just slightly.
It is a slow creep, a trick of sensation, a delicate pull on unseen strings. The pulse flutters, then accelerates, like a drumbeat just slightly out of rhythm. There is no clear danger, no tangible force at play, but the world itself begins to shift. Shadows stretch a little too long. Sounds linger a moment past their source. The ordinary loses its shape.
Then the grip tightens.
The moment that was once hesitation becomes something else—a rush of heat, a prickle along the spine, a pounding in the ears. The body prepares for something it cannot name, for something it does not understand. What was a whisper is now a murmur, a sound beneath the threshold of hearing that somehow speaks in meaning rather than words.
It sees you.
That thought arrives unbidden. The world shudders at the edge of awareness. The pulse is no longer uncertain—it is hammering now, each beat slamming against the ribs, demanding movement, demanding release. The breath catches, the muscles coil, the skin tingles with static. There is nowhere to run, and yet the urge is there, primal, insistent.
Then, the break.
The heart surges. The body ignites. The hesitation is gone, replaced by something sharper, something faster. The air no longer carries weight—it crackles, charged with urgency. The cold is obliterated in a rush of heat, of movement, of sheer velocity. The mind doesn’t think anymore—it reacts.
What was once a whisper has become a roar.
The fire spreads, consuming hesitation, devouring every weakness in its path. The world bends to it, twists under its force. Fear is no longer a whispering force in the dark—it is a tidal wave, an inferno, a storm tearing through the void. And just when it feels as if the mind cannot take another second, just when it reaches the precipice of losing itself entirely—
It stops.
The silence returns, but it is no longer the stillness of hesitation. It is something else entirely.
The world is bright. The body, still tense from the surge, now holds something different—something solid, something unshakable. There is no fear anymore, no lingering cold, no whispering doubts. The fire has burned away everything but what is real. What is left is not something hunted, not something chased.
What is left is something that walks forward.
And the sun rises.
The Loony Bin ©️
Rise in the hour where shadows grow thin, Where the light stumbles drunken, unsteady with sin, And the breath of the house, thick with its ghosts, Swirls in the lungs of the living, its hosts.
The doors groan awake, their hinges alive, Each creak a confession, each whisper contrived. The floors swell and buckle, drunk on despair, Carrying feet that move nowhere, nowhere.
At the long gray table, a carnival of dread, Where laughter shivers, where hunger is fed. Plates hold their secrets, mute and profound, Forks strike their rhythm, but never a sound.
The gardens outside—if gardens they are—Are fenced with the ribcage of some dying star. The trees are frozen in screams of green, While the wind gnaws the air, rabid and keen.
In the midmorning haze, they march us to prayer, Kneeling in pews that don’t take our weight, And the hymn of the broken, with voices undone, Rises to rafters that swallow the sun.
Afternoon sways in its lunatic tide, With a shuffle of hands and dreams misapplied. Paintbrushes falter on canvases torn, Where visions are birthed, but stillborn, stillborn.
Then comes the night, the hallowed despair, Where pills are handed like sacrament there. One for the silence, one for the screams, One to deny the betrayal of dreams.
The walls hum their madness, their cobwebbed tune, While the moon hangs limp like a punctured balloon. And the voices—oh, the voices—they rise, they fall, A choir of sorrow echoing all.
Sleep is a rumor, a gambler’s deceit, A shadowy promise that falters, retreats. The bed becomes prison, the pillow a stone, And you lie there unburied, yet utterly alone.
And so, the wheel turns, the cycle restarts, A parade of the damned with clockwork hearts. But the house breathes on, devouring the years, Feeding its belly with whispers and tears.
Oh, to tear through the dawn like a thief in the sun, To break this mad orbit, to end what’s begun, But the house is a labyrinth, a trap sprung deep, And its strange routine is the price of sleep.
Chapter One : Into the Void ©️
The man, known to the remnants of a neighborhood as quiet as the hills themselves, lived on the cusp of an age forgotten, on a mountain that watched over Huntsville, Alabama. His house, tucked away like a secret, stood amidst the tall pines, a place where the echoes of her rebel past lingered with the ghosts of men who once bore the title of genius—those Nazi scientists who had found refuge in the arms of the South, their brilliance repurposed, their sins obscured by the smokescreen of victory.
He, unlike them, was not a man of war but of pixels and algorithms, a digital hermit whose obsession had drawn him into the glowing abyss of a computer screen. He spent his days manipulating the unreal, fashioning shapes and forms with a precision that could only be described as obsessive. He would lose himself in the layering of images, the melding of colors, the sculpting of shadows. The 3D feature of Photoshop became his playground, a digital chisel with which he carved out worlds.
But it was not enough to merely create. There was something in him, a yearning that could not be satisfied by this two-dimensional plane of existence. He sought depth in his digital art, and in his quest, he found the wormhole—a visual anomaly, a twist in the digital fabric that defied explanation. At first, it was just a trick of the eye, a shimmer that appeared when the layers overlapped in a certain way. But as he stared into it, day after day, night after night, he began to see something more. The wormhole became a portal, a doorway not just through space, but through time itself.
He did not know when the shift occurred, when the boundary between the digital and the real began to blur. Perhaps it was the countless hours spent staring into the screen, or the way he felt the wormhole tugging at the edges of his mind, pulling him into its vortex. And then, one day, it released him—flung him from the constraints of time, his psyche untethered, drifting through the currents of reality like a leaf caught in a storm.
He wandered the mountain, no longer just a man but a being unstuck in time. Around him, the air shimmered with the presence of others—figures that moved like wraiths, their forms indistinct, their faces hidden behind veils of light. They were the echoes of what had been, or perhaps what could be, or even what should never be. He did not know, and the not knowing gnawed at him like a hunger.
With this release came a burden, a burning desire that gripped him like a fever. He had seen beyond the veil, seen the fragility of the world, and he knew—he knew with the certainty of a prophet—that it was his duty to save it. The world was unraveling, its threads coming loose, and only he, with his knowledge of the wormhole, could stitch it back together and not for the sake of his fellow mankind. His desire was a selfish one.
He returned to his computer, his fingers moving with a speed that was almost inhuman, the images on the screen blurring as he worked. He was creating again, but this time it was not art—it was salvation, cups of repose for the fallen. The wormhole had shown him the way, and he would use it, manipulate it, to set things right.
But as he worked, the shimmers grew closer, their forms more distinct, until he could see them clearly. They were not human, not exactly, but something else, something born of the wormhole’s influence. They watched him, their eyes like dark mirrors reflecting his own obsessions back at him.
He ignored them, his focus unwavering. The wormhole had released him from time, and in that release, he had found his purpose. He would save the world if only for himself.
And so he worked, alone on his mountain, surrounded by the ghosts of a past that was not his, haunted by the shimmers of a future that he could not fully comprehend, driven by a desire that burned hotter than the Alabama sun.