Here I am again, sinister reader, entombed in the perpetual, soupy miasma that my humble hamlet of Fecal Creek. CA, has apparently decided to adopt as its permanent personality.  You see, this town, indeed the entirety of Anhedonia County, has been swallowed whole by fog for at least three weeks now, fog so thick you could spread it on toast and call it despair.  Nights are a wet, milky blindness where streetlamps die at twenty paces and every dog refuses to bark because even they know something is listening.   Days are just a brief negotiation with a sun that is now more a rumor than a fact.  Everything drips.  It’s the kind of weather that seeps into your bones, a damp that clings not just to your clothes but to your spirit.  And what does a self-respecting, newly and brutally sober, quasi-hermetic literary type do when faced with such an atmospheric siege?  One leans in, naturally, toward the only honest literature for weather like this.  Because I’m nothing if not a masochist for mood, my reading has become a direct reflection of the meteorological morass outside.  It started, as it must, with Poe, because of course Poe; the man who knew how to weaponize atmosphere understood that the real horror is when the architecture itself wants you dead.  His tales of premature burial and sentient abysses read less like fiction and more like a local weather report.  From there, it was almost a predestined slide back into the embrace of Stoker’s Dracula, because nothing says “cozy” like aristocratic necrophilia in a castle that smells like a crypt’s taint (and because fog and vampiric dread are basically peanut butter and jelly).  Carpathian menace felt perfectly at home here, his vaporous transformations mirroring the air I was breathing.
Now, I find myself deep in H.P. Lovecraft’s The Shunned House, a choice so fitting it borders on cosmic satire.  The story’s fungal horrors and subterranean emanations are in terrifying synchronicity with the damp decay that seems to have become the Creek’s primary export.
The combination of these particular fictions with the perpetually unsettling atmosphere has rendered my world a place of profound and disquieting strangeness, a place where the veil between the mundane and the monstrous feels perilously thin.  Which, conveniently, brings us to today’s word, the only one that still work when the air itself feels like it’s conspiring:

Eldritch (adj.)
/weird and sinister or ghostly; unearthly; uncanny; strange, eerie, and unnatural in a way that provokes fear, unease, or dread/
From Scots, probably from Middle English elrich, itself maybe from Old English ælf-rīce “elf-realm” + a twist through centuries of border ballads where the fairies weren’t cute and the night had teeth.  First citation 1508, but it feels older, like it crawled out of a peat bog still wearing the face of something that should have stayed drowned.
And now, because the fog demands tribute, a short story showing the word at work in the wild:
The fog never lifted; it merely thinned to the consistency of a dying man’s breath on a mirror.  I walked the cracked spine of Miner’s Ravine Road where the blackberry brambles had grown so bold they’d begun knitting themselves into arches, forming a thorny cathedral that no priest would ever consecrate.  Somewhere behind the veil, Fecal Creek’s lone traffic light blink its yellow eye, like a warning it had forgotten the point of.  The house at the bend, everyone knew the house, had stood empty for decades, yet every third night its attic window glowed the color of spoiled buttermilk.  I told myself I was only cutting through the yard to shave forty seconds off my trudge to the liquor store, but the fog had other curricula.  Halfway across the weed- choked lawn the ground exhaled.  Not a wind, not a scent; something between a sigh and a belch, centuries of basement rot rising through the soles of my boots.  The mist folded around me until the world reduced to a single wet coin of visibility.  And in that coin, for one heartbeat only, the house was not a house.  It was a face, vast and fungal, its shingles the scales of something that had learned carpentry the way leukemia learns bone marrow.  Its windows were eyes filmed with cataract and ancient hunger, and from the black porch gaped a mouth that had never bothered with doors.  The entire structure leaned forward the way a praying mantis leans before it remembers it is allowed to be cruel.  That was the moment, the single systolic throb, when the night revealed its true and eldritch geometry.
Then the fog inhaled, the face collapsed back into clapboard and neglect, and I was running, lungs full of grave-damp, boots slapping through puddles that reflected no moon because the moon had apparently filed a restraining order.  I did not stop until the neon of the liquor store bled across my retinas like a mercy killing.
I bought two bottles of the cheapest red wine and drank one in the parking lot just to remind my heart it was still allowed to beat.
Fecal Creek is still out there, sopping, listening.
The fog is not hiding anything.
It is showing us, very patiently, what was always here. 

So here we are, spooky reader: a town marinated in fog, a reader marinated in gothic dread, and a word marinated in centuries of linguistic strangeness.  If the weather doesn’t break soon, I’ll be forced to reread House of Leaves and start scribbling paranoid diagrams on my walls.