Besides the uncanny, Freud also took up melancholy and mourning in an essay on both of them in which he argues that mourning arises from the loss of a significant other and melancholy from the loss of the self or other valued object. Melancholy is associated with death, or at least with the (v)alley of the shadow of death (the precursor to death) and with mourning (the aftermath of death). Melancholy is the immanent counterpart to the transcendental sublime and the spiritual counterpart to the psychological uncanny. As the sublime and uncanny are a secular theology for a world in which God is dead, so melancholy is a secular spirituality in the lower psychopathological register. Melancholy is the neurosis symptomatic of capitalist society driven by greed for, and indulging in gluttony of, the earth’s resources in the Anthropobscene, rather than exercising gratitude for her generosity in the desire for mutuality. This chapter goes on to discuss Walter Benjamin’s work on the German mourning play, E. M. Cioran’s figuring of despair as mud, Wilkie Collins’s evocation of the black water of despair, and Charles Dickens’s portrayals of “mudfog” and “marshy commons” in England and “the grim domains of giant despair” in an American swamp.