In Bora Chung's new short story collection, "The Midnight Timetable", the boundaries between reality and nightmare are blurred. This dark and sinister tale takes place in a mysterious research facility known only as "the Institute", where employees work long graveyard shifts amidst an eerie atmosphere of cursed objects.
Chung skillfully weaves together classic horror tropes with modern themes, creating a sense of unease that permeates every story. The objects within the Institute hold secrets and terrors of their own, from a single shoe to an embroidered handkerchief, each with its own spectral weight. Every room in the building holds a story, and the lines between reality and fiction are constantly blurred.
The author's use of horror as a tool for social commentary is reminiscent of writers like Mariana Enriquez and Ottessa Moshfegh, who also explore the darker corners of modern life. In "The Midnight Timetable", Chung examines the effects of capitalism and precarity on individuals, crafting a world where the slow grind of work erodes the soul.
While the collection has its standout stories, such as the haunting tale of "the Blue Bird" and the unsettling story of "the bodysnatching sheep", the overall effect is that of a "monster-of-the-week" format, with each tale feeling more like an isolated case than part of a cohesive whole. The Institute's sinister atmosphere feels somewhat generic, leaving the reader wondering if it's truly home to the darkness that Chung so skillfully crafts.
Ultimately, "The Midnight Timetable" becomes both its own architecture and the building it describes. It is a collection that defies containment, with stories that seep in from every corner of the Institute. If you dare to enter this haunted world, be prepared for a journey into the very depths of human horror.
Chung skillfully weaves together classic horror tropes with modern themes, creating a sense of unease that permeates every story. The objects within the Institute hold secrets and terrors of their own, from a single shoe to an embroidered handkerchief, each with its own spectral weight. Every room in the building holds a story, and the lines between reality and fiction are constantly blurred.
The author's use of horror as a tool for social commentary is reminiscent of writers like Mariana Enriquez and Ottessa Moshfegh, who also explore the darker corners of modern life. In "The Midnight Timetable", Chung examines the effects of capitalism and precarity on individuals, crafting a world where the slow grind of work erodes the soul.
While the collection has its standout stories, such as the haunting tale of "the Blue Bird" and the unsettling story of "the bodysnatching sheep", the overall effect is that of a "monster-of-the-week" format, with each tale feeling more like an isolated case than part of a cohesive whole. The Institute's sinister atmosphere feels somewhat generic, leaving the reader wondering if it's truly home to the darkness that Chung so skillfully crafts.
Ultimately, "The Midnight Timetable" becomes both its own architecture and the building it describes. It is a collection that defies containment, with stories that seep in from every corner of the Institute. If you dare to enter this haunted world, be prepared for a journey into the very depths of human horror.