Horrorstör by Grady Hendrix
A couple of weeks ago, I got inordinately excited when this book I’d ordered arrived.
For all its faults, IKEA is the booklover’s friend. Affordable shelving, in practical and/or posher versions, is what the bibliomane needs (I’m speaking as a 10x Billy owner here – I can construct those boys at speed!). I’m an IKEA fan – but only if I pick the right time, i.e. when the least number of people are likely to be there – say opening time on a Tuesday term-time morning. I can happily spend the morning browsing and filling my trolley to the brim with crocks, lamps, picture frames, throws, cushions, wine glasses and all the things those clever marketers put in my way in the circuitous you-must-see-everything route to the checkout.
The front cover of Horrorstör is stunning! At first you don’t notice the faces in the pictures, or register that the title has the word ‘Horror’ in it – you just giggle at the umlaut and you want to get inside the book and see more of the IKEA parody. Horrorstör, like the giant it is parodying, is a clever piece of design – there are floormaps, furniture descriptions, order forms, and more. Each chapter is named after (complete with umlauts as needed), and preceded by an illustration, of a particular piece of furniture. My favourite was the Hügga office chair – available in Night Leather.
The novel starts well:
It was dawn, and the zombies were stumbling through the parking lot, streaming towards the massive beige box at the far end. Later they’d be resurrected by megadoses of Starbucks, but for now they were the barely living dead. Their causes of death differed: hangovers, nightmares, strung out from epic online gaming sessions, circadian rhythms broken by late-night TV, children who couldn’t stop crying, neighbours partying until 4 a.m., broken hearts, unpaid bills, roads not taken, sick dogs, deployed daughters, ailing parents, midnight ice cream binges.
But every morning, five days a week (seven during the holidays), they dragged themselves here, to the one thing in their lives that never changed, the one thing they could count on come rain, or shine, or dead pets, or divorce: work.
And that’s just the employees. They work for Orsk – an IKEA-copycat furniture superstore, at the Cuyahoga, Ohio branch. There’s Amy, who’s too clever to be just a floor saleswoman but is stuck in a rut, Basil the deputy manager – a real jobsworth, Ruth-Anne a gentle soul who always thinks well of people, Trinity – a Goth who believes in the supernatural and her boyfriend Matt who doesn’t.
As the story opens, the staff have arrived to find that furniture has been moved and soiled – a Brooka sofa to be exact, not the first item to be vandalised in the past days. Basil, who knows that a management inspection is imminent, persuades (with the lure of double time) Amy and Ruth-Anne to stay in the store with him overnight to seek out the perpetrator and get rid of them – he suspects a tramp has got in somewhere. Trinity and Matt say it’s ghosts – the Orsk site has history apparently. Trinity has visions of moving on from Orsk to hosting her own TV show about haunting, and she and Matt sneak back into the store after work with detectors to look for the spectres.
That’s all I can tell you about the plot, suffice to say that – surprise! It’s not a tramp that’s trashing the store. It all gets nastier and nastier in the early hours of the morning. Will any of them get out alive?
As a ghost story, once we find out about what happened back in history, the plot was entirely predictable. We’ve all read that kind of horror story before, but I did really enjoy it. The author has taken a classic haunted house trope and relocated it in a commercial world where management-speak rules and work is the treadmill you get on every day. That extends to the customers too – as Matt explains: ‘Orsk is all about scripted disorientation. The store wants you to surrender to a programmed shopping experience.’
There are some genuinely creepy moments – this will make you shudder with recognition…
She took one last glance around the room and noticed that the sign on the wall had changed. Its message used to be “The hard work makes Orsk your family, and the hard work is free.” But the running water had worn away many of the letters. Now it simply read: “Work makes you free.”
There are other moments that will make you squirm with laughter and disgust – the thought that lazy parents will change an infant’s nappy on a display sofa and stuff it down the back rather than retrace their steps the half-mile to the toilets is the ickiest thing in the whole book! (sad but probably true too…)
So – was this book a clever parody or a triumph of style over substance? My answer is both! Every aspect of the design of this book is well done inside and out – even the sizing – no prizes for guessing whose catalogue it matches. The line drawings, fonts, all the little details are so well done and the design team get their credits on the inside back French flap. The substance of the plot may not be terribly original – a debt to Stephen King is in order, plus a nod to Mark Z Danielewski’s ground-breaking House of Leaves (I must re-read that!), but the sheer comedy in the spoofing of management goobledegook and rigid work practices is spot on and raises the text above an average ghost story.
Hendrix cleverly makes Orsk a cut-price IKEA, putting them on a pedestal in a ‘We’re not worthy’ way. While IKEA can’t officially approve of this book, I bet they love it as much, or even more, than I did. (9/10)
P.S. An ideal Christmas present for Billy bookcase fans…