Title: The Graveyard Apartment
Japanese Title: 墓地を見おろす家 (Bochi o miorosu ie)
Author: Koike Mariko (小池 真理子)
Translator: Deborah Boliver Boehm
Publication Year: 2016 (America); 1988 (Japan)
Publisher: Thomas Dunne Books
Kano Misao and her husband Teppei have found the perfect apartment. It’s quiet and spacious with southern exposure, and it’s in a new, modern building. Sure, this building happens to be right next door to a graveyard, but it’s the 1980s, and the pleasant proximity to an open green space outweighs any sort of silly superstitious stigma. The only problem is that strange things always seem to be happening in the basement. It might be that the building is haunted, but why? And what would the ghosts want from Misao and Teppei?
Like many other haunted house stories, The Graveyard Apartment is, at its heart, a family drama. Misao and Teppei are happy together with their five-year-old daughter Tamao and their dog Cookie, but the bright little family is trailed by the dark shadow of Teppei’s first wife Reiko, who was driven to suicide by her husband’s affair with Misao. When the stress of the paranormal activity in their new apartment places stress on Misao and Teppei’s relationship, the fault lines of their marriage begin to crack. The novel opens inauspiciously with the death of Tamao’s pet bird Pyoko, who the girl claims now visits her in dreams. Misao and Teppei’s disagreement over how to handle their daughter’s insistence on the reality of the supernatural is the first of many arguments, which gradually escalate over the course of the story.
The Graveyard Apartment is not The Shining, however, and the ghosts troubling the family are not manifestations of buried psychosexual traumas – they are, most assuredly, actual vengeful spirits. The horror of the novel derives from the fact that, despite the lingering guilt over Reiko’s suicide, the malice of the building’s ghosts could not be directed at a more normal and easygoing family. If a sweet young mother and fledgling illustrator like Misao can find herself trapped in a claustrophobic basement while unknown things approach unseen in the darkness, it could happen to anyone.
It turns out that the apartment building is a remnant of a failed development project from the 1960s that would have resulted in an underground shopping plaza connecting the basements of several office and residence buildings to the local train station. The neighborhood temple resisted this development and refused to sell or subdivide its land, however, and so the tunnel under the graveyard was left unfinished, with the Kanos’ building the only part of the project that came to fruition. The link between the temple graveyard and the ghosts in the basement is extremely tenuous (especially since the point of Buddhist funerary rites is to pacify angry spirits), but the haunting can be more easily understood as the consequences of the era high economic growth, which has finally started to claim victims as the bubble economy begins to collapse in on itself.
The Kanos were led to believe that they could have it all – Teppei could divorce his old-fashioned wife and marry for love, Misao could have both a child and a freelance career in a creative field, and they could find a reasonably priced apartment in a convenient location to house their happy family. It had to be too good to be true, right?
Originally published in 1988, The Graveyard Apartment is a reflection of the anxieties concerning the optimistic consumerism of the 1980s, in which an ideal middle-class lifestyle was widely considered to be glossy and attainable as the magazines Misao illustrates. Although the real threat to families ended up being overinflated property values, Koike’s ghosts are creepy enough on their own even without any sort of economic allegory, and the end of the novel is genuinely disturbing. The Graveyard Apartment is a satisfying slow burn of a haunted house story perfectly suited to its setting in Tokyo, and I highly recommend it to my fellow fans of horror fiction.
( Review copy provided by Thomas Dunne Books. )