Uncanny valley: Kim Fu’s venue of post-COVID horror, ‘The Valley of Vengeful Ghosts’
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In this poignant episode of The Right Question, host Lauren Korn engages in a deeply reflective conversation with author Kim Fu about her novel *The Valley of Vengeful Ghosts*, a haunting exploration of grief, liminality, and the psychological aftermath of caregiving. Set in the surreal aftermath of the COVID-19 pandemic, the story follows Eleanor, a therapist who, after her mother’s death, becomes entangled in a ghostly presence that mirrors her unresolved dependency and emotional stasis. Fu reveals how the novel uses the uncanny valley of liminal spaces—between reality and dream, physical and virtual, life and death—to mirror the collective trauma of a world suspended in transition. Drawing inspiration from Shirley Jackson and Daphne du Maurier, Fu emphasizes that true horror lies not in supernatural jump scares, but in the mundane terrors of bureaucracy, elder care, and the emotional collapse of adulthood. The conversation evolves into a powerful meditation on grief, intergenerational dependency, and the societal silence around aging and death, with Fu expressing her hope that the book offers solace through shared vulnerability. The episode ultimately becomes a testament to the emotional resonance of fiction in helping readers confront their own unspoken fears and dependencies. Key takeaways include: 1) Grief and horror are deeply intertwined, as loss dissolves the boundaries between self and other, reality and memory; 2) Liminal spaces—both physical and psychological—are fertile ground for narrative horror because they expose the fragility of our constructed realities; 3) The true horror in *The Valley of Vengeful Ghosts* is not the ghost, but the systemic failures of elder care, housing, and emotional preparedness; 4) Fiction’s power lies in its ability to let readers co-create meaning through ambiguity, while still grounding them in precise sensory detail; 5) The novel challenges the myth of self-sufficiency, revealing how dependency is not weakness but a universal human condition. The overall tone is deeply empathetic, introspective, and quietly hopeful, with a focus on emotional truth over resolution.
Grief dissolves the boundaries between self and other, reality and memory, making the liminal space fertile ground for psychological horror.
The true horror in the novel is not supernatural—it's the bureaucratic and emotional collapse of adulting, especially in elder care and home ownership.
Liminal spaces—like post-COVID life, online therapy, and ghostly visitations—mirror the collective trauma of a world without a clear before or after.
Fiction thrives on ambiguity, but only when grounded in precise sensory detail; the reader must be given enough to hold onto while still being invited to interpret.
The ghosts in the novel symbolize the status quo: they comfort Eleanor by reinforcing her helplessness, resisting her growth and autonomy.
…and 3 more takeaways available in PodZeus
Introducing Eleanor and the Haunting of Grief
“The smile on her face ground against Eleanor's memories like an ill-fitting gear.”
Liminality as a Narrative and Emotional Space
“In fiction, you very literally do not have to distinguish between waking life and a dream. They can be written in exactly the same way.”
The Craft of Ambiguity: When to Clarify, When to Let Go
Fu shares her dual writing impulses: to leave space for reader interpretation while ensuring sensory details are crystal clear. She reveals her tendency to underwrite and rely on editors to help her find the right balance between mystery and clarity.
Shirley Jackson and the Legacy of Psychological Horror
“It's not the ghosts that are scary. You know, it is like the bureaucracy that is scary. It is. And like that's the part that's giving me nightmares.”
Grief, Dependency, and the Ghost of the Mother
The conversation turns to the emotional core of the novel: Eleanor’s grief and her extreme dependency on her mother. Fu explains how grief prepares the mind for haunting, both literal and psychological, and how the ghost is not a return but a continuation of a relationship that never evolved.
“It's not the ghosts that are scary. You know, it is like the bureaucracy that is scary. It is. And like that's the part that's giving me nightmares.”
“It's so strange that this, you know, I think similar to childbirth and like early childcare, like caring for children under the age of five and pregnancy. Like this is another thing that's like, you know. A huge proportion of the population goes through.”
“The smile on her face ground against Eleanor's memories like an ill-fitting gear.”
Host
Guest
Kim Fu
person
Lauren Korn
person
Eleanor
person
Lele
person
Shirley Jackson
person
Daphne du Maurier
person
The Haunting of Hill House
book
We Have Always Lived in the Castle
book
Montana Public Radio
organization
Tin House Books
organization
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