Billed as a "Kafkaesque, slow-burn, uncanny horror," I found little enjoyable in this book, sadly. The concept immediately hooked me: a man and his family return from a beach vacation to discover that their living room sofa has been replaced by another, alien piece of furniture, described in various hideous ways. (one of the most notable being "warm, like a dog's skin beneath its pelt") Odd stylistic choices echo throughout the book intentionally, but don't ever seem to add up to anything, merely existing for the sake of "being weird," unless I missed a clue somewhere, which feels unlikely. Repetitions of tertiary elements named "H— M—" spring up randomly. Repeated phrases ("cool, clinical gaze") occur at unpredictable intervals. A particular character intervenes at three distinct occasions, identifiable as the same character (despite different guises) via more repeated prose. It feels like Munson was trying to make a nod to a Mephistophelean dynamic here, but there's nothing else Faustian about this read whatsoever that I can determine.
In fact, everything that seemed intriguing at the outset is never explicated by the author—for example, though Munson names the protagonist's "oldest son" (Josep) he deliberately never gives the youngest son a name. Maybe this is done as some kind of psychological gesture to the protagonist's declining mental health, but there's not enough context to support any inquiry further into it, so it just seems like random affectation on the author's part. In addition, the plot seems to manufacture a "Kafkaesque" environment by manipulating external contrivances to contravene any "realistic" attempts on the protagonists' part to removing the hideous piece of furniture from their lives, once it is clear that the sofa is the origin point of their woes. Deliveries are late, then cancelled. Hauling companies inexplicably overlook appointments. The family's dynamic seems to be slowly falling apart, with the father figure suffering a variety of maladies. It recalls other similar texts wherein one member of the family is tortured by inexplicable, existential horrors that the others cannot, or else refuse to acknowledge. This trope of slow alienation from the familiar usually points to a deeper psychological subtext, but here it felt more like a vague gesture in that general direction; using a similar framework, but not bothering to build its own edifice.
I was disappointed—Two Dollar Radio (the press) has also published Bennett Sims' work (which I find delightful, if slightly arch) and The Orange Eats Creeps (which I did not care for, but whose experimentalism I respected) by Grace Krilanovich. This short novel just feels like a stretched-out, amateurish version of a story by Robert Aickman. Aickman's pieces often have uncanny elements and bizarre events, but they always feel resonant under the surface, even if I can't quite grasp how. The Sofa is written in a uniformly terse fashion, and the syntax is rather staid, which made me impatient as I turned the deckled pages (SO deckled, in fact, that it made the paper physically difficult to grasp. I love physical aesthetic as much as the next person, but not when it impedes the actual task of reading.) Oddly, there's also a strange emphasis on the organic. Multiple mentions of defecation and urination speckle the plot, for seemingly no reason whatsoever, and usually in the form of a briefly-described odor. Despite this, the read is largely antiseptic, and leaves hardly any trace of itself on the psyche. (There is, however, a bit of graphically-described animal violence midway through, for those who are sensitive to such things.)
In another review here on Goodreads, it is mentioned that this book immediately reminded the reader of Things Have Gotten Worse Since We Last Spoke by Eric LaRocca, as well as Acquired Taste by Clay McLeod Chapman. Nothing could be further from the truth, and makes me wonder if this reviewer even read this book, or if they just glanced at the synopsis of a "mundane object gone creepy" and based their so-called "analysis" on that. This review commits a number of sins—it is a splintered, confusing mess of run-on sentences, but it's also completely bizarre to me. LaRocca's prose is often so purple and bloated that it's as bruised as a serial onanist's tortured organ, whereas Munson's prose here is terse, clinical, and flat. I will say that said review does mention The Grip of It by Jac Jemc as a comparative to The Sofa, which I think approximates the feeling here, but absolutely nowhere in this text can be found anything even CLOSE to resembling Jemc's glittering, menace-filled prose, nor does it involve any of the literary legerdemain that Jemc employs in her constant shifting of perspectives. Here, we are limited entirely to the protagonist's viewpoint, and though the uncanny elements of the book are enjoyably creepy, they ultimately feel thin and insubstantial, dissipating by story's end like a foul smell on the breeze.
If you're a fast reader and just want something kinda weird as an amuse-bouche, you could do worse. But if you're looking for substance and not just style, I'd try a different furniture outlet.