Modern Korean literature
as seen by a translator Brother Anthony An Seon
Jae
This 90-minute lecture was a
part of the SNU Kyujanggak Summer Workshop 2021 and its
release was approved by the SNU Kyujanggak ICKS.
It can also be viewed as a
video with Powerpoint slides. I want to start by insisting that I
am not an academic in Korean Studies
qualified to talk about “the History of Modern Korean
Literature.” I would not
be qualified to give this lecture at all without the
added subtitle “as seen by
a translator.” This “lecture” would better be seen as a
kind of prolonged,
rambling fireside chat, and certainly not as a “논문발표.” What is sure is that, over the
past thirty years, I
have published nearly fifty volumes of
translated Korean poetry, translated and published
translations of several
dozen Korean short stories, as well as translating a
number of full-length
contemporary Korean novels. I have met quite a number of
poets and writers
personally. When I taught as a professor at
Sogang University, from 1985 onward, I
taught British Literature, mainly the works of the
Middle Ages, Renaissance and
17th centuries. There was a fairly clear,
traditional “canon” telling
us which works should be considered significant and why.
Importing that canon into
a Korean English Department meant, of course, choosing
works which might be
accessible and even interesting to Korean students with
more or less limited
English ability. That was my focus in teaching and
research for over twenty
years, having studied mainly European medieval
literature at Oxford in the
1960s. If I have become a prolific translator of modern
Korean poetry and
fiction, that has happened rather by chance, I sometimes
insist that
translating is my hobby, not my job. And now I am
turning 80, no longer young. For Korean literature, the process
of establishing any kind of official literary
canon and setting out the criteria for a history of
modern Korean literature
has been a very recent development, and still cannot be
easily separated from non-literary
considerations. Within Korea, the evaluation of literary
works and their
writers has (until recently at least) been dominated by
political and
ideological considerations, as well as regional and
personal relationships.
Until the 1980s, for example, works written in Korean in
the 1930s and 1940s by
Koreans who supported North Korea and moved North were
taboo in the South,
might not be published, and were not much mentioned in
university courses. In
South Korea, after 1950, the poetry and fiction that
enjoyed popularity and
prestige were identified on the basis of rather limited
nationalistic,
political and esthetic criteria. Although a certain
level of social satire had
to be allowed, open criticism of those in power long
remained a dangerous
exercise. I am not at all sure that a reliable critical
history of 20th
century Korean literature exists, even in Korean, let
alone one in English. An example of what might exist is
the very recently (2020) published
volume What Is
Korean Literature? by
Youngmin Kwon and Bruce Fulton. Only a
traditionally-minded senior Korean
academic (and his disciple / friend / colleague) would
think it necessary to
devote the first 100 pages of a quite short, 280-page
volume about “Korean
Literature” to the works surviving from Joseon-era
Korea, which today almost no
Korean can read. Their volume offers no separate
discussion of the works
published at the start of modern Kore,a during the
Japanese period. Instead,
all the poetry, fiction and drama written between 1900
and 1990 are each given
a single, separate chapter, followed by a 55-page
chapter about everything
published since 1990 or so. In such a short space, it is
hardly possible to
expect detailed analysis of the continuities, genres,
influences and
innovations comprising the history of literature, the
main topics which constitute
the dynamic history of any literature. It will be hard
to do more than list a
few of the topics, the writers and the titles considered
most significant. An alternative, even more purely
academic approach to the history of
Korean literature would be Ksenia Chizhova’s Kinship Novels of Early Modern Korea: Between
Genealogical Time and the
Domestic Everyday (2021). This surely very
interesting book discusses in
its 288 pages a very particular form of fiction that
flourished in Joseon from
the 17th century until the early 20th century,
works that are,
again, incomprehensible to modern Koreans and hardly
likely to be much
published in translation. On the other hand, in 2015, Youngju
Ryu, (University of Michigan) published
her Writers of
the Winter Republic:
Literature and Resistance in Park Chung Hee’s Korea and this is
surely a fine model for future
books on Korean literature, focusing on a clearly
defined, quite limited period
and topic. The same can be said of Janet Poole’s
masterly study When
the Future Disappears: The Modernist
Imagination in Late Colonial Korea which was
published the previous year,
in 2014. Anyway, such learned books do not offer a
possible basis for me in
this talk, for one obvious reason. I have not read them
and I have not read enough
Korean literature. And that is not only because I have
not had time to read. I
must be frank. I do not know enough Korean to simply sit
down and skim through
a book. The reason why I began to write down
and type out word-by-word English
translations of Korean poems in 1988 was because my
Korean, acquired during two
years at Yonsei’s Language School, was too limited to
allow me to simply read and
enjoy them. When I once asked a teacher at Yonsei when
we would be learning the
vocabulary we needed, I was told that we were supposed
to know the words
already. When I asked how, there was no answer except
“you must learn the words
for yourself.” But I was already passing forty and the
words, which all sounded
the same, refused to stay in my mind. I have a French
dictionary and even a
German dictionary in my head, from when I was a teenager
(and speaking French at
home every day for over fifty years until now has
helped) but I have never been
able to compile a mental Korean dictionary of any size.
So I began to translate
with a Korean-English dictionary constantly open, and
using a typewriter
because this was 1988, or else I would write out drafts
by hand, because there
was nothing worse than having to retype an entire page
if I wanted to change
just one word. I was already dreaming of having a
“word-processor.” I have begun this talk with these
general, personal remarks because I
have to speak for 90 minutes, which is a long time for a
retired 80-year-old.
The point I am trying to make is that the sixty or so
volumes of modern Korean
poetry, short stories and various novels which I have
translated and published
are no more “representative” of modern Korean writing
than is the entire corpus
of published English translations of Korean writing (of
which you can find lists
in my home page and probably nowhere else). Each
translator has their own personal
reasons for the works they choose to translate. I recently gave a talk on the
history of translations into English of
Korean works and a few statistics from there might help.
Before 1970, very few
translations existed. In the 30 years between 1970 and
2000, some 130 English translations
of Korean poetry, fiction and (occasionally) drama were
published. 53 of the total were poetry. 44 were
anthologies with
works by multiple authors. 63 were fiction (collections
of short stories or
full-length novels). It was not until 1979 that the
first full-length Korean
novel was published. Then, in the first 10 years of the
21st century, another
130 volumes were published, the same number as in the
previous 30 years, 60 of which
were poetry. 18 were anthologies of poetry or
short stories. 38 were full-length
novels. The greatest difference was that most of those
books were published
outside of Korea, but usually by minor publishers. In
the 10 years since 2012,
73 more volumes of poetry and (again) 130 more volumes
of fiction have been
published, most of the fiction being full-length novels
published overseas,
sometimes by well-known major publishers. These statistics show the increasing
number of publications (130 books
in 30 years – 130 books in 10 years – 200 books in the
last ten years) and they
also show the rapid rise in the number of Korean novels
being published
internationally. In addition, not only were the books
published in the earlier
period mainly published in Korea, the translators were
mostly Koreans, and the
distribution beyond Korea was minimal. There was a time
no so long ago when
Korea and its literature were virtually unknown in the
outside world. The Korean translators of the 1970s
and 1980s naturally chose works
which they considered worth translating, and those were
almost invariably works
by senior contemporary writers who enjoyed a high
reputation in Korea,
celebrated by literary critics and widely read. The very
first translator to
publish a collection of modern short fiction was Jeong
In-seop, whose Modern
Short Stories from Korea was
published in 1958. He had published an anthology of
poetry 10 years before in
1948. Already, he felt he could characterize Korean
fiction in the following words:
“Modern
Korean writers have been suffering
for a long time from the political and economic
difficulties which have been
imposed on them from outside. Their pleasure was to seek
something in
literature to display their gloominess,
indefatigibility, and humour. We have a
hidden power and hope for the future, with which we will
overcome our
difficulties. We have shown in
our modern literature as well as
during the recent Korean War an ability to integrate the
Western science with
our spiritual home-life, and thus we are equipped to
fight against any
aggressions whether political or cultural. As a whole,
modern Korean literature
can be called “The Literature of Resistance against
Imperialism and Communism.” It should be
said that his anthology includes stories with more humor
than was usual in the
decades that followed. Another Korean anthology of short
stories was published
soon after, in 1961, Collected Short
Stories from Korea translated by Chu Yo-seop, who
wrote something similar: “Some Americans
who read Korean short stories say that the reading of
them creates gloom and
pain, for practically all the stories deal with hard and
tragic lives. The
editor acknowledges that they speak the truth. But to
the Korean writers and
readers, the gay or happy life seems unreal and
unnatural, because for
generations the Korean people have lived in poverty and
have been mercilessly
oppressed. Readers would feel offended if they found
their reading devoid of
the pain of the mind as well as of the body.” As these pioneers already sensed,
western readers of post-Liberation /
post-war Korean fiction in translation have often been
turned off by the
preponderant gloom, the lack of humor or suspense, and
the tendency to assume
that readers are familiar with every aspect of
traditional Korean history and
culture. Clearly, the fiction was written with only
(South) Korean readers in
mind. It did not travel well. There was the deep
national trauma due to the
oppressive Japanese occupation, then the division of the
Peninsula by outside
forces and the ensuing ideological conflict and war. The
Korean War was
followed by a series of less-than-democratic regimes
with a continuing policy
of enforced industrialization and urbanization.
Criticism and protest were not
tolerated. The main concerns of worthy writers
were assumed to be (1) national
identity (2) individual human dignity. In school
textbooks, short, accessible
poems, often from the Japanese period, were given pride
of place as tokens of
Korean national resistance, especially if the poet had
been killed by (or at
least died under) the Japanese. Literature, critics
felt, should be resistant
or inspirational. As a result, poetry and fiction were
not considered to
constitute “light entertainment” but were supposed to be
written with a “high
seriousness” to promote good citizenship and noble
humanity. The wish among Koreans to
“globalize” Korean literature began with their
discovery of the classics of Western literature, often
through Japanese
translations or in the English Departments of Japanese
universities. The
celebrated works of the Western canon, often poorly
translated into
Korean, did not seem so superior to the
poetry and fiction being written in Korea, where certain
contemporary Korean
writers and their works enjoyed great prestige and
popularity. However, it was
clear that very few non-Koreans would ever master enough
Korean to be able to
appreciate Korean literature, therefore translation was
the only way of
bringing it onto the world stage. Soon after the end of the Pacific
War, a certain kind of Japanese
fiction was promoted in the US by the American
government as a means of
transforming the American perception of Japan from the
home of brutal, sadistic
warriors of the past to a land of sensitive lovers of
sophisticated beauty, as well
as natural enemies of the Soviet Union and China, and
allies of the USA in the
Cold War. The 1968 Nobel Prize awarded to Kawabata
Yasunari was a shock for
Koreans. The to them incomprehensible prestige enjoyed
in the West by Japanese
fiction (and later by Japanese movies) left Koreans
feeling even more ignored
and humiliated. They knew that in the West prestigious
writers were part of
each nation’s national image and they wanted Korea’s
prestigious writers to
contribute to Korea’s greater prestige, without
realizing that what they as
Korean readers responded strongly to might not have the
same (or any) impact on
people who had not shared Korea’s unique experience of
traumatic humiliation. For myself, it was because the few
Korean short stories I had read
translations of in 1988 were so un-entertaining and grim
that I automatically
turned to Korean poetry. A colleague suggested the poems
of Ku Sang (born in
1919), whom she knew personally. I soon met him with
her. That has in fact,
until recently, been one of the most important factors
in my career as a
translator—meeting the writers and learning about their
often dramatic or
touching lives. The fact of living in Korea may have
made finding publishers in
the UK or the USA more difficult, but I have had far
more contact with “my
poets” than I would otherwise have had. When I talk
about Ku Sang or Cheon
Sang-byeong, Ko Un or Kim Yeong-nang, Shin Gyeong-nim,
Park Nohae or Song
Kyung-dong, I find it far easier (and even more
interesting) to evoke the
stories of their lives than to discuss their poems,
which anyone interested can
read and respond to for themselves. The individual human
stories that underlie
the poems give added power to the poems and added
interest to the poet. Ku Sang liked to include personal
incidents in his poems, and avoided
overly poetic styles, because he was unhappy with the
purely esthetic
conventions of most Korean poetry. He wanted to write
poetry that was close to
everyday life, in a familiar, snappy, accessible style.
Ku Sang was obliged to
flee South before the Korean War when Party officials in
the North denounced
his early poems that he was preparing to publish. He
recalled leaving home,
with a last glimpse of his mother on the doorstep waving
goodbye. They were
never able to meet or communicate after that, of course.
His older brother was
a Catholic priest in the North, and he was duly executed
like all the Korean
priests as the War was beginning. Yet Ku Sang was always laughing! I
remember how he began to laugh while
he was giving the address at his wife’s funeral, to
everyone’s astonishment. He
explained that everyone assumed that he had no financial
worries since his wife
was a doctor with her own children’s clinic, but that
she had always given
everything she earned to charity, never to him. Among
the very many poems by Ku
Sang that I translated, this is probably my favorite: Poetic feeling Each month for this series I select bits of idle chatter such
as this and turn out things called poems, so that one young poet, perhaps
finding it rather odd, observed, "Then it seems there is
absolutely nothing in the whole world that is not a
poem?" Right! There is nothing in the world, to be sure, that is not a poem. From humanity on down, in every thing and every act, all that is true and good and
beautiful is all poem. More than that, in every person and in every thing and in every act the good, the beautiful, the true
dwells. And it is written that where sin
increases God's grace increases all the more. Discovering that, and then like a child savoring and enjoying it, is to be a poet. That is a very remarkable Ars
Poetica, in my opinion. At least it is honest and
unpretentious. If we need
a link joining Ku Sang to Cheon Sang-byeong, it will be
enough to say that Ku
Sang presided the party celebrating of Cheon’s 60th
birthday in 1990, and both
were close to the Mad Monk, Jung Gwang. The touching
story of Cheon’s life is
too complex to be repeated here. He was like Ku Sang in
his liking for simple,
honest poetry without artifice. His token poem “Back to
Heaven” 귀천 is one of the purest poems I know
of. Back to Heaven I'll go back to heaven again. Hand in hand with the dew that melts at a touch of the dawning
day, I'll go back to heaven again. With the dusk, together, just we
two, at a sign from a cloud after playing
on the slopes I'll go back to heaven again. At the end of my outing to this
beautiful world I'll go back and say: That was
beautiful. . . . But this poem
can only be understood fully with some information about
its origin. It was
written in 1970, when Cheon was just 40. Three years
before he had been
unjustly arrested, tortured cruelly, and imprisoned for
6 months, merely
because some friends who sometimes gave him a little
money (as he had no job or
income) had visited the North Korean embassy in East
Berlin and he had not denounced
them. Now he was lying sick from neglect and
malnutrition in his brother’s
home, expecting to die, and yet the only thing he wants
to report about life in
this world is “That it was beautiful.” He is one of the
poets I never met, he
died in 1993, but I was a frequent visitor to the cafe
run by his widow and became
part of the family, so to speak. In addition, the
collection of his poems I
translated has gone through 25 reprints, which is
extraordinary, since all the
sales have been in Korea, probably parents wanting to
encourage their children
to read poetry in English . . .
When I began translating, the most highly admired
Korean poet
was Seo Jeong-ju. The Korean PEN and the Ministry of
Culture used to nominate
him for the Nobel Prize each year. I was urged to
translate his poems, which I
did, but could never really understand the exalted
reputation he enjoyed. He is
not a poet I can say much about, and I admired him
mainly because, in his later
years, when I used to meet him, his wife was suffering
from Alzheimers and he
had to care for her, doing all the shopping and
housework. At the very end of
his life, the fashion of damning utterly anyone
considered to have been
“pro-Japanese” caught up with him.
If I began translating the poems of Ko Un at the
same
time as I was working on Seo Jeong-ju, it might be
because although I was
impressed by some aspects of Korea’s official literary
establishment, I had
frequently endured the effects of tear gas on campus and
seen peacefully
protesting students being beaten up, so that I was more
strongly inclined to
support dissent and protest. Ironically, both Seo
Jeong-ju and Ko Un were
victims of witch-hunts in their last years, so that Ko
Un’s name is now mud in
fickle Korean public opinion, thanks to an arbitrary
Me-Too denunciation, although
he still has many supporters, in Korea and overseas,
admirers of his work. Ko
Un, too, was frequently nominated for that ever-elusive
Nobel Prize, and nobody
can deny that a poet who can write 4001 poems about
every person he ever met or
heard of is no ordinary human being. Few indeed are the
readers who have read
every poem in Maninbo!
But those
thirty volumes are only a small fragment of Ko Un’s
extraordinary output.
From the very start, I felt that my duty as a
translator
was to translate a significant number of poems by living
poets whose poems
could still speak despite the total loss of their
original poetic qualities by
translation. As the statistics already quoted show, a
remarkable number of
translators have chosen to work on Korean poetry. Korean
fiction, despite its
success in Korea, was so clearly not likely to interest
non-Korean readers, not
only because of the unfamiliarity of the Korean setting,
it history and culture,
but also because of the lack of suspense and humor,
ambiguity and depth. Poetry
can more easily be both personal and universal. Not that I
ignored fiction completely. In England, the Harvill
Press was founded after the
war to publish translated novels from Russia and other,
mainly East-European
countries. It built up a fine reputation. Early in the
1990s, the owner,
Christopher Maclehouse, felt an urge to publish a Korean
title, since none were
available anywhere. His wife, who was French, duly read
the Korean books
published by the French publishers Actes Sud and
identified Yi Munyol’s novel
“The Poet” as the most interesting. By a complex series
of events I became one
of the translators. For the first time, a major western
publisher had chosen a
work and then commissioned a translation from the
Korean. Previously it was
always the translator who chose what was translated,
then desperately sought
for a publisher. “The Poet” is
based on the true story of the poet usually known as Kim
Sakkat. Kim’s grandfather
was a regional governor who sided with rebels early in
the 19th century
and was executed, but since he was
related to the Queen, his family was not executed with
him but only demoted to
the lowest social status. Kim’s mother hoped that still
he might be reinstated
so he was able to continue Confucian studies, especially
poetry, but with the
years he realizes that he can never be accepted by the
upper classes. He roams
the rural villages, using his poetic skills to entertain
educated commoners and
earn a living. Finally he becomes a kind of Taoist
wizard, so much in union
with nature that sometimes his son has the impression he
has vanished into the
landscape or become a rock. In a second edition, Yi
Munyol added a satirical
episode where the poet composes militant songs to give
courage to a group of
bandit-rebels. They duly sing them and believe
themselves invincible,
neglecting military training, and are duly defeated. The
very conservative Yi
Munyol was aiming at the “left-wing” militant, socially
dissident poets of his
own day, just as he wrote a scathing satirical short
story about a dissident
poet in which everyone recognized Ko Un. The most
striking feature of “The
Poet” is the way it mirrors Yi Munyol’s own experience
through the theme of the
sins of the (grand)father being visited on the innocent
children of following
generations. Yi Munyol’s father went North, leaving his
wife and children in
the South. As a result, they were harassed by the police
for years,
black-listed, and generally persecuted. The father
remarried in North Korea and
Yi Munyol published a story about meeting his
half-brother, reflecting the pain
of Korea’s division through his own family story. “The Poet” is,
in my opinion, his most interesting novel and those who
have read it tend to
agree. I then felt obliged to translate his first and
most successful novel,
“Son of Man,” which sold nearly two million copies and
became an iconic work
among several generations of students. Its success owed
much to the rapid
growth of the Protestant churches in the 1970s, as if
the whole of Korea would
soon be Christian, although there were many moral
failings which made that
undesirable and unlikely. For Yi Munyol, writing the
novel was essentially an
exploration of the comparative value of different
religions, which he studied
compulsively in an attempt to discover the truth about
the divine. The result
is a very strange composite, the main framework being a
detective story with a
detective trying to solve the murder of a former
seminarian, only to find that
the dead man had once written a novel about the
religious quest of a
contemporary of Jesus, Ahusverus, known in legend as the
“Wandering Jew.” The
satire of Korean Protestantism in it is combined with a
vast quest through the
ancient religions of the Middle East, Egypt, Greece,
Rome and Persia. The
translation was finally published, after many years,
thanks to LTI’s
collaboration with Dalkey Archive. One person who read
it even wrote a kind
review of it, but otherwise it has vanished without
trace. My only other
earlier experience of a Korean novel was to translate Ko
Un’s novel
“Hwaeomgyeong,” which
is based on the
Buddhist story of the child Sudhana (Seon-jae in Korean
pronunciation) who
roams the world, meeting fifty-two beings, each of whom
provides some teaching
along the way to enlightenment. Ko Un transforms this
tale of “The Little
Pilgrim” into an image of his own life’s quest,
romantic, social, and
philosophical, including many poetical passages, and it
has considerable charm
in a fragmented kind of way, having been written over
many years, from the time
when Ko Un was a Buddhist monk until he retired from
social activism with the
inauguration of a civilian president. It was published
by a Buddhist press in
San Francisco but I think they were not fully convinced
of the novel’s Buddhist
credentials, they did nothing to promote it . . . I took
Seonjae’s name when I
was naturalized, being nothing more than a Little
Pilgrim, but I did not return
to translating novels until very recently. As I have
already indicated, I have always been especially
interested in the story of the
poets’ lives that underlies their work. For much of the
remaining time in this
lecture, I want to focus on a small number of poets
whose work has had
significant social impact in Korea, being in various
ways the expression of
strong dissent. None of them is widely known outside of
Korea. I do not include
Ko Un here because, despite his vital role during
countless demonstrations and
protests, most of his poetry has never been very
explicitly “political” or even
“social.” One regret I
have is the belated realization that I have translated
too few female poets. I
am glad to have published two collections by my
colleague in Sogang University,
Kim Seung-Hee, as well as a large selection of poems by
the senior poet Yoo
Anjin. A small collection of poems by the now deceased
Hong Yunsook was also
published, and individual poems by some others . . . .
Various short stories
and recently the novels by women I have translated have
now begun to correct
the imbalance. I have no time
to mention all the novels by celebrated Korean writers
from the second half of
the 20th century
which have been
translated and published over past decades but have then
failed completely to
have any significant impact outside of Korea. In
particular, many Koreans
cannot understand why the world has so ignored Toji, the immensely boring 21-volume
family saga written by Park
Kyong-ni from 1969 to 1994. Likewise, the ten volumes of
TaebaekSanmaek and the other extended
novels by Jo Jeong-rae have
attracted little attention, relative to their length,
and although the
minimally fictional “stories” by Park Wan-suh, mainly
based on her own life
experience, are much loved in Korea, there are few
non-Korean readers who find
them compelling, I think. Too often, in any case, the
“publication” of our
earlier translations has meant little more than
“printing, binding and
stocking.” No publicity, no distribution, no reviews. Korea has a long
tradition of poetry expressing dissent and resistance to
those with power and
privilege. In the popular fiction of the 19th century
already we find clear
expressions of hostility toward corrupt officials put in
the mouths of ordinary
people and a powerful tale of official corruption being
overcome in the story
of Chunhyang. Satire was equally expressed in pansori
improvisations and in
mask dances. Once Japan had taken control of Korea and
begun introducing Korean
intellectuals to the modern world through translations
of western writings and
through the education Koreans received in Japanese
universities, it was
inevitable that the radical transformation of Russian
society in the 1917
Revolution should inspire radical discontent in Korea
and Japan too.
Revolutionary
enthusiasm gave birth in 1925 to the KAPF (Korean
Artists Proletarian
Federation) which encouraged writers and artists to
stress class consciousness
and expose the sufferings of the Minjung (the masses,
the proletariat). The
poet Yi Sang-hwa (1901–1943) was a founding member, as
were Yi Sang, Kim
Dong-hwan and Im Hwa (1908–1953). Yi Sang died in 1937.
Im Hwa went North in
1947, returned to Seoul with the North Korean army in
1950, and was executed as
a spy in North Korea in 1953. The sufferings
of the Minjung were closely linked to the unjust
policies of the Japanese, and
the struggle for social transformation was inevitably
linked with the
anti-Japanese Independence Movement. As in China, the
revolutionary focus was
on the rural poor, not on urban, industrial workers,
since there were so few
factory-workers at that time. Marxist theory was less
important than pity at
the plight of the peasants, especially those driven by
poverty and hunger to
cross into remote areas of Manchuria, or go to Japan to
work in the factories
there. The KAPF was banned by the Japanese in 1935 but
resistance continued to
be expressed through covert references, such as Im Hwa’s
“The Black Sea
Straights” of 1936. And Does Spring
Come to Stolen Fields?
1926 By Yi Sang-Hwa Now this is some
other’s land – and does spring also come to stolen
fields? My body bathed
by sunlight I simply walk on
as in a dream, along paddy-field paths like parted hair, toward the place
where blue sky and green fields are face to face. You heavens, you
fields, lips clamped shut my heart seems
to tell me I did not come here of my own will alone; did you tug at
me? Did someone call? Tell me, it stifles me.
After 1945, Korea was torn apart by
the conflict between rival regimes with conflicting
social theories. The Korean
War was experienced in the South as a fierce
anti-Communist crusade which
continued after the Armistice under the ongoing rule of
Syngman Rhee, and
political dissent in socialist directions was hardly
possible. The April
Revolution of 1960 brought an end to Syngman Rhee’s rule
and for a moment it
seemed that political freedom might allow a springtime
for democracy. Two poets
in particular emerged as heralds of new hope for
society, Kim Su-yeong
(1921–1968) and Shin Dong-yeop (1930-1969). Kim Su-yeong was
born in Seoul in 1921. He studied for a time in Japan,
and in what is now
Yonsei University. Some of his early poems were
published in 1949. During the
Korean war, he was forced to serve in the North Korean
army for a time and was
subsequently interned with the North Koreans on Geoje
Island until 1952. His
early poems were obscure, inspired by modernism, but his
experience of the
April Revolution helped convince him that poetry should
use ordinary language
and address social issues. His “Prayer” was read at the
memorial ceremony held
in May for the victims of 4.19, but by June he was
having doubts, and by the
end of October he was writing, in “Remembering That
Room” “The
revolution has failed, I’ve only moved
to another room. The “Fight, Fight, Fight,” on the walls
of the previous room
may still be there in the dark ― vain words.” He was
killed in a traffic
accident in 1968 A Prayer (May
18, 1960) A song for the
students who died for the nation on
April 19, 1960 With the heart
of one writing a poem, with the heart
of one picking flowers, with the heart
of one hearing the breath of a sleeping babe. with the heart
of one seeking a sweetheart who died, with the glad
heart of one who lost his way then found it again, let’s see our
newly found revolution through to the end. Imitating the
common laws of nature by which water
flows and moons rise, since achieving
our revolution was simple to
the point of folly, we must keep it
from being hurt, slashed, diverted, soiled by snake, by
caterpillar, rat, or lynx, by mite, by
crocodile, panther, coyote, by wolf, by
hedgehog, fox, eagle, or bug, Shin Dong-yeop
was born in 1930, in Buyeo, in a very poor family. He
was educated thanks to
his father’s sacrifices and became a school teacher in
his hometown then moved
to Seoul. During the Korean War, at the end of 1950, he
was drafted into the
South Korean National Defense Corps, where he had to
face starvation after
officers embezzled the money intended for food.
Thousands of others died. He
contracted TB and liver distoma. His was a wretched
life. In 1959 he began his
career as a poet and was actively involved in the “April
19 Revolution” so that
he is referred to as the "April Revolution poet" by many
writers. His
“Away with the Husk” was an iconic poem in the following
years. He died of
cancer in 1969 Away with the
Husk 껍데기는 가라 by Shin Dong-yeop Husk, be gone. April, let your
husk be gone, may
your grain remain. Husk, be gone; Let only the
shouting of the Tonghak
revolution in Gongju remain, its husk
once gone. And again, husk,
be gone from this land, in which a
native lad meets his lass, heart to heart, free and easy. They will
welcome each other for a marriage
of minds in the peace
hall of neutrality. Husk, be gone from Mount Halla
in the south to Mount Paektu
in the north; may all glinting
metals be gone and only
fragrant earth remain. By 1970, as Park
Chung-hee grew ever more autocratic, both poets were
dead. Kim Jiha was
born in Mokpo in 1941 and after middle/high school
studies in Seoul entered the
Aesthetics Department of Seoul National University,
graduating in 1966. His
experience of the 1960 April Revolution and the military
coup of May 1961, as
well as of being briefly imprisoned after the
demonstrations against the 1964
treaty establishing relations with Japan, made him a
strong activist opponent
of Park Chung-hee, continuing after graduation. In the
mid-1960s he began to
write and publish poetry, and in 1969 he became a
recognized poet after
publishing the poem 황톳길 (Yellow Clay Road) with some others
in a journal. In 1970 he published
his first book-length collection Hwangto.
By 1964 at least he had already adopted the pen-name
Ji-ha (地下 Underground)
though he later changed the characters
into 芝河 (Mushroom stream). In May 1970 the
literary review Sasanggye published the breath-taking
poem “Ojeok,” Five
Bandits, which the poet claimed to have written in
the space of 2 days, a
fierce satire denouncing the corrupt powers dominating
South Korean society in
a style inspired by Pansori. The government immediately
blocked the
distribution of the review (and later banned it) but
then on June 1 the review
“Minju Jeonseon (democratic front)” published by the
opposition Shinmindang
party reprinted it. Early in the morning of June 2, the
police confiscated all
100,000 copies and on June 20 Kim Jiha and all those
involved in the 2
publications were arrested and charged with crimes again
the anticommunism
law. he
prosecution claimed that the
work fostered class consciousness and was being used to
support North Korea.
Kim Jiha replied that it was simply social satire in
pansori form, with nothing
to do with class consciousness. Time makes it hard to
summarize the work, or
even quote from it at length. The poem begins
by evoking the place in which the bandits live and the
state of Seoul Once five
thieves were living in the heart of Seoul, the capital
city. To the South,
see, turds go bobbing down the Han
River, that’s nothing but sewage, with Tongbinggo-dong
high beside it, to the North,
its treeless hills bare as a chicken’s bald ass, with Seongbuk-dong
and Suyu-dong spiring aloft to the North again, and in the space
between South and North, packed tight, tight, tight,
shacks cluster, cluster like
crabshells, cluster like snot, and above them soar Changchung-dong,
Yaksu-dong, shacks freely demolished helter-skelter to
erect majestic gates. Those gateways,
soaring high as they please, gaudily glittering, lead to
magnificent, luxurious palaces full of flowers. The poem then
focuses on the five bandits, symbolic figures with names
corresponding to the
five social groups accused of corruption: 狾䋢(재벌 Conglomerate), 匊獪狋猿(국회의원 National
Assemblyman, 跍礏功無獂 (고급공무원 High-level Civil Servant), 長猩(장성 General), 瞕搓矔(장차관 Minister), only the Chinese
characters used in the poem are far from
being the usual ones, although the pronunciation is the
same. These names seem
untranslateable, I have replaced them with something
vaguely similar in
English: “ConglomerApe, AssemblyMutt, TopCivilSerpent,
General-in-Chimp, and
HighMinisCur” to reflect the many characters that used
the radical ‘dog.’ The 5 Bandits
live in Dongbingo-dong. There follows a lengthy
description of their luxurious
houses, both outside and inside, as seen by the chief of
police: To keep the
lawns from freezing, underlawn heating’s installed; to
keep the carp from broiling, the
ponds are air-conditioned; to protect the
birds from the cold, the bird cages come equipped with
heaters; to keep the dogfood
from spoiling, each kennel has a fridge; . . . . electric
clocks, electric rice bowls, electric kettles, electric
chopsticks, electric
vases, electric mirrors, electric books, electric
briefcases, iron glassware,
clay woodware, Joseon celadon, white porcelain from
Goryeo, Picassos hanging
upside down, Chagalls hung sideways, orchid paintings by
Sŏkpa glossily mounted
in gold-lacquered frames, four hundred scroll paintings
hanging up, eight
thousand eight hundred and eighty-eight paintings of
mountains, rivers,
flowers, birds, butterflies, people, all crammed
together, pewter earthenware,
Tang vases, Japanese vases, American vases, French
vases, Italian vases, This leads to a
list of the fantastic dishes prepared for a banquet,
where the insanity of the
satire reaches a climax: broiled
cow-hair, fried pigs’ nostrils, goats’ beards in batter,
boiled deer horns,
shish-kebab of four-footed chicken-legs, dried
pheasant-fins, tempura of
bream-wings, pickled corvinas’ toenails, the ears of
croakers, bass,
amberjacks, flounders and sweetfish, cut off and served
up raw in salads, stews
of the scales from octopus and sea-slugs, pork cutlets
of beef, beef cutlets of
pork, soup of swellfish with its blood not drained, And so on to the
final drama . . . In 1972-3 Kim
Jiha spent time lying low in Wonju and during that
period met the novelist Park
Kyongni and her daughter Kim Young-joo, who helped
protect him. In 1973 he married
Kim Young-joo, who (together with her mother and his
mother) supported him in
the following agonizing years of torture and prison.
Then he was caught up in
the in the 1974 People's Revolutionary Party case,
arrested, sentenced to
death, only there was so strong a groundswell of
international support for Kim
Jiha as a prisoner of conscience (involving J-P Sartre
and others) that the
sentence was commuted to life in prison. In 1980, after
the death of Park
Chung-hee, he was amnestied, in very poor health. In 1975 he had published
a poetry collection with the title 타는 목마름으로 (With Burning Thirst) and the title poem
had become
the rallying song of generations of protesting students: In a back alley
at dawn I write your
name: Democracy! So long since my
head forgot you. So very very
long since my steps forgot you. Only one scrap
remains, the memory of
thirst in my burning breast secretly writes
your name: Democracy! Somewhere in a
back alley before dawn. A sound of
footsteps, sound of whistles, sound of pounding on doors cries, the sound
of someone’s long, unending scream, sounds of
groaning, sounds of wailing, a sound of sighing, and
there, in my breast, above your name
engraved so deeply deeply there, above the
solitary splendor of your name, the agony of
still living on, the memory of
green freedom still living on, the
blood-stained faces of friends arrested, returning still
living. (******) With
shaking hand, with shaking breast, with shaking,
trembling indignation, on a wooden board in white chalk, awkwardly I write. Holding my
breath, sobbing, secretly I write
your name. With a burning
thirst. With a burning
thirst. Democracy!
Mansei! But alas, after being
released from prison, Kim Jiha vanishes from the pages
of dissident history. If time allowed,
I would also mention here the remarkable first
collection by Shin Gyeong-nim,
“Farmers’ Dance,” which I admire greatly and am glad to
have translated. But I
must move on. One of the first poets I published
translations of after Ku Sang
was Kim Kwang-kyu. Born in 1941 like Kim Chiha, he was
the very antithesis of
the wild rebel. In the early 1970s he spent some years
studying in Germany,
where he began to translate the works of such writers as
Berthold Brecht, Günter
Eich and Heinrich Heine, with their subtle, humoristic
satire. Like Ku Sang,
Kim felt little sympathy for the esthetic lyricism
characterizing Korean poetry
and although he had started to write even as a
high-school student, it was only
after he realized that he could imitate his German
models that he began writing
poems in Korean. His first collection was published just
as Chun Doo-Hwan took
power and was largely suppressed, which gave him added
prestige as a
pro-democratic poet. His poems appealed to the new
generations of students and intellectuals,
and he avoided being arrested or prosecuted because his
satire was too subtle
to be understood by the military censors. The Land of
Mists by Kim Gwang-gyu In the land of
mists, always shrouded
in mist, nothing ever
happens. And if something
happens nothing can be
seen because of the
mist. For if you live
in mist you get
accustomed to mist so you do not
try to see. Therefore in the
land of mists you should not
try to see. You have to hear
things. For if you do
not hear you cannot live, so ears keep
growing bigger. People like
rabbits with great ears
of white mist live in the land
of mists. In 1984, a new poetry
collection 노동의 새벽 (Dawn of Labor) was published by a
mysterious, unknown worker-poet,
Park Nohae, whose name (like Kim Jiha’s) was clearly a
pseudonym, No = 노동자 (worker) hae = 해방 (liberation). The
collection quickly became essential
reading among the radical students who were struggling
against the continuing
military dictatorship of Chon Doo-hwan and in favor of
social transformation in
a socialist direction. The most radical students’
anti-capitalist, proletarian
stance seemed echoed in these poems, that gave a voice
to factory workers,
expressing their suffering caused by over-long,
underpaid working hours with
the constant threat of accidents and disease, and fear
of losing their job at
the least excuse. Clearly the poet was himself a worker
(or some wondered if he
was perhaps a collective poet, with the poems being
written by more than one
hand?). The tone of the poems was less militant than
pathetic, they are moving
evocations of pain and frustration, of longing for
solidarity and compassion. The Dawn of
Labor The war-like
night shift once over, I pour icy soju onto my aching
heart. Ah, I can’t go on
like this much longer, I can’t go on
like this for ever. With three
wretched meals a day, covered in
grease, in a trial of strength, all my energy
squeezed out, struggling, though this
war-like labor can’t go on much
longer, can’t go on for
ever, I have no
choice. If only I could
get free, exhausted,
phantom-like, if only I could
fly free of my fate at twenty-nine, but, ah, I have no
choice, have no choice. Apart from
death, I have no choice. This tough life, the yoke of
poverty, this fate, I
have no choice. Into my drooping
body, for the sake of
tomorrow’s approaching workload, onto my aching
heart at dawn I pour icy soju, longing for a
tenacity stronger than soju, I pour wrath and
sorrow. This unavoidable
wall of despair will break and
burst in the end in rough drops
of sweat and blood, as for the sake
of our calmly breathing, growing love, our fury, our hope and
unity, we pour a shared
glass of icy soju onto our aching
hearts at dawn, until a new dawn
for workers comes rising up.
Perhaps because the age had changed,
but also because the poems were quite long and less
lyrical, few or none were
set to music to become rousing demo-songs. Instead,
idealistic students read
them and were so moved that some quit university in
order to go onto the
factory floor and become activists in support of the
voiceless workers. They
did not always notice that the central message of the
poems was not conflict
and violent revolution but a hope for a better, more
human world of sharing, as
in the poem “Heaven”: Ah, we too want
to be a heaven. Not a
black-clouded heaven weighing down; we want to be a
world where each of us is a blue heaven for everyone, supporting one
another. The intelligence
services determined to identify the person who had dared
challenge the nation’s
capitalist order. Park Nohae remained the “faceless
poet” even after he and
others established the 'South Korean Socialist Workers’
Alliance' 사노맹 in 1989. This was
seen by the regime as a
pro-communist organization and the hunt intensified.
Park Nohae lived in hiding,
constantly moving around. Finally his real name and
identity became known and
in March 1991 he was arrested: he was 박기평, born in 1957,
his father had died when he was 7, his
mother working in factories too poor to care for the
children, he went up to Seoul
to work in factories in his mid-teens. After 24 days of
torture and
interrogation, he was brought out to stand trial and for
the first time the
newspapers were able to get pictures of this mysterious
poet whose book had
sold nearly 1 million copies. Despite all he had been
through, he was smiling
broadly. The prosecution argued that the goal of the 사노맹 had been to
overthrow the democratic order and
install a communist regime. Park and his companions, it
was claimed, should be
punished by death as enemies of the state. Finally he was
sentenced to life imprisonment and taken to Gyeongju
prison where he was placed
in a tiny cell in solitary confinement. He was obliged
to admit the failure of
the militant labor activities he had been involved in to
make the world a
better place, to enable workers to live more truly human
lives. He spent long
hours each day sitting meditating, overcoming almost
suicidal despair in a
struggle to turn his back on the failed past and
confront the future. This he
expressed in the poems of 참된 시작 “True Beginning” which was published
in 1993. In 1997 he published a volume of
poetic essays 사람만이 희망이다 “Only a Person Is Hope” (1997). The
poems for these 2 collections had to
be smuggled out of prison. The second, far more hopeful
as its title suggests,
indicates the need for a society of Community, of
sharing and mutual caring, as
the only solution to dehumanized, profit-based
capitalist society. It sold
hundreds of thousands of copies. It began with a message
from Cardinal Kim
expressing the hope that Park might soon be released
from prison. In 1998, Kim
Dae-jung became president and in August that year Park
was freed. He did not
return to the factory and the workers’ struggle. Instead
he withdrew, refused
state compensation for his suffering in the struggle for
democratization, and
also refused to profit from his past to play a powerful
role now. Since then,
his concern has been with the struggle for justice,
peace and sharing in the
world’s most troubled regions. Song
Kyung-dong was born in 1967, 10 years after Park Nohae.
Unlike the previous two
poets, he has continued to be a common laborer, a
building construction worker,
while publishing 3 poetry collections and a volume of
essays. He is strongly
engaged in the ongoing dramas of workers driven to
despair by the
post-industrial tactics of Korea’s factory owners
eagerly closing factories and
dismissing workers in Korea in order to outsource
production to branch
factories in poorer countries. One poem in his latest
collection, “I am not
Korean,” commemorates the many suicides that have
resulted. Still, not all the
poems and events are tragic. Song has a sturdy sense of
humor. And he boasts of
his record breaking day when he received 6 summonses Six Summonses I come home late one night and my wife hands me a bunch of mail— summonses from Jongno Police Station,
Yeongdeungpo
Police Station, Seocho Police Station, Namdaemun Police
Station and
Seoul Central District Court, six summonses from various locations, on the same day at the same time. Should I
tell
Guinness World Records? He
was sentenced to prison for his role in organizing the
“Hope Buses,” a fleet of
200 buses organized in support of workers protesting at
the top of cranes and
chimneys. He laughs at his win-and-lose situation. In the morning of the day I was to receive
the Cheon
Sang-Byeong Poetry Award I was standing in a courtroom at the Seoul
Central
District Court, waiting to receive my sentence. Justice on the one hand, illegality on the other. Fortunately, while the fine was three million won, the
prize money
was five million, so justice won in part. The title poem
of his most recent collection “I am not Korean”
enumerates instances in which
Korean companies have exploited, crushed and oppressed
the workers in their
factories in Vietnam, Cambodia, Thailand etc. It ends: On this planet, where
85 of the world’s richest people possess the same wealth
as one half of the world’s population, who the devil am I? I am a Korean. No, I’m not a Korean. I am Song Kyung-dong. No, I am not Song
Kyung-dong. I am Pirun, Pabi, Phok,
Seron, Parveen Akhtar. Countless workers’ names, countless ignorance,
pain, suffering, despair disgrace, on-looking,
waiting, transgressions, falling again, rising
again, riots across borders, solidarity, struggle and
resistance. In 2021, Korea
continues to have thousands of poets writing in a great
variety of styles,
mostly being self-published. Novels continue to be
published with increasingly
fantastic plots as younger writers propose psychological
thrillers,
science-fiction, and with Korean graphic fiction gaining
in popularity, even
being published overseas in translation like the
Japanese manga. But in my
personal history, recent years have seen me focus on the
popular senior
inspirational poet Jeong Ho-seung, for whom I have great
affection, in part
because we share the same birthday. Jeong’s poems have
attracted the attention
of some of the great Korean folk singers, Lee Dong-won,
An Ji-hwan, Kim Kwang-seok,
Jang Sa-ik and some 70 or more of his poems have been
set to music. Jeong
Ho-seung ponders on the paradoxical meaning of life,
caught between joy and
sorrow, love, pain, hope and death, both in poetry and
in stories which are a
kind of children’s fables for adults, Loving
and Lonesome Jar
being two of my most
recent publications. His lyricism is delicate and
touching. As for Korean
fiction in English translation, probably the most
important turning-point came
in 2011, when Knopf published “Please Look After Mom” by
Kyung-Sook Shin,
translated by Chi-Young Kim ( a New York-based lawyer
whose mother, Yu
Young-nan was an earlier translator). Knopf
is a Big Name among publishers! Until then,
almost all Korean titles had
been published by small, unknown presses with no budget
for publicity or
bookstore distribution, or by university presses relying
mainly on class-room
use and automatic library purchases. At last Korean
fiction was no longer seen
as material for study but as material for the worldwide
entertainment industry,
just like Korea’s movies, TV dramas, and (a little
later) K-pop. “Please Look
After Mom” was marketed in the West for general readers,
especially members of
book-clubs, being presented as a touching Asian family
saga. It was not at all
marketed as a “Korean” title, although the author’s
identity made that clear
enough. It was distributed, reviewed and publicized in
the usual Knopf style,
massively. There was a separate UK edition with a
corrected English title, “Please
Look After Mother.”
It did not sell
millions of copies, as some of Knopf’s titles do, but
for the very first time a
translated Korean novel was treated just like any other
appealing novel,
whether translated or not.
The other major event for the
translation and recognition of Korean fiction was the
award to Deborah Smith’s
translation of Han Kang’s “The Vegetarian” of the 2015
Man Booker International
Prize. Again, we find a touching Asian family saga,
although darker and more
clearly a study in social and psychological alienation.
The fuss made by some
pedantic Koreans about the somewhat free / inaccurate
translation had no effect
on international sales. In fact, “The Vegetarian” was
only the trailblazer for
what was to follow. Korea had by this time begun to be
an international
household name, especially among the younger
generations, thanks first to a
series of very successful romantic TV dramas adored
especially in Japan,
South-East Asia and India, perhaps more than in the UK
or USA, and then to the
growing popularity of Korean movies, but above all to
K-Pop music. In Korean
literature, the troubled, problematic psychology of the
main character in “The
Vegetarian” was already a familiar motif, although
certainly some readers
wondered whether the novel was really worth so much
praise. A New York
literary agent , Barbara Zitwer, seized on the growing
popularity among younger
Western readers of psychological “thrillers,” as well as
horror stories,
science-fiction, and almost anything written by younger
women, and was able to
find important commercial publishers for a considerable
number of Korean
novels, mostly by younger female authors such as Bae
SuAh, Hwang Sun-mi, Pyun Hye-young,
Jeong You-Jeong, Cho Nam-Joo, Kim Soom, as well as Kim
Un-su, and the older
male Hwang Sok-yong. The name of Sora Kim Russell looms
large among the younger
translators producing this new form of Korean Wave. Thanks to
Barbara Zitwer, we have escaped from the nightmare
decades in which a
translator, having selected a novel or poet (s)he liked
and translated the
work, desperately tried to find a “publisher” of any
kind. Major companies like
Knopf were inaccessible because they only deal with
literary agents. We often
turned to one-(wo)man, non-profit publishers such as
White Pine Press, Cornell
East Asia Series, MerwinAsia, Homa & Sekey, or
(worse still) Stallion in
Singapore . . . . the books got printed, but that was
about all. The Korean
government has long tried to encourage the
“globalization” of Korean writing,
first through the 문예진흥원 Korea Culture & Arts
Foundation, then through 한군문학
번역원 LTI Korea, providing generous funding to
translators
once their work was accepted by a foreign publisher, as
well as sending Korean
writers overseas to speak and read at festivals. But
that has had very little
real impact. Today, the
tables have turned. It is not only K-pop and Korean
movies that make the
headlines, even Korean fiction is being translated, then
published by major
commercial presses,
and embraced by
readers in many countries as never before. Not all of
it, of course, since
major publishers can only publish a small number of
titles each year, and they
only want to publish novels that they can market
successfully. Korean writers
have begun to understand that they have to be writing to
entertain the world at
large, especially the young, not only older South Korean
readers. The younger
translators now producing translations of popular novels
and graphic fiction by
younger Korean writers can hope for more success, so
long as the Korean writers
are able to provide what is needed. Fiction today has to
be entertaining, and
different, has to speak to the world’s demanding young
readers who do not care
if a writer is famous in Seoul and Busan. Korean writers
who write exclusively
for a Korean readership do not need translators. Those
who write for tomorrow’s
world will be given the priority. If the writers do not
write what is needed,
the translators will labor in vain. To end on a
personal note, since the Covid pandemic struck early in
2020 I have been
translating contemporary Korean novels proposed to me by
Barbara Zitwer. Of the
seven I have completed, only one has so far been taken
by a major publisher. Yi
Geum-yi’s “The Picture Bride” 알로하, 나의 엄마들will be published in October 2022. It all
takes time!
This tells the story of three young women from a remote
Gyeongsang Province
village who in 1919 set out to become “picture brides”
marrying Koreans working
in the plantations of Hawaii. Two find themselves
married to men far older than
they thought, while the main character discovers that
her husband did not know
she existed until she arrived, his father having acted
without telling him in
order to have a grandchild before he died. The three
women end up working
together, united by strong bonds of friendship. The last
part moves to 1941,
Pearl Harbor, when the daughter of one of the three
discovers something
surprising about herself. Gong Ji-young is
a popular but rather controversial writer. I have
translated two of her novels,
“A Tall, Blue Ladder” 높고 푸른 사다리, and “The Open Sea” 먼바다, in both of which we see how very
difficult
communications are between two people who claim to love
one another. Gong is
strongly Catholic, the first tells of a young brother in
a Korean monastery who
falls for the niece of his Abbot, despite knowing that
she already has a fiancé
in the US. Finally, their relationship comes to nothing,
he becomes a priest.
The novel evokes two major episodes from the Korean War,
the Heungnam
Evacuation and the years spent in the Oksadong prison
camp in North Korea by a
group of German Benedictine monks and nuns. “The Open
Sea” tells of an older
woman, a university professor, who visits New York and
meets a man who, forty
years before, she had loved but he was a seminarian and
she only a high-school
student, then suddenly he left for the USA. Reconnected
thanks to Facebook,
they are to meet and all the questions she still has
about what happened forty
years before come back amidst tension and confusion. Kwon Jeong-hyeon
is perhaps less well-known, even in Korea. the novel
“Blade and Tongue” 칼과 혀 (which has already been published in
France) is set
in Manchuria during the last days of the war. A Chinese
prisoner, a cook is
given the task of preparing special dishes for the
Japanese Commander, whose
main interest is the enjoyment of fine cooking. Various
plot strands, including
one involving a Korean woman, are interwoven. Jeong-Myeong (JM)
Lee’s “Broken Summer” 부서진 여름 was only published in Korea in May
2021, the translation is already
complete and it is currently being shown to publishers.
A famous artist wakes
one morning to find that his wife has left him, leaving
a section of a novel
she has written depicting him as a seducer of an
under-aged girl. We return in
flashback to the death by drowning 25 years before of
the wife’s older sister.
The artist’s father was imprisoned for her murder but
doubts remain until at
the climax all becomes clear and the artist acknowledges
that he has been using
and abusing his wife all these years. Im
Seong-sun’s “Antarctic Mutiny” 극해 is the most
violent and exciting novel I have
translated. It is entirely set on a trawler commandeered
by the Japanese navy
during the Pacific War. The officers are Japanese, the
crew Korean, Taiwanese
and Filipino. The cruelty of the Japanese Bosun leads
the Koreans to mutiny,
killing all but one of the Japanese. The novel includes
sodomy, cannibalism and
multiple murders. Barbara Zitwer is afraid of it, it
seems to me a very exciting
read. The same author’s “The Consultant” 컨서턴트tells the
adventures of a murder-planner who struggles
with his conscience in a world where death comes in so
many forms for so many
inhuman reasons.. These brief
summaries of translated but not yet published recent
novels serve to show that
Korean fiction is no longer gloomy and nationalistic. It
is as entertaining and
imaginative, although often in grotesque and
hair-raising ways, as any Korean
movie, and shows that Korean writers have come a long
way from the earlier
nationalism and “documentary
realism.”
They are now fully “globalized,” so much so that
translators and agents have to
struggle to keep up with them. |