[_list: Books from Korea] Vol.17 Autumn 2012 by LTI Korea Library

Vol.17 Autumn 2012

Special Section

E-books in Korea Special Interview

Kim Seong-Kon, the Fifth Director of LTI Korea Interviews Author and Scientist

Jeong Jaeseung Writer Kim Junghyuk Spotlight on Fiction

At Least We Can Apologize by Lee Gi-ho The Place

Myeongdong Through History Theme Lounge

Arirang

ISSN 2005-2790

LTI Korea Overseas Publication Grants

FAQ What is list_Books from Korea, and where can I find it? list is a quarterly magazine packed with information about Korean books. Register online at www.list.or.kr to receive a free subscription.

Can I get it in English? The printed edition of list is available in English and Chinese. The webzine (www.list.or.kr) is available in English, Chinese, and Korean.

What if I want information about Korean books more often? We offer a monthly online newsletter. Simply email list_korea @ klti.or.kr to begin receiving your free copy.

list is published by the Literature Translation Institute of Korea, which is affiliated with the Korean Ministry of Culture, Sports, and Tourism. LTI Korea’s mission is to contribute to global culture by expanding the knowledge of Korean literature and culture abroad. Visit www.klti.or.kr to learn about our many translation, publication, cultural exchange, and education programs. Contact: list_korea @ klti.or.kr

list_Books from Korea App (iPad only) now available for download

• Part of the total publication expense • The amount varies depending on the cost of publication and the genre of the book. • The grant will be issued after publication.

Application

LTI Korea provides publication grants to overseas publishers who are planning to publish or have already published translated Korean books. The aim is to reach more international readers through increased overseas publications of Korean books.

• Required Documents 1. Publisher’s profile 2. Publication plan 3. A copy of the contract between the publisher and the translator 4. A copy of the contract between the publisher and the copyright holder • Register as a member on LTI Korea’s English website (http://eng.klti.or.kr) • Complete an online application form on the website and upload the required documents.

Qualifications

Schedule

• Any publisher who has signed a contract for the publication rights of a Korean book and can publish the book by December 2012. • Any publisher who has already published a translated Korean book in 2012, based on a contract for publication rights of the book.

• Submission deadlines: March 31/ June 30/ September 30 • Applicants will be notified in April/ July/ October

LTI Korea Translation Grants LTI Korea aims to promote Korean literature overseas by helping produce high-quality translations of Korean books in a way that allows more foreign readers to better understand and appreciate Korean literature.

LTI Korea Assigned Books List Who publishes list_Books from Korea?

Grants

Grants are available only for the titles on the LTI Korea Assigned Books List, which covers titles ranging from literature to humanities to children’s books. New titles are added to the list twice a year, and anyone can recommend titles for the list. Once recommended, a book goes through a screening process by the Books Selection Commission prior to final selection.

Contact grants@klti.or.kr Mina Park (English)/ Youngju Cha (Chinese)

Grant Application • Qualifications: No restriction on nationality or background • Translation languages: All foreign (non-Korean) languages • Number of applicable books: 1 title in literature, humanities, and social science; up to 3 children’s book titles • Grant amount: approximately 16 million won (The amount for children’s books will be determined based on the volume to be translated)

The LTI Korea Assigned Books List recommendation form and LTI Korea Translation Grants application form are available on the LTI Korea homepage (www.klti.or.kr). For further information, please refer to the details on the homepage.

Contact Lee Yoomi at the Translation & Publication Team (translation@klti.or.kr/ 82-2-6919-7731)

Foreword

E-books Arrive in Korea “Something that will definitely arrive someday, but hasn’t yet.” This is what most people thought of e-books until recently. This presents a dilemma. In the business world, there aren’t that many examples of products that people are sure will be created. New products, or trends, suddenly emerge, betraying peoples’ general expectations. If a product didn’t emerge in such a revolutionary way, it probably wouldn’t be called a new product. It isn’t easy to anticipate and prepare for a new trend. People may conduct painstaking research trying to predict what kinds of desires consumers will come to have in the near future, and what kind of products will emerge to realize those desires, but only a few are fortunate enough to predict accurately. Unlike other products, e-books are something that people believe will eventually happen, so many have been preparing for their arrival. E-books, however, have still not yet completely arrived. With preparations having to be made, but no signs yet to be seen of their emergence, it has always been deemed too early to make a huge investment. So for a long time, those involved were caught in a dilemma. In Korea, 2012 should be recorded as the year in which such a dilemma began to come to an end, for the e-book market is gradually emerging around mobile devices. With this development, a number of publishers and distributors started to get busy. So did the Korean government. The Ministry of Culture, Sports, and Tourism sponsored several e-book related programs last year, and is expected to continue sponsorship this year. The e-book market in Korea, of course, is still in its early stages. Though the market has emerged, it is no more than a potential market at present. To be sure, plenty of opportunities for growth exist. In this special report, we will take a look at the various movements related to e-books in Korea, including e-book related legislation, distribution, sales, foreign rights, DRM, readers, smart phones, software, fonts, libraries, prices, technology, and future outlook. In particular, we think it is worthwhile to take a look at how major Korean publishers have formed an organization called Korea Publishing Contents, and the way they respond to various issues related to e-books. We hope that this special report will serve as an opportunity for publishers around the world to share their thoughts on a new and still growing possibility. by Kim Su-yeong

list_ Books from Korea

Vol.17 Autumn 2012

Contents Autumn 2012 Vol. 17

Vol.17 Autumn 2012 A Quarterly Magazine for Publishers

61 PUBLISHER _ Kim Seong-Kon EDITORIAL DIRECTOR _ Kwon Sehoon

01 04 05 06 08

Foreword Trade Report News from LTI Korea Bestsellers Publishing Trends

Special Interview

MANAGING DIRECTOR _ Lee Jungkeun EDITORIAL BOARD Kim Su-yeong Kim Yonghee Kim Dongshik Kim Yeran Yoon So-hee

10 Kim Seong-Kon, the Fifth Director of LTI Korea

EDITOR-IN-CHIEF Kim Sun-hye

MANAGING EDITORS Cha Youngju Park Mihwi

Special Section

E-books in Korea

EDITORS Kim Stoker Krys Lee

12 E-Publishing Copyrights in Korea 15 In Search of the Publisher’s Role

ART DIRECTOR Choi Woonglim

18 E-Book Distribution: Response of Korea Publishing Contents 21 The Quiet Before the Storm

Interviews 24 Author and Scientist Jeong Jaeseung 30 Writer Kim Junghyuk

Excerpts

28 Science Concert by Jeong Jaeseung 34 “1F/B1” by Kim Junghyuk

The Place

PHOTOGRAPHER Lee Kwa-yong

Steady Sellers

61 Wonmi-dong People 71 My Exploration of Cultural Heritage

Overseas Angle

76 Creating a Library of Korean Literature 78 Book Lover’s Angle: Aurélie Julia

Theme Lounge

Reviews

44 Fiction 62 Nonfiction 72 Children’s Books

Spotlight on Fiction

49 At Least We Can Apologize by Lee Gi-ho

PRINTED IN _ Sinsago Hi-tech Date of Publication 2012. 9. 3

list_ Books from Korea is a quarterly magazine published

36 Myeongdong Through History

40 Arirang

DESIGNERS Kim Mijin Lee Jaehyun Jang Hyeju

New Books

79 Recommended by Publishers

Meet the Publishers

84 EunHaeng NaMu 86 87 88 91

Afterword Contributors Featured Authors Index

by the Literature Translation Institute of Korea. All correspondences should be addressed to the Literature Translation Institute of Korea at 108-5 Samseong-dong, Gangnam-gu, Seoul, Republic of Korea 135-873 Telephone: 82-2-6919-7714 Fax: 82-2-3448-4247 E-mail: list_korea@klti.or.kr www.klti.or.kr www.list.or.kr Copyright © 2012 by Literature Translation Institute of Korea ISSN 2005-2790

Cover art Han Jung-sun Front cover: babel blocks, 70x100cm, archival pigment print, 2012 Back page: apartment blocks, 50x50cm, archival pigment print, 2012

2 list_ Books from Korea

Vol.17 Autumn 2012

list_ Books from Korea

Vol.17 Autumn 2012

Contents Autumn 2012 Vol. 17

Vol.17 Autumn 2012 A Quarterly Magazine for Publishers

61 PUBLISHER _ Kim Seong-Kon EDITORIAL DIRECTOR _ Kwon Sehoon

01 04 05 06 08

Foreword Trade Report News from LTI Korea Bestsellers Publishing Trends

Special Interview

MANAGING DIRECTOR _ Lee Jungkeun EDITORIAL BOARD Kim Su-yeong Kim Yonghee Kim Dongshik Kim Yeran Yoon So-hee

10 Kim Seong-Kon, the Fifth Director of LTI Korea

EDITOR-IN-CHIEF Kim Sun-hye

MANAGING EDITORS Cha Youngju Park Mihwi

Special Section

E-books in Korea

EDITORS Kim Stoker Krys Lee

12 E-Publishing Copyrights in Korea 15 In Search of the Publisher’s Role

ART DIRECTOR Choi Woonglim

18 E-Book Distribution: Response of Korea Publishing Contents 21 The Quiet Before the Storm

Interviews 24 Author and Scientist Jeong Jaeseung 30 Writer Kim Junghyuk

Excerpts

28 Science Concert by Jeong Jaeseung 34 “1F/B1” by Kim Junghyuk

The Place

PHOTOGRAPHER Lee Kwa-yong

Steady Sellers

61 Wonmi-dong People 71 My Exploration of Cultural Heritage

Overseas Angle

76 Creating a Library of Korean Literature 78 Book Lover’s Angle: Aurélie Julia

Theme Lounge

Reviews

44 Fiction 62 Nonfiction 72 Children’s Books

Spotlight on Fiction

49 At Least We Can Apologize by Lee Gi-ho

PRINTED IN _ Sinsago Hi-tech Date of Publication 2012. 9. 3

list_ Books from Korea is a quarterly magazine published

36 Myeongdong Through History

40 Arirang

DESIGNERS Kim Mijin Lee Jaehyun Jang Hyeju

New Books

79 Recommended by Publishers

Meet the Publishers

84 EunHaeng NaMu 86 87 88 91

Afterword Contributors Featured Authors Index

Cover art Han Jung-sun Front cover: babel blocks, 70x100cm, archival pigment print, 2012 Back page: apartment blocks, 50x50cm, archival pigment print, 2012

2 list_ Books from Korea

Vol.17 Autumn 2012

list_ Books from Korea

Vol.17 Autumn 2012

Trade Report

News from LTI Korea

Lee Jungmyung’s The Investigation to be published in the U.K.

The Investigation (2 vols.) Lee Jungmyung, EunHaeng NaMu Publishing Co. 2012, 301p, ISBN 9788956606187 (Vol. 1)

Lee Jungmyung, author of The Painter of Wind and The Deep-Rooted Tree which were translated into six languages— Italian, Chinese, Japanese, Taiwanese, Thai, and Indonesian—and adapted for TV, has published a new novel called The Investigation. Since April of last year, even before it was published in Korea, The Investigation met considerable interest by foreign publishers. Pa n M a c m i l l a n of t he U.K ., a n internationa lly renowned publishing house, has secured the English translation rights. Maria Rejt, publishing director at Pan Macmillan, is quite optimistic about the novel’s future in the Anglophone market and plans to release the hardcover edition by spring of 2014. This stirred interest in publishers of other languages as well, leading to foreign rights sales in two countries, Poland and France, and

counting. A well-written literar y work, The Investigation is the story of an inspector who burned the poems of Yun Dongju. The novel received critical acclaim from many publishers as a kind of The Reader meets Shawshank Redemption. Based on the true stor y of poet Yun Dong-ju who died in 1945 at the age of 27 from inhumane medical experiments conducted on him in a prison in Fukuoka, this novel mesmerizes the readers with its prison setting, complex characters, solid structure, and foreshadowing through a wide range of literary devices. Readers who have enjoyed Marcus Zusak’s The Book Thief or Stephen King’s Shawshank Redemption will also like The Investigation. by Joseph Lee

Hwang Sun-mi’s Leafie, a Hen into the Wild to be published in the U.S. Hwang Sun-mi’s million copy seller, Leafie, a Hen into the Wild has been sold to Viking Penguin of the U.S. Adapted into an animated film version to great success, this novel has also been sold in Japan (Heibonsha), China ( Jieli Publishing), Poland (Kwiaty Orientu), Vietnam (Nha Na m Publish ing ), Ta iwa n (Lin k ing Publ i sh i n g ), Fr a nc e (Fl a m m a r ion), Italy (Bompiani), and Indonesia (Mizan Publishing House). It continues to receive foreign rights inquiries. The novel received a “Best Book of the Spring” award in Poland this past April 3rd, which qualifies it for the honor of nomination in the annual “Best Book of the Year” award, in which all books published in Polish are evaluated against each other without division bet ween domestic and foreign books. While the novel is categorized as YA in Korea, Leafie, a Hen into the Wild will be marketed in the U.S. as a novel for adults. Following in the footsteps of Please Look After Mom by Shin Kyung-sook, Leafie, 4 list_ Books from Korea

Vol.17 Autumn 2012

a Hen into the Wild will continue the trend of Korean literature bringing new perspectives on motherhood to American readers. by Joseph Lee

LTI Korea Forum in Germany and Austria

The LTI Korea Forum, a venue for scholars and translators, was held at the Korean Cultural Center in Berlin, Germany, on June 15th. Participants who specialize in Korean literature and translations included translators Nataly Jung-hwa Han, Matthias R. Entreß Albrecht Huwe, Yun Sun-young (University of Bonn), Richard Humphrey (Zittau/Görlitz Universit y of Applied

LTI Korea held its 11th international workshop for translation and publication, under the theme of “K-culture and Korean Literature in the Globalizing World” at the COEX Conference Center, in Seoul on Friday, June 21st. The workshop takes place annually in order to explore ways to improve the quality of translations and strengthen the overseas presence of Korean literature. The event is a key venue for publishers, literary critics, and authors to share their ideas on related topics. This year, seven key presentations were made on Korean literature in connection with the popularity of Korean pop culture. Participants discussed strategies to establish Korean literature's place in world literature at a time when K-pop, Korean films, and

2 1

television dramas are gaining popularity around the globe. Following the keynote presentation titled “Korean Literature, Towards a Global Literature,” literary critic Wu Chan-je and novelist Lee Hyun-su led the morning se ssion on way s to g loba li z e Korea n literature from a literary point of view. In the afternoon, Michelle Nam, in charge of international copyrights at Minumsa Publishing Group, Dennis Maloney from U.S.-based White Pine Press, John O’Brien of Dalkey Archive Press, and Marysia Juszczakiewicz from Peony Literary Agency in Hong Kong presented their perspectives on a range of key issues such as overseas copy rig ht sa les of Korea n literature, ma rketing ca mpa igns, a nd Korea n

literature in overseas publishing markets. The work shop, whose role wa s to e x plore m ajor i s s u e s f a c i n g K or e a n literature, translation, and publications from academic, literar y, and rea l life perspectives, will continue to offer a crucial channel through which experts share their views.

The 11th Korean Literature Translation Award Ceremony

Hwang Sun-mi; Illustrator: Kim Hwan-young Sakyejul Publishing Ltd. 2002, 200p, ISBN 9788971968710

3.《走出院子的母鸡》接力, 2011

Together with the forum, Korea n literature reading sessions took place in Vienna, Austria, and Tübingen and Berlin in Germany, with Korean writers in attendance. Jo Kyung-ran read from her novel, Tongue, and Moon Chung-hee and Hwang Hak-joo recited their most wellknown poems in front of local audiences. The public reading in Vienna was especially meaningful as it was part of various events that celebrated the 120th anniversary of the diplomatic ties between South Korea and Austria. The reading session marked the first-ever event dedicated to promoting Korean literature in the country.

LTI Korea Hosts 11th International Workshop

Leafie, a Hen into the Wild

2. O Kurze, Która opusciła podwórze Kwaiaty Orientu, 2011

Sciences), Sonja Häußler (Stock holm University), Song Moon-ey (University of Tübingen). The forum was divided into three sessions: translations of Korean classical literature (pansori) and modern literature; translation as part of education courses; a nd a pr e s e nt a t ion a b out Fr ie d r ic h Schleiemacher, a renowned theologian and expert on translation theory. The sessions combined of fered various translation methodologies. In particular, the translation issues involving both classical and modern Korean literature helped participants approach the issue of combining literature and culture academically. The forum’s successful results are now expected to help provide a strategic foothold for localizing Korean literature overseas.

The Korean Literature Translation Contest for New Translators has entered the 11th

edition this year. The award, established in 2002, is aimed at discovering new talent that will help introduce Korean literature to audiences around the world. The designated works for translation were “The Knife” by Lee Seung-u for the contest in English, French, German, Spanish, and Russian, and “The Night When Nobody Comes Back” by Kim Soom for the contest in Chinese and Japanese. A total of 261 applicants submitted their translations for the contest this year, and LTI Korea

selected eight winners: two for English and one for each of the other languages. The award ceremony was held at the conference room on the fourth floor of the LTI Korea building on June 28th. Poet Moon Chung-hee made a special guest appearance, offering congratulations to the winners. Moon stressed that translators play a crucial role in bridging different cultures. On the next day, the contest winners met with authors Lee Seung-u and Kim Soom.

list_ Books from Korea

Vol.17 Autumn 2012

Trade Report

News from LTI Korea

Lee Jungmyung’s The Investigation to be published in the U.K.

The Investigation (2 vols.) Lee Jungmyung, EunHaeng NaMu Publishing Co. 2012, 301p, ISBN 9788956606187 (Vol. 1)

Vol.17 Autumn 2012

a Hen into the Wild will continue the trend of Korean literature bringing new perspectives on motherhood to American readers. by Joseph Lee

LTI Korea Forum in Germany and Austria

2 1

The 11th Korean Literature Translation Award Ceremony

Hwang Sun-mi; Illustrator: Kim Hwan-young Sakyejul Publishing Ltd. 2002, 200p, ISBN 9788971968710

3.《走出院子的母鸡》接力, 2011

LTI Korea Hosts 11th International Workshop

Leafie, a Hen into the Wild

2. O Kurze, Która opusciła podwórze Kwaiaty Orientu, 2011

The Korean Literature Translation Contest for New Translators has entered the 11th

list_ Books from Korea

Vol.17 Autumn 2012

Bestsellers

What We’re Reading

These totals are based on sales records from eight major bookstores and three online bookstores from April to June 2012, provided by the Korean Publishers Association. The books are introduced in no particular order.

Fiction

Children's Books

Nonfiction

EunGyo

Please Look After Mom

A Snail Can Never Be Late

Park Bumshin, Munhakdongne Publishing Corp. 2010, 408p, ISBN 9788954610681

Shin Kyung-sook, Changbi Publishers, Inc. 2008, 320p, ISBN 9788936433673 Please Look After Mom starts off with an aging mother who has come to Seoul with her husband to visit their children, and her subsequent disappearance at a subway station. Through recollections by each family member, the portrait of a mother of our times is pieced together.

Venerable Jung Mok, Gong Gam 2012, 240p, ISBN 9788960652811

EunGyo is about the love triangle between an aging poet, a teenage girl, and a young poet who is the old poet’s student. The book poses existential questions on love, literature, desire, aging, and the dilemmas of youth.

My Wound Is a Stone, Your Wound Is a Flower

Goodbye, Mother

Ryu Shiva, Forest of Literature, 2012 146p, ISBN 9788993838220

Ryu Shiva’s third collection of poems explores life and death, love, solitude, existence, and transcendence. The poet’s philosophical wisdom, coupled with a heightened sensitivity, is the focal point of this anthology. As always, reconciliation in human relationships and healing of the heart are the poet's messages.

The Foundation of Love: A Couple's Story Jeong Yi-hyun, TOLL Publishing 2012, 210p, ISBN 9788954618182 Jeong Yi-hyun, a young, well-known Korean writer, and Alain de Botton, who writes elegantly about the everyday urbanite ethos, both write on the same topics of love, marriage, and family; that is, they write about the love between two young people, as well as writing about an old couple who have been together for a long time.

Kim Joo-young, Munhakdongne Publishing Corp. 2012, 276p, ISBN 9788954618250 The protagonist, who has long-standing grudges against his mother, hears of her death and revisits his hometown where memories of his childhood come flooding back. The book is a eulogy to a mother of our times whom we have poignant feelings for and feel apologetic to.

Lee Jung-ku Lee Young-tak, MSD Media 2012, 356p, ISBN 9788962170542 This novel starts with the premise that the conglomerates that have monopolized most privileges in Korean society have to undergo a major transformation before there can be any change in Korea. The author considers parallels of major corporations to the very structure of Korea, asserting that they must change.

Eun Hee-kyung, Changbi Publishers, Inc. 2012, 252p, ISBN 9788936433925 The author, who has probed into the issues of misunderstanding, secretiveness, bias, and truth in human relationships, has turned to the realm of love, solitude, and the venomous speech of artists to untangle the knots of human relationships.

6 list_ Books from Korea

My Wound Is a Stone, Your Wound Is a Flower

Vol.17 Autumn 2012

The Power of Organizing for 15 Minutes a Day Yoon Sun-hyun Wisdomhouse Publishing Co., Ltd. 2012, 264p, ISBN 9788960865273

Yun Sun-hyun, who is known as the first organizing consultant in Korea, provides speedy methods that readers can use to organize lives that have been robbed of leisure time and happiness. Through many case studies, she offers better ways for systematically arranging one’s space, time, and relationships.

Wait, Papepopo Sim Seung-hyeon, Hongik Publishing Co. 2012, 284p, ISBN 9788970652856

Wait, Papepopo is part of a cartoon essay series. Focusing on the love of Pape and Popo, the book shows how it is possible to attain happiness if one does not lose their principles and the value of sharing in a world where success means everything.

The Things We Can See Only After We Stop

Life Unperturbed

EunGyo

In this collection of essays by the Venerable Jung Mok, she shares her experiences and wisdom to comfort anyone who is wounded. She poses sincere questions on life by way of various themes such as gratitude, anger, love, attachment, reconciliation, health, and happiness, thus offering practical means of obtaining peace of mind.

Making the Right Economic Choice: Neoliberalism Versus Productive Welfare Chang Ha-joon, Jeong Seung-il, and Lee Jong-tae Bookie Publishing House 2012, 423p, ISBN 9788960512122 Korean society currently faces problems such as polarization, economic growth without employment, and the collapse of small, medium-sized, and private businesses. The authors find the fundamental cause is neo-liberalism where financial banking has taken over shareholder capitalism. The three authors assert that the solution is a welfare state.

Dreamers Never Stop Junn Sung-chull, IGMbooks 2012, 320p, ISBN 9788996016601 The author has waged a solitary struggle to live a life according to his dreams. He shows just how precious dreams are by recounting his own desperate and heartfelt experiences. He also offers tips on how young people can resolve their growing pains and lack of direction.

Let Your Dream Make You Dance Go Do-won, Haenam Publishing Co., Ltd. 2012, 270p, ISBN 9788965743224 The author tells the stories of his second life in which he runs a meditation center, and vividly shares his many diverse experiences and insights. He provides concrete methods to help examine one’s own heart and mind, as well as gain inner strength in order to achieve a cherished dream.

Venerable Haemin; Illustrator: Woo Chang-heon Sam&Parkers 2012, 292p, ISBN 9788965700609 While transcending religion, race, and different values, the Venerable Haemin presents authentic and truthful adages of life. He shares the principles of courage and how to incorporate wisdom and harmony into relationships, love, and life.

Dreamers Never Stop

Let Your Dream Make You Dance

Stupid Letter

Leafie, a Hen into the Wild Hwang Sun-mi; Illustrator: Kim Hwang-young Sakyejul Publishing Ltd. 2002, 200p ISBN 9788971968710 Leafie, a hen that has been cooped up all her life destined to only lay eggs, broods a dream of hatching an egg. At last, she escapes and undergoes a difficult journey in the wild, and then attains her dream as her maternal love comes to fruition.

The House Where Books Dwell Lee Young-seo, Munhakdongne Publishing Corp. 2009, 192p, ISBN 9788954607346 The persecution of the Roman Catholics during the Joseon era is the subject of this historical children’s tale. The book is a glimpse through a child’s eyes into the life of a scholar, providing insights into the relationship between an individual and society.

Puppy Poo Kwon Jeong-saeng; Illustrator: Jeong Seung-gak Gilbut Children Publishing Co., Ltd. 1996, 34p, ISBN 8986621134 Dirty and seemingly useless puppy poo that no one pays attention to becomes a dandelion in its rebirth. The book shows the cycle of nature and the preciousness of life in a moving way.

Bookworm Ahn So-young, Borim Press 2005, 288p, ISBN 9788943305840 Bookworm tells the story of a Joseon era scholar, Yi Deok-mu, and his friends. Yi is known to have read all the time and although an impecunious scholar, he was a remarkably erudite man who lived a beautiful life, surrounded by friends.

Stupid Letter Hwang Sun-mi; Illustrator: Noh In-kyung Sigongjunior 2012, 112p, ISBN 9788952765628 Stupid Letter is a wonderful collaboration between Hwang Sun-mi, the author of Leafie, a Hen into the Wild, and Noh In-kyung, who was chosen as Illustrator of the Year at the 2012 Bologna International Children’s Book Fair. The book delivers a message of love and growth to children experiencing sudden changes as they experience through puberty.

What Should I Write in My Diary? Jung Sul-ah, Bluegarden 2010, 173p, ISBN 97889932422317 What Should I Write in My Diary? is a children’s book that shares the fun of keeping a diary through the protagonist, Jun-su, and Genie, a fairy. A diary is not simply for the purpose of recording daily events but to find joy in the everyday as well as to appreciate daily life.

The Store That Sells Time Kim Sun-young, Jaeum & Moeum Publishing Co. 2012, 265p, ISBN 9788954427173 The passing of time is the subject of this novel for teenagers. What could have been a philosophical and conceptual story is told instead as a mystery that readers will find suspenseful and entertaining.

The Store That Sells Time

list_ Books from Korea

Vol.17 Autumn 2012

Bestsellers

What We’re Reading

Fiction

Children's Books

Nonfiction

EunGyo

Please Look After Mom

A Snail Can Never Be Late

Park Bumshin, Munhakdongne Publishing Corp. 2010, 408p, ISBN 9788954610681

Venerable Jung Mok, Gong Gam 2012, 240p, ISBN 9788960652811

My Wound Is a Stone, Your Wound Is a Flower

Goodbye, Mother

Ryu Shiva, Forest of Literature, 2012 146p, ISBN 9788993838220

6 list_ Books from Korea

My Wound Is a Stone, Your Wound Is a Flower

Vol.17 Autumn 2012

The Power of Organizing for 15 Minutes a Day Yoon Sun-hyun Wisdomhouse Publishing Co., Ltd. 2012, 264p, ISBN 9788960865273

Wait, Papepopo Sim Seung-hyeon, Hongik Publishing Co. 2012, 284p, ISBN 9788970652856

The Things We Can See Only After We Stop

Life Unperturbed

EunGyo

Dreamers Never Stop

Let Your Dream Make You Dance

Stupid Letter

The Store That Sells Time

list_ Books from Korea

Vol.17 Autumn 2012

Publishing Trends

Fiction

Writers of the New Millennium Make Their Voices Heard A new approach is needed to appreciate South Korean writers who debuted in the 2000s. For a start, this particular group stands out in many ways, including the sheer number of writers and their volume of literary output. Strangely enough, the market has offered only a lukewarm response to their creative activities, largely because established writers continue to hold a firm grip on mainstream

readers. It might be noted that the writers of the 2000s are still growing and finding their audience the market in comparison to older writers. The same fact applies to the novels published from May through July this year. Notable titles include Kim Ha-seo’s Lemontu Jang’s Imagination Factory and Bae Myung-hoon’s Decoy. Kim’s novel, which won the second Jaeum&Moeum New Writer’s Award, pieces together reality and imagination in a refined way that makes it hard to identify which is real. Bae’s latest title goes beyond the sci-fi genre to provide a literary depth comparable to pure literary novels. Decoy is, on the surface, a whodunit novel but Bae introduces one excellent set-up after another, touching on profound subjects that easily surpass expectations about the detective genre. This year, Munhakdongne, a leading publisher in South Korea, has established a new literary award dedicated to college students who want to be professional writers. Lee Jong-san and Ha Sang-hun were the joint winners of the literary contest, with Szervusz and The Horn of Africa, respectively. The Horn of Africa is centered upon Somali pirates. The point of view as the writer tells the story from the eyes of pirates instead of innocent captives is notable. Szervusz, meanwhile, attempts to use a totally different literary device. The novel is basically a romance, but Dracula and Mummy are thrown into the fantasy love story that is not restricted in time and space. Pyun Hye-young, who has already solidified her position in the market with her short stories, published a novel Gone to the Forest in the West. Kim Junghyuk and Sohn Hong-gyu, both frontrunners of the writers of the new millennium, published short story collections, 1F/B1 and Tom Sleeps with Tom. Unfortunately, readers have yet to fully embrace many of the writers mentioned above in consideration of their solid literary achievements. Offering a glimmer of hope about this underappreciated group is that Baek Young-ok’s new title Seven O’clock Morning Meeting for Jilted Lovers has made it to the bestseller list.

by Kim Young-burn 3

Nonfiction

4 6

7 8

1. Seven O’clock Morning Meeting

for Jilted Lovers

Baek Young-ok Jaeum & Moeum Publishing Co., LTD 2012, 432p, ISBN 9788957076774

1F/B1 Kim Junghyuk Munhakdongne Publishing Corp. 2012, 304p, ISBN 9788954618472

3. Decoy Bae Myung-hoon, Bookhouse Publishers 2012, 302p, ISBN 9788956055978 4.

Lemontu Jang’s Imagination Factory Kim Ha-seo Jaeum & Moeum Publishing Co., LTD 2012, 300p, ISBN 9788957076651

8 list_ Books from Korea

Vol.17 Autumn 2012

Gone to the Forest in the West

The Horn of Africa

Tom Sleeps with Tom

Pyun Hye-young Moonji Publishing Co., Ltd. 2012, 366p, ISBN 9788932023113 Ha Sang-hun Munhakdongne Publishing Corp. 2012, 304p, ISBN 9788954618441 Sohn Hong-gyu Moonji Publishing Co., Ltd. 2012, 320p, ISBN 9788932023106

8. Szervusz Lee Jong-san Munhakdongne Publishing Corp. 2012, 177p, ISBN 9788954618434

Joseon Fever Sweeps Publishing Industry Joseon is a keyword that never ceases to offer new ideas and sources for the South Korean publishing industry. Back in 2006, for instance, The King and the Clown sold a respectable 3.6 million movie tickets. For publishers, one small detail of the hit film mattered most: the entire movie was based on just one sentence of The Annals of the Joseon Dynasty, a huge collection of royal records. Since then, a flood of books related to the Joseon period have been published in the local market. In the early stage of the Joseon boom, as with other history titles, authors focused on the elite: powerful kings and the influential literati class. In recent years, however, books are now available on more diverse classes such as servants, gisaeng (courtesans), court eunuchs, and interpreters. Thematic topics have been expanded to include diseases, paintings, and travel. For instance, Joseon Fights Boils is concerned with the particular disease that might seem too benign for today’s readers. For those living hundreds of years ago in the Joseon era, recurrent boils were as lethal as cancer or AIDS. According to historical documents, it was boils that killed King Munjong and King Jeongjo. Based on the details drawn from The Annals of the Joseon Dynasty and The Daily Record of Royal Secretariat of the Joseon Dynasty, the author illustrates

1. Paintings and the History

of Joseon Women 1

Kang Myung-kwan Humanist Publishing Group 2012, 396p, ISBN 9788958624851

2. Joseon Fights Boils Pahng Sunghye, Window of Times 2012, 360p, ISBN 9788959402397

how boils played a deadly role in the Joseon period history. Paintings and the History of Joseon Women features some 150 paintings in a way that brings to life “the real Joseon women who had long been hidden in the background.” In fact, Joseon women were forced to hide in tightly guarded quarters. In the early Joseon period, portraits of women were produced, but the number of such paintings declined in the following centuries due largely to the male-oriented conservative ideologies. Even Sin Yun-bok, a well-known painter of the Joseon era known for his masterful “Portrait of a Beauty,” was trapped in the patriarchal system, the author argues. Yet men and women were equal in erotic paintings, which gained popularity in the late Joseon period. In addition to the two titles, other Joseon-related books have been published: Traveling Joseon by Joseon People, Coveting the Leadership of Joseon, A Glimpse into Joseon’s Unofficial History, and The History of Film Censorship in the Late Joseon Period. The strong public appetite for Joseon has led to a wide range of related titles in children and youth categories as well. The main reason that Joseon-related titles have gained popularity with local publishers is that the era involves the not-so-distant past and an amazing amount of detailed records were made throughout this “kingdom of records.” The Annals of the Joseon Dynasty is the very symbol and source of such records. It is now spawning a huge number of books, continuing its expansion and evolution. As the saying goes, “Those who fail to learn from history are doomed to repeat it.” Attention is now placed on what advice and lessons such diverse books will give to today’s readers.

a magical object that allows for travel between fantasy and the real world, traveling freely beyond time constraints and modifying the past. The plot successfully accentuates the writer’s message that what matters most for humans is the present, not the past. Koo Byung-mo’s Pygmalion Children (Changbi Publishers, Inc.) is a detective novel. The story, set in Rosenthal School named after psychologist Robert Rosenthal, is told from the perspective of a television producer. The school turns out to be a deeply corrupt one in which children whose parents are convicts or orphans are brought to a remote island and forced to follow instructions set by adults. Urging readers to ponder the meaning of the Pygmalion effect critically, the novel zooms in on the flawed ideology that humans should be socially controlled and submissive. The Detective’s Son by Choi Sang-hee (BIR Publishing Co., Ltd.), also based on the detective novel structure, is a social critique of school bullying and teenage suicides. The main characters, a father and son, handle only petty incidents such as retrieving a lost cat. One day, they confront a real case involving a middle school girl who is seen to be strange at school. Shockingly enough, she jumps off the school building, killing herself. The two novels mentioned above do not exactly belong to the conventional detective novel genre; rather, they adopt some of the features of the genre to take a stab at social issues more effectively. Bang Mi-jin’s Strange Tale: The Second Child Goes Missing (Munhankdongne) is in a different class, as this mystery horror novel’s structure itself is a key message. In the story, main characters are swept up by monstrous things or engaged in chasing after dark desires. Bang brings to life such dark characters, highlighting their psychological state in a delicate manner. The monstrosity is, after all, a ghost resulting from the social problem that puts unlimited competition and the winner-takes-all principle ahead of friendship and solidarity. by Yu Youngjin

by Jang Dongseok

Children's Books

Books for Youth Take On Genre Literature Children and youth literature in South Korea are expanding their horizons by incorporating various genres such as sci-fi, horror, and detective stories. Such endeavors are particularly active in the YA category. The majority of teenage students are forced to study all day long, and only briefly allowed to enjoy free time, mostly surfing the Internet or playing games on their smart phones. To appeal to the busy student-reader group, local writers have adopted a genreoriented strategy. The Golden Feather by Jung Sul-ah (Moonji Publishing Co., Ltd.), a time travel fantasy depicting people’s desire to cut out regrettable memories, won the Mahaesong Literature Award. A fantasy world called the Island of Time exists in a diary and the golden feather is

1 1. Pygmalion Children Koo Byung-mo, Changbi Publishers, Inc. 2012, 248p, ISBN 9788936456450 2. Strange Tale:

The Second Child Goes Missing Bang Mi-jin, Munhakdongne Publishing Corp. 2012, 240p, ISBN 9788954618762 3. The Detective's Son Choi Sang-hee, BIR Publishing Co., Ltd. 2012, 289p, ISBN 9788949123202 4. The Golden Feather Jung Sul-ah; Illustrator: So Yunkyoung Moonji Publishing Co., Ltd. 2012, 235p, ISBN 9788932022994

list_ Books from Korea

Vol.17 Autumn 2012

Publishing Trends

Fiction

by Kim Young-burn 3

Nonfiction

4 6

7 8

1. Seven O’clock Morning Meeting

for Jilted Lovers

Baek Young-ok Jaeum & Moeum Publishing Co., LTD 2012, 432p, ISBN 9788957076774

1F/B1 Kim Junghyuk Munhakdongne Publishing Corp. 2012, 304p, ISBN 9788954618472

3. Decoy Bae Myung-hoon, Bookhouse Publishers 2012, 302p, ISBN 9788956055978 4.

Lemontu Jang’s Imagination Factory Kim Ha-seo Jaeum & Moeum Publishing Co., LTD 2012, 300p, ISBN 9788957076651

8 list_ Books from Korea

Vol.17 Autumn 2012

Gone to the Forest in the West

The Horn of Africa

Tom Sleeps with Tom

8. Szervusz Lee Jong-san Munhakdongne Publishing Corp. 2012, 177p, ISBN 9788954618434

1. Paintings and the History

of Joseon Women 1

Kang Myung-kwan Humanist Publishing Group 2012, 396p, ISBN 9788958624851

2. Joseon Fights Boils Pahng Sunghye, Window of Times 2012, 360p, ISBN 9788959402397

by Jang Dongseok

Children's Books

1 1. Pygmalion Children Koo Byung-mo, Changbi Publishers, Inc. 2012, 248p, ISBN 9788936456450 2. Strange Tale:

list_ Books from Korea

Vol.17 Autumn 2012

Special Interview

With Kim Seong-Kon, the Fifth Director of LTI Korea Paris, London, and Frankfurt. But Korean literature still seems to be a strange, distant world for many foreign readers. What in your opinion is the reason for this?

literary critic Byun Jee-yeon and LTI Korea director Kim Seong-Kon

By u n Jee-yeon: You have for ma ny ye a rs made g re at contributions to the development of Korean literature as a scholar of English literature and as a literary critic, especially as a promoter of postmodern culture. It is very nice to meet you on this significant occasion. Earlier this year, on February 7, you assumed office as the fifth director of LTI Korea. Given your extensive experience in crossing the borders of language and culture, providing "mutual translation" on both sides, this position seems like an incredibly good fit for you. First, could you share your thoughts on your new position? Kim Seong-Kon: Literary and cultural translation is a field that has long interested me, and it also suits me well. Therefore, I am very pleased to have assumed a role that I can enjoy performing. Now more than ever is the right time to promote Korean literature and culture abroad. Korean companies like Samsung, LG, and Hyundai Motors are already fairly well known in the overseas market, and Hallyu (the Korean Wave) is spreading on top of this economic foundation. These favorable conditions lead me to believe that LTI Korea can now accomplish even more. Byun: From my understanding LTI Korea has made some efforts in the past to promote Korean literature abroad. The leading works of Korean literature have been translated and published in several languages, and the institute has participated every year in international book festivals, including those held in 10 list_ Books from Korea

Vol.17 Autumn 2012

Kim: Just as you said, a considerable number of Korean writers and works have already been introduced in Europe, the United States, and Asia. This includes older literature from the Joseon era and the 1920s and 30s, as well as modern writers' work. In fact, we can assume that most major writers have been translated and introduced abroad. However, we cannot say that their work has been sufficiently promoted or understood by overseas readers, who have hitherto remained unfamiliar with Korean literature and culture. Moreover, since most of the translated works have been what we classify as "serious literature," the readership might have been limited to a highbrow minority or an older generation of readers. But recently, as I mentioned earlier, the situation has changed significantly. Thanks to the spread of Korean popular culture and social networking sites, and the international recognition of Korean conglomerates, there is more interest now than ever before in Korea. As a result, Korean literature has begun to appeal to younger readers abroad as well. I believe our efforts to promote Korean literature overseas should take full advantage of the changed circumstances; even great literature first has to catch the readers’ eye, for it depends on the readers for its meaning. Byun: But can the interest in popular culture like K-pop and television dramas metastasize into an interest in serious literature? What are the special plans you have in mind for promoting Korean literature abroad? Kim: What is required now is a change in our perception. We have entered an era in which the arts are no longer elevated to somewhere high up but instead are integrated into our lives. In contrast to common concerns, novels are not disadvantaged by movies but rather boosted by them. Just as the Beast turns into a charming prince when the Beauty embraces and kisses him, if high art embraces and accepts popular culture, the latter can become Prince Charming and help it prosper. In this respect our popular culture can serve as a great tool for promoting our high culture overseas. For example, literary books alone might not be able to attract a lot of attention at an international book fair; but if material on K-pop groups or popular TV dramas are displayed alongside them, it would draw more visitors to our booth who would then naturally end up taking an interest in the Korean literature also on display.

Byun: In my opinion great literature is alive with the emotional sentiments and characteristics unique to Korean culture, but at the same time manages to win universal appreciation transcending national borders. What, for you, are the conditions that a work of literature has to satisfy to be worthy of being introduced abroad? Kim: A long time ago Goethe said that “it is the most characteristic figures of a national literature who are also the most international,” but circumstances have now changed. The unique and the national alone are not appealing enough in an international context, and what is required is a more universal emotional appeal and a young, fresh sensibility. In fact, the International Publishers Association and numerous foreign publishers have expressed an interest in encountering the contemporary challenges facing Korean society from a variety of angles, instead of the heavy, age-old themes of national division and ideology. Shin Kyung-sook’s Please Look After Mom became the first Korean novel to land on The New York Times bestseller list and Kim Young-ha’s new book, published by Houghton Mifflin Harcourt, one of the major U.S. publishers, has had a great reception overseas because of the universality and young, fresh sensibility found in both works. I plan to be as balanced as possible in my selection of works without dividing them up by whether the author is still alive or whether they are considered serious or popular literature. For example, foreign readers would find The Tale of Hong Gildong by Heo Gyun, and The Tale of the Yangban Scholar by Park Jiwon interesting if we aided their understanding of the works by including some background on their social context. I also plan on introducing even so-called genre fiction such as detective novels, fantasy, and science fiction, as long as they are of high quality. The mechanics of stimulating the readers’ reasoning powers, creating a fantasy world—an alternate reality—which is a reflection of actual reality or envisioning the future as a way to critique the present cannot all be substandard, just commercial or popular in nature. The Painter of the Wind, which tells the story of two Joseon painters Danwon and Hyewon, and The Deep-rooted Tree, which deals with the conf lict during the invention of Hangeul between those trying to defend tradition and those pushing for reform, are similar to Orhan Pamuk’s My Name Is Red and Umberto Eco’s The Name of the Rose. What is interesting is the way they cover universal themes against a distinctly Korean backdrop. What I’m secretly hoping is for serious Korean literature to incorporate certain techniques of genre novels to produce more works that offer both depth and fun. Byun: In order to promote Korean literature abroad, what is most urgent is securing quality translations and great translators. How does LTI Korea plan to push for this?

through the Translation Academy, which is part of LTI Korea. We are also in the process of pushing ahead with plans to turn the Translation Academy’s one-year program into a one-anda-half-year to two-year Master’s program. If that happens, we can make agreements with Korean Studies programs at major universities abroad and make possible exchange programs and academic credit transfers. I also plan to form an advisory committee comprised of professional foreign translators and gather their opinions on the existing problems with translations. In particular, I hope to push for translation of culture, which properly translates Korean culture and sentiments, rather than translation of language, which tends to be literal translations produced by non-Korean translators by looking up words in the Korean-English dictionary. Byun: What other plans do you have in the works for LTI Korea? Kim: My hope is for LTI Korea to break from its perception as a Korean institution made up of only Koreans. I also hope it will establish itself as a center that promotes not just literature but Korean culture and the arts by also translating books on the humanities, social sciences, and the performing arts as well as children’s books. To this end, we are going to form and utilize a global network. First, we are going to make it easy for foreign publishers to access information on Korean writers and their works by creating entries on as many of them as possible on Wikipedia. We have already made agreements with Dalkey Archive Press, which specializes in translations of famous works of world literature, as well as SUNY Press and White Pine Press to publish works of Korean literature, humanities, and social sciences. Previously, LTI Korea has contacted foreign publishers directly but we are going to start working with savvy international agents to reach overseas publishing markets. In fact, I recently decided to hire an eminent Asian literature specialist as an exclusive agent. Since she has successfully negotiated the publication of several Chinese authors with Random House, I think Korean literature will also soon be published by Random House, which is an international megapublisher. We are going to concentrate on publicizing and publishing overseas the works of new rising stars, the leading women writers and the young writers of Korea to follow Shin Kyung-sook’s success. Furthermore, we are also going to do our best to incite a more serious interest in Korean literature by organizing more overseas events for Korean writers including lectures, readings, books signings, and press interviews. Byun: Hearing your thoughts and ideas has reinvigorated me. I sincerely look forward to seeing Korean literature in all its beauty and depth reach a wider audience all over the world through your plans and initiatives.

Kim: In the past translators were sometimes viewed as traitors for their mistranslations, but now there is a growing tendency to regard them as cultural mediators. Without translations there can be no understanding of one another’s culture, and the great works of our literature can only be accessed by foreign readers through great translations. We are making great efforts to uncover talented new translators

by Byun Jee-yeon

list_ Books from Korea

Vol.17 Autumn 2012

Special Interview

literary critic Byun Jee-yeon and LTI Korea director Kim Seong-Kon

Vol.17 Autumn 2012

by Byun Jee-yeon

list_ Books from Korea

Vol.17 Autumn 2012

Special Section

E-books in Korea

Revisions in Copyright Laws: Establishing the Concept of Exclusive Rights of Publication

E-Publishing Copyrights in Korea In the changing world of new technologies and media, the publishing industry is keeping up through developments in e-publishing. Now changing copyright laws and policy are catching up with the times by protecting writers and publishers, while keeping readers’ satisfaction in mind.

In November 2011, a revision was made in copyright laws so as to introduce the concept of “exclusive rights of publication,” which acknowledges exclusive e-book publishing rights. According to Clause 1, Article 57 of the existing copyright law, publication rights are defined as “the right to publish a work as a document or drawing through printing or similar methods.” This definition, which limits the range of publication rights to printed matter, forfeits the opportunity for publishers to adjust to an improving publishing environment, and be reborn as a new media. According to the interpretation of the definition, the concept of e-books publication rights is not valid. So if a publisher and a copyright holder signed an e-book contract, the publisher would have no rights, according to the copyright law, to protect itself against the copyright holder’s signing a dual contract, or against a third party’s infringement of the copyright. In order to resolve such problems, Article 57 of the revised copyright law includes a new stipulation, stating: “Those with the right to publish, reproduce, or transmit a work can establish an exclusive right concerning those who seek to use the work for publication, etc.,” thus allowing those who publish and use e-books to manage the business of publishing in a stable manner by acknowledging their rights.

Announcement of E-Publishing Royalty Standards and Recommendations for a Standard Insurance Contract In March 2010, KOPUS deemed it a priority to establish a reasonable standard of contract with copyright holders in order to activate e-publishing and establish a market order, and through sufficient discussion and research, came up with recommendations for e-publishing royalties so that member companies may refer to them.

The Korean publishing world today faces an age of great transformation in the publishing paradigm, which is best represented by e-publishing. Large-scale publishing distributors, in cooperation with IT manufacturers, have released e-readers, and major mobile phone companies, as well as existing publishing distributors, have entered the e-book distribution market using their own platforms. In order to respond to such movements by distributors, t he Kore a n publ ish i ng world ha s a lso been ma k i ng preparations in earnest. In August 2009, over 40 mid-to-large publishers created a joint venture to establish an e-publishing management company under the name of KPC, or Korea Publishing Contents. In addition, KOPUS, or Korea Publishers Society, an organization consisting of 430 publishers, declared 2010 as the first year of e-publishing and formed a task force team. KOPUS then set to work on modifying related laws and 12 list_ Books from Korea

Vol.17 Autumn 2012

regulations, establishing standards for intellectual property rights and a distribution system. The government, too, has been rushing with policy preparations for the launch at the end of October 2009 of the “E-publishing Policy Research Task Force Team,” consisting of private experts. Among the many policy issues, modifying copyright related regulations is vital. Without such change, copyright holders and publishers can’t help but be passive when supplying content for e-publishing, and would have difficulties meeting readers’ demands and expectations, making it difficult to fully develop the e-publishing market. In the end, the key to developing e-publishing is to have a large supply of high quality content, determine reasonable royalties by publishers and copyright holders, and establish an institutional strategy for the eradication of illegal reproduction and distribution.

1) Royalty Standards for E-books Published at Home “The publisher must provide the copyright holder with an amount equal to the royalty that would be paid per single copy of a paper book, upon the transmission of the work.” For better understanding: if, for example, the royalty agreed upon for a print book that costs 10,000 won is fixed at 10 percent, 1,000 won will be paid as a fee for a one time use of the book, even when it is electronically published. In other words, the same amount of royalty will be paid based on the list price of the print book, whether the contents are published as a print book or e-book. The basis for the above recommendations are as follows. In a transition period when no order has been established for an e-publishing market, such as now, relying on the print book market as a precedent can prevent confusion. Action can be taken in response to various movements to separate paper book contracts from e-book contracts. An assurance of the existing rights and interests of the

copyright holder can enhance the copyright holder’s motivation to create and sustain the fundamentals of the publisher’s cultural production. 2) Royalty Standards for E-books Published Abroad Currently, foreign books account for 30 percent of the books in the Korean publishing market, but the numbers of foreign books provided for electronic publishing are extremely low. Foreign works serve as nourishment for advancing our own culture, and are integral to the activation of e-publishing. There is a n absolute lack of content provided for e-publishing, however, both in terms of quality and quantity, which presents quite a stumbling block in the establishment of e-publishing. Great difficulty exists in establishing a standard for copyright contracts of foreign books, for there are substantial gaps among the perceptions and processes of countries and publishers surrounding e-publishing. Large publishers in developed countries tend to demand relatively high specifications, compared to what they require for print book contracts. In many cases, they require advance payment, even if a print book contract has already been signed and offer higher royalties on e-books as well. Although more e-publishing contracts are being signed with foreign publishers, it appears that more time is required before a reasonable standard can be established since there are considerable differences between the positions of the Korean and foreign publishing worlds. 3) Recommendations for E-Publishing Contracts In order for publishers to issue e-books, they must sign a separate contract with the copyright holder, even if a print book contract has already been signed. It is a breach of copyright laws to publish e-books without signing a contract. To prevent confusion regarding e-book contracts, KOPUS announced recommendations for two kinds of standard insurance contracts in March 2010. One is for a contract to be used when a publisher wishes to sign a contract for both a print book and an e-book on a forthcoming title, and the other is a contract to be used when a publisher wishes to sign an e-book contract after a print book contract already exists. KOPUS’ recommendations are currently being used by most publishers.

Controlling Illegal Reproduction and Distribution 1) Development of Digital Rights Management (DRM) for Common Use in the Publishing World Unlike print books, e-books are distributed in the form of intangible files, so transparent calculation and control of illegal reproduction and distribution are key issues in establishing market order in the e-book publishing world. The destructive power of illegal reproduction is far reaching in the case of e-publishing, which can be seen in the example of the Korean music market in the past. The damages in e-publishing related industries will be irreparable without list_ Books from Korea

Vol.17 Autumn 2012

Special Section

E-books in Korea

Revisions in Copyright Laws: Establishing the Concept of Exclusive Rights of Publication

Vol.17 Autumn 2012

Special Section

proper measures. The publishing world believes that the development of standard DR M must fulfill the following requirements. First, a standard DR M must fulfill the requirements of copy protection, a transparent settlement system, and mutual checking. Second, the publisher must manufacture the e-book, decide on the list price, and pack the standard DRM. Third, distributors must open up exclusive DRM for the readers’ convenience and mutual checking. Fourth, the government must provide political and financial support for a joint development of a standard DRM by publishers and distributors. In June 2010, KOPUS developed a DRM for the common use of the publishing world, recognizing the urgency of such a development in order to stimulate e-publishing, and Korea Publishing Contents is in charge of its management. 2) Joint Effort with Korea Copyright Commission for ICN Registration In order to avoid damages due to illegal distribution, the publishing world sought to build an e-publishing metadatabase with the Korea Copyright Commission. As part of the effort, an interworking system, in which the integrated copyright number (ICN) can be registered directly from the KOPUS server, was established, through which the contents registered can be more thoroughly monitored for illegal copyright and distribution. 3) Establishment of Illegal Copyrights Obstruction Program The Illegal Copyrights Obstruction Program (ICOP) is an integrated system that cracks down on illegal copies by automatically searching not only special forms of online service providers, including webhard and p2p servers, as well as portals, cafes, blogs, and UCC sites. The Korea Copyright Commission a nd the Korea Copyright Protection Center have opened the ICOP in order to reinforce the protection system of copyrights. In addition, despite the differences of opinions on the budget and range of application regarding cooperation with the publishing world, joint efforts will continue to be made.

14 list_ Books from Korea

Vol.17 Autumn 2012

E-books in Korea

The Future Various attempts are being made in order to establish regulations in the e-publishing market, which is rapidly growing in Korea, and copyright related issues must be given the utmost priority. T he publishing s ystem, however, which ha s been established around print books, will not change overnight. Countless conflicts exist between copyright holders and users surrounding the issue of e-books. The images and fonts used in print books must be used in e-books as well, so potential conflicts are created among the publisher, image copyright holder, and font copyright holder. It is also possible that cultural exchanges between countries may decline, there being no reasonable standard agreed upon when signing a contract with a foreign rights holder in order to create an e-book based on a foreign title, which tends to lead to an excessive rise in the cost of acquiring the rights for a foreign title. The age of e-books brings with it many issues that must be resolved through cooperation. This requires concessions and compromises by those involved in publishing to look into the future with a sense of duty so that they establish a virtuous cycle in the publishing ecosystem.

In Search of the Publisher’s Role With e-book publishing heralded as the next big thing at the turn of the century, publishers in Korea hastily jumped on the bandwagon only to be thrown off after a series of missteps. Ready to get back in the game, publishers are solving earlier e-book publishing dilemmas.

by Jung Jongho

Yet Another E-Book Wave In 2009, Amazon was continuing its success in the U.S. e-book market. Korean media also reported on how Amazon’s e-book sales had increased and how rapidly the Kindle was spreading. It seemed only natural that Korea, where dissemination of information technology in the past 10 years has been faster than in any other country in the world, was interested in the spread of such new technology. However, many publishers and those in the field of publishing who were most closely related to e-books, kept expressing negative views on the success of e-books in Korea. What was the reason behind such perspectives? It was possibly because such rapidly increasing interest in e-books seemed like déjà-vu to those in the publishing world, recalling, the failure of e-books that came with the dot-com boom in early 2000. With predictions that the era of print books was finished and e-books would rule the publishing market and publishers would have to worry about their existence, publishers truly became alienated. The environment where IT grew suddenly and spread rapidly was a threat rather than a chance for publishers who had finally shelved the analog method and began to use the

new desktop publishing (DTP) method. Such publishers were lacking in experience in order to manage publishing e-books themselves. Insufficient understanding of digital content and a lack of imagination when it came to publishing in a medium different from print played a part in their alienation. Such an atmosphere forced the publishing world to launch a separate company called Booktopia. Publishers invested together to plan, produce, sell, and distribute e-books in order to prepare themselves for the e-book era, but this attempt ended in failure. Some view the inadequate e-book infrastructure and immature digital contents market as the biggest reasons. In fact, although there have been about 10 e-book companies in Korea since the early 2000s, sales in the e-book market are still mainly focused on the B2B (businessto-business) sector that targets educational organizations and public libraries rather than the general public. However, the publishers’ inexperienced response and the fledgling e-book market were not the only reasons for failure.

E-Books Without Publishers Booktopia, which was created so that publishers could turn their books into e-books and distribute them, seemed to be list_ Books from Korea

Vol.17 Autumn 2012

Special Section

14 list_ Books from Korea

Vol.17 Autumn 2012

E-books in Korea

by Jung Jongho

E-Books Without Publishers Booktopia, which was created so that publishers could turn their books into e-books and distribute them, seemed to be list_ Books from Korea

Vol.17 Autumn 2012

Special Section successful at the beginning, but soon showed its limitations. The e-books they were publishing lacked something important. Print books in Korea have a comparatively more complicated layout and elaborate style. A lot of time and effort is put into the design of print books from the typography to even the spacing. However, the e-books that were published at the time left out such fine details. Their layout and even the readability were ignored due to the technical limitations of existing e-readers that was used. As well the aesthetic excellence of the Korean alphabet Hangeul disappeared because fonts were unable to display the original print version of a text. The quality of many e-books that were being converted at random also fell dramatically. As many e-books were not properly proofread, those with typos were sold to readers. Such low quality caused by low budgets slowly turned readers away from e-books. Publishers, however, did not have much part in this process. Their role was limited to being the suppliers of the resource for the e-books that were based on previously published print books. The publishers could do nothing but watch as the “false books” produced by non-professionals were turned away at the market and low-quality e-books were sold at very low prices. As a result of such inadequacies, the company Booktopia finally had to close. With many billions of won lost, Booktopia disappeared into history but its scars still remains. Due to inadequate management, thousands of pirated files that leaked during the e-book production process are circulating on P2P sites. This is a potential loss for all publishers. E-books, which lacked quality compared to print books, gave readers a negative perception that e-books were cheap and even free. Having suffered such trauma with these issues, publishers have come to have a negative and passive attitude toward e-books. This contrasts drastically with online book distributors, who, based on the positive news from the U.S., have been looking for new business opportunities.

Lessons Learned from Failure But not all publishers have been pessimistic about the new e-book market. New preparations are being made based on the lessons learned from the past 10 years. A few publishers have joined to establish Korea Publishing Contents and have been researching a proper model for the publishing ecosystem. The Korea Publishing Contents’ aim is for publishers to actively create and lead an e-book market that includes the planning, distribution, and protection of e-books. Just as in the general print book distribution market, publishers are responsible for content production while distributors are in charge of distribution and service. Measures have also been taken to ensure a stable writing environment for authors, the other main component in the publishing ecosystem. Publishers have persuaded authors and distributors with the thought that a proper e-book market will only be possible when a sustainable publishing ecosystem, in which members carry out their role faithfully, is established. The establishment of a sustainable publishing ecosystem is indispensable in order to provide diverse and high-quality content to readers. The 16 list_ Books from Korea

Vol.17 Autumn 2012

most important condition is for publishers who know books well to plan and produce e-books themselves. This means that a publisher becomes the main agent of the e-book market. Fortunately, the advanced IT infrastructure in Korea has made this possible. New research is about to be implemented to create an environment where publishers plan and produce quality e-books themselves.

Development of E-Book Production Solution Newly rising interest in e-books both domestically and abroad and the awakening of publishers have begun producing meaningful results in line with the government’s efforts to support the e-book infrastructure. Just as publishers have come to possess techniques to publish print books using DTP, the project to develop a production solution has been launched under the support of the government so that publishers can use the electronic publication (EPUB) standard to publish e-books themselves. Through KOPUS, of which a large number of publishers in Korea are members, as the central body, and based on efforts from dedicated persons related to publishing, the Korean e-book production-conversion solution called “Kopus ePUB Editor” has been developed after many months of hard work. This solution allows publishers to make e-books by directly converting and processing the resources they have made while producing print books. Since its launch, Kopus ePUB Editor has been used by many publishers after the training program for publishing staff which was run by KOPUS and has replaced programs that have previously been developed abroad. Kopus ePUB Editor has been distributed to publishers for free for the public good and they have begun to make e-books themselves rather than paying great sums of money to e-book production companies. Furthermore, the e-books published by publishers were of much better quality than the previous ones converted and produced at random by distributors. Though publishers can now plan, convert, and produce e-books themselves, this does not solve all the problems related to the e-book infrastructure. Therefore, a project on the supply channel that provides e-books to distributors was also launched and a project to solve the problem of fonts, the most important element of e-books, followed soon after.

had to pay high fees to buy these half-completed fonts. This caused difficulty in writing some words in other languages or in expressing onomatopoeia, and letters that had been omitted by manufacturers were made and inserted by publishers when publishing print books. These problems, however, became big issues with e-books. They caused many errors during conversion and these letters were either broken or disappeared when readers tried to read e-books with devices that included such fonts. Also, the fonts developed solely for print books without considering the monitor of an e-reader had readability problems. Furthermore, publishers felt pressure from font companies that demanded each publisher to purchase e-book fonts separately. In order to respond to these problems, publishers actively conducted research on the subject of fonts. They received government support through KOPUS and developed the KOPUS font for e-publication within a year. This font is distributed free of charge to publishers, software companies, and e-book reader manufacturers for public use. When a publisher uses this font to publish an e-book, readers are able to enjoy e-books with highly readable fonts regardless of the device they are using. As e-books continue to be published, I expect that many high quality e-books will be published soon within a “sustainable publishing ecosystem” where publishers, d ist ributors, a nd aut hors a l l coex ist ba sed on t he se achievements. by Larry Seo

Fonts to Complete E-Books Unlike English where words consist of letters, the Korean alphabet Hangeul has a unique structure based on basic vowels and consonants, which then are put together to make various syllables like 가 (ga), 나 (na), 달 (dal), and 말 (mal). Due to this special feature, Hangeul can represent almost every sound through 11,172 syllables. But the e-book production test carried out by publishers showed that many fonts which were being sold for common use could not write many of the sounds that Hangeul could express. Thousands of letters that were not in regular use had been omitted due to the font manufacturer’s neglect and publishers list_ Books from Korea

Vol.17 Autumn 2012

Special Section

E-books in Korea

E-Book Distribution: Response of Korea Publishing Contents Book publishers in Korea have responded to the growing e-book market by forming a coalition to further the development of the e-book industry.

Korea’s e-book market has been significantly influenced by Amazon, as evinced by titles such as “Amazon U.S. enters the e-book market” and “Kindle fares well in the U.S. market” in the Korean press. From the U.S. online retailer’s e-book market success, Korean publishers sensed that a new future was arriving and started to explore their role as a content producer in the new publishing paradigm. With the print industry lagging, Korean publishers saw e-books as a viable and sustainable business and started to prepare themselves for the emerging market. Publishers contemplated the following two approaches: individual publishers establishing their own system to handle the entire business process, and establishing a single company t hat ha nd le s t he ent ire bu si ne ss proc e ss (pla n n i ng , producing, distributing, payment processing, and digital rights management as well as the infrastructure for e-book distribution) for all publishers, including consulting on the e-book market and other services. After a series of discussions, publishers agreed on the latter approach and as a result, the content management company Korea Publishing Contents (KPC) was founded in July 2009. All Korean publishers are welcome to participate in the company as a shareholder, while non-publishers, such as 18 list_ Books from Korea

Vol.17 Autumn 2012

booksellers, are not eligible to participate. In other words, only content producers are eligible to hold shares in KPC. Such an ownership structure is designed to better serve the interests of content producers as the interests of distributors and retailers do not exactly coincide with those of content producers. K PC was established in July 2009 with the initial participation of 24 publishers; currently a total of 64 publishers are listed as the shareholders. Some of the investors are Gimmyoung Publishers, Inc., Changbi Publishers, Inc., Munhakdongne Publishing Corp., Moonji Publishing Co., Ltd., Gilbut Children Publishing Co., Ltd., Hainaim Publishing Co., Ltd., EunHaeng NaMu Publishing Co., Sakyejul Publishing Ltd., Prunsoop Publishing Co. Ltd., Sigongsa Co., Ltd., Dolbegae Publishers, and THENAN Publishing. Three years into its establishment, KPC is currently handling digital content management for more than 300 publishers. During this period KPC provided such services as analysis on Korea’s e-book market, establishment of distribution policy for digital titles, and e-publishing solution (KoPub Editor), while developing Korean typefaces (KoPub Typeface) optimized for servicing e-book devices and PCs and distributing them globally free of charge.

In 2010, KPC’s analysis on the Korean e-book market revealed that Korean publishers were not prepared to handle DRM (Digital Rights Management) for their digital titles. To remedy the situation, KPC developed a shared use DRM system ICN for publishers. Publishers can use the system for free with only a small fee charged when a purchase goes through. DRM technologies, a class of technologies designed to protect copyrights of digital content, are largely grouped three ways: digital rights protection technology that limits the access of digital content to legal users and collects fees on uses of digital content; security technology that processes approval and enforcement of copyrights; and payment processing technology. First adopted by the notorious online music file sharing service Napster as a measure to protect copyrights of MP3 files in 2001, DRM gained huge attention with the popular adoption of paid use of online content and was named as one of the ten 10 technologies that will change the world by MIT.

B2C: Retail Sales and Distribution of Digital Titles KPC maintains a policy of providing content to booksellers, Korean or foreign, at the same price as long as they embrace KPC’s DR M system. Digital content managed by KPC is distributed by the majority of large Korean booksellers including K T, SK, LG, Naver, Sa msung Electronics, R idibook s, Interpark, Y ES24, and Y2BOOK S. These companies embrace the KPC DRM system. As new titles are released every day from more than 300 publishers, KPC protects the content using DRM encryption and transmits it daily to the addresses designated by each bookseller. New releases are DRM-encrypted and transmitted to all distribution partners by dawn the next day with metadata (basic information, title of the book, table of contents, author, publisher, ISBN, cover price, author profile, and a short introduction of the book). These titles are then made available for purchase after undergoing a necessary process for being featured on the retailer’s sales channels. To purchase a digital title, consumers go through a billing process: a set of actions required to bill users on their use of a communications system, such as invoice issuance. It also includes a method for measuring the amount of time a customer uses the communications channel. While downloading a title, users need to go through an authentication process through KPC’s DRM system. Upon successful authentication, users can access the content and download it to a maximum of five different devices. Digital content purchased through the process is available for use, in perpetuity, on the users’ devices.

DRM Issues: Acceptance of KPC’s DRM System by Retailers It is a widespread industry practice for digital content distributors to have their own DRM system. Booksellers were

initially reluctant to embrace KPC’s DRM system as part of their marketing and though customer information would be integrated with DRM, they wanted to have full control over such data. Eventually, KPC was able to persuade booksellers to adopt both DRM systems based on an argument that multiple DRM systems would better facilitate servicing of a greater number and types of digital materials. Additionally, booksellers understood that adopting multiple DRMs would help increase distribution transparency and publishers’ inventory management. The booksellers’ decision also reflected publishers’ legitimate concern over facing a situation where retailers’ DRM is bypassed and no other protection is put in place to fight off the illegal copying and distribution of digital content. Although it might be only one of many titles in a bookseller’s catalogue, a digital title is everything to the author.

B2B: Content Distribution Through Digital Libraries In the existing digital library market, e-books have been distributed to libraries under similar terms as print books based on distribution analysis of the said content. However e-books are a different medium than print books in terms of how digital materials are consumed and how such consumer behaviors impact copyrights that deserve a unique approach. Currently libraries in Korea take full ownership of print book titles by purchasing a copy and loaning the titles to their patrons for free. They are adopting a similar approach for distributing e-book titles. In order to counter the practice, KCP benchmarked how digital materials are distributed to libraries in overseas countries, including the U.S., and established a policy that guides e-book distribution to libraries. Libraries can purchase licensing use of each e-book copy for a maximum of 25 loans. After the limit is reached, the library can repurchase access rights (The licensing period is three years and expires after the time period even if the copy has been accessed less than 25 times. Some publishers may offer a licensing period longer than three years on their titles). KPC maintains the distribution of digital content protected by KPC’s DRM to distributors for retail sales. As for digital libraries, KPC opts for distributing digital content through an ASP (Application Service Provider) by way of libraries licensing ASP’s online applications (a distribution model in which libraries outsource the operations and maintain their digital catalog to a digital content distributor). Additionally, KPC promotes the sales of licensing use, not the ownership, of digital content to libraries. In such a case, publishers bear the entire costs related to using KPC’s DRM. Publishers are also responsible for the digital rights management of their titles including protection against illegal copying and distribution, as well as the related costs, and KPC handles digital rights management on behalf of the publishers. Libraries are not too happy about having to go through an ASP because they carry a potential risk of going out of business, which may result in a discontinuation of their digital library service. In order to address such a concern, it is best to list_ Books from Korea

Vol.17 Autumn 2012

Special Section

E-books in Korea

Vol.17 Autumn 2012

DRM Issues: Acceptance of KPC’s DRM System by Retailers It is a widespread industry practice for digital content distributors to have their own DRM system. Booksellers were

Vol.17 Autumn 2012

Special Section

E-books in Korea partner with reliable ASPs trusted by libraries. Already, many of the largest Korean content distributors such as KT, YES24, Y2BOOKS, and Shinsegae are offering digital library services, which will help quell their concerns.

KPC’s Analysis of U.S. Digital Libraries In the U.S., libraries contract an ASP to establish a digital library. Once the digital library service is established, libraries purchase a use license of e-book titles from retailers and make them available for loan. In such a case, libraries pay DRM fees and can use the titles in perpetuity as long as the library remains in operation. Although the policy is more reasonable than that of Korea’s digital libraries, studies conducted by publishers revealed that such a system may place additional pressure on physical bookstores. Based on the findings, HarperCollins, a major U.S. publisher, announced that it would stop selling e-books to libraries for unlimited use and begin licensing use of each e-book copy for a maximum of 26 loans. After the limit is reached, the library can repurchase access rights. Public libraries and publishers in the U.S. are continuing discussions to reach an agreement about the licensing policy. In order to promote the production of quality content and the growing e-book market, a reasonable distribution model needs to be established to balance the interests and needs of authors, publishers, and booksellers, ultimately benefiting consumers with quality content. Korea Publishing Contents is working hard at transforming Korea’s book distribution system into a more reasonable and effective one through industry wide consensus building and persuasion.

Fixed Book Price System Korea is one of the countries adopting a fixed book price system. In February this year, authorities approved the inclusion of e-books in the system. It went into effect from July 27 and now all digital book titles must carry a cover price. Digital book titles are regarded the same as print books in Korea and are thus exempted from taxation (book sales are taxed in some countries). All books, including digital titles, must be marked with a cover price. Regardless of its format, digital or print, the edition published first should serve as a price point for the title. Under the law, it is illegal to offer a discount greater than 10 percent of its cover price on books until 18 months after its publication. The provision is designed to prevent the negative impacts of booksellers’ aggressive price marketing, which discourages publishers and undermines the market. by Chung Namsoo

20 list_ Books from Korea

Vol.17 Autumn 2012

The Quiet Before the Storm Off to a stop-and-go start, the Korean market for e-readers and e-books is poised to take off again, but not without obstacles and room for improved distribution and content development.

As the world leader of information technology, Korea’s digital network and infrastructure is far superior to any country in the world. However, the Korean e-book market is growing much more slowly than expected. Only 11 percent of readers read an e-book last year, not to mention the meager 1.5 percent e-book hold in the publishing market. Publishers and writers have shown great interest in e-books, but only 14 percent of Korean publishers even offer its readers the electronic option.

Early Flops Korea, as a strong IT nation, was one of the first to make digital books. In the early 1990s, Korean developers made e-books with the wildly popular CD-ROMs and in the late 1990s, introduced e-books to be viewed on computers. But these e-books did not require hardware development and were generally perceived as experimental projects taken on by ambitious companies. But when e-readers became popular in the U.S. at the turn of the millennium, interest in e-books began to escalate. When a small startup in Silicon Valley developed a reader called “Rocket E-book,” which coincided with Stephen King’s digital publication of Riding the Bullet, e-books became the talk of the town in Korea as well. A few startups were quick to make e-readers, and Korean publishers organized a consortium to establish an e-book company. But the end product was less than impressive and concerns about illegal copyright material distribution made publishers wary of developing digital content. The Korean publishing industry’s foray into the e-book business yielded no significant results, and the e-book was on the brink of extinction

list_ Books from Korea

Vol.17 Autumn 2012

Special Section

20 list_ Books from Korea

Vol.17 Autumn 2012

list_ Books from Korea

Vol.17 Autumn 2012

Special Section in Korea as marketing and advertisement divisions absorbed e-book operations. E-book development continued in Japan long after the e-book craze cooled in the early 2000s, but the Korean market seemed to see no future in e-books. The bankruptcy of Booktopia, the forerunner of Korean e-book companies, in 2008 only served to deepen the pessimism surrounding e-books. Even so, news of Kindle’s phenomenal success in the U.S. made no impact among Korean publishers. As the growth of the e-book market in the U.S. became indisputable, the Korean government proposed a plan in April 2010 to foster the development of the e-book industry. Electronic companies such as iRiver and Interpark soon released e-book readers. But government efforts were met with little enthusiasm as the trepidation of publishers who had been fooled once before persisted. However when the iPad hit Korean stores in 2010, publishers began to see e-books in a different light. Unlike e-book readers that were made specifically for reading, the iPad quickly gained popularity among Korean consumers who liked new IT products, and the AppStore and iBooks were deemed a very profitable channel through which e-books could find a second chance in the Korean market. In retrospect, the impact of the iPad on Korean publishing was negligible, but it forced publishers to face the fact that e-books were an inevitable, natural step in the publication of books.

E-books On the Rise Early this year, Korean publishers finally started to see potential in e-books again. There are several events that occurred that influenced the trend. First, domestic e-readers had a significant price reduction from 200,000-300,000 won to about 100,000 won or less. This helped boost sales immediately. Kyobo Books’ ambitious color reader saw a staggering 71 percent reduction in price. Generally speaking, the increase of e-reader sales directly relates to a f lourishing e-book content market. Amazon’s success with e-books would have been impossible without the wide distribution of the affordable yet well-made Kindle. In America where the e-book business has taken off, 20 percent of American readers already own e-book readers or tablet computers. Now that e-reader distribution has expanded, experts believe the e-book market will likewise grow. Second, there has been a noticeable increase in e-book sales through Kyobo Books, T-Store, and Interpark. E-book sales rose slowly with the wide use of smart phones, grossing over 7 million won in T-Store alone. Kyobo Books sales increased by 78 percent. Moreover, now that there is a substantial population of readers who read on their smart phones, research shows that the number of e-book readers is also increasing. According to Kyobo Books, two out of 16 books read by employed people last year were e-books. Publishing Journal showed that 11 percent of all readers read e-books. With the e-book industry much more promising, publishers formed another consortium to develop content together or 22 list_ Books from Korea

Vol.17 Autumn 2012

independently. Also, the largest Korean portal site, Naver, launched e-book services, and communication companies are likewise trying to expand in the e-book market. Samsung Electronics, a long-time, albeit reluctant partner of Kyobo Books, jumped on the bandwagon with the launch of the Galaxy S3. E-books started to thrive in Korea.

Hopes and Concerns In spite of these promising changes, however, the future of e-books in Korea isn’t all rosy. The biggest obstacle is the disagreement between customers and providers over price. According to surveys, customers expect the price of an e-book to be about half to a third the price of its hardcopy counterpart, which is the approximate rate of e-books sold on Amazon.com. Korean e-books, on the other hand, are sold at 70 to 80 percent of the price of hard copies, and as the fixed price policy goes into effect July of this year, e-books will be offered at no more than 10 percent of the hard copy price. This might cause a temporary setback in e-book sales, but not for long as more books will be published exclusively in e-book format or tested as an e-book and then published in hard copy. The pricing system will also move toward a dual pricing method that will assign prices for e-books independent of hard copy prices. The second issue is the lack of e-book material. Whereas there are over a million e-books available on Amazon.com and two million are public domain (and thus free of charge), Korean e-books only number around 100,000, most of which were published long ago. Only about a thousand of these books are in the public domain. There also seems to be an imbalance in the variety of genres among the e-books currently available. Over half of Korean e-books are fiction (sci-fi, fantasy, war, novels), a testament to the limitations of the Korean e-book market. Lately, however, the e-book industry has been making slow but steady progress. According to Kyobo Books, about half the books on the top 10 bestseller list in the beginning of the year were published as e-books. Even though this was observed under the special circumstances of Christmas and New Year’s, it is a statistical fact that a great percentage of bestsellers are also published in e-book form. The Ministry of Culture is subsidizing e-book projects of outstanding books and public domain content. This will also help secure a niche for e-books and encourage publication of exclusively e-book material. Furthermore, the Ministry of Education, Science, and Technology’s general distribution of e-textbooks due to begin in 2013 (e-textbooks are expected to completely replace regular textbooks in the school systems by 2015) will be a catalyst in promoting e-books across the board. Textbooks and study aids for elementary, middle, and high schools will be available in e-book format, and college textbooks and scholarly texts are expected to follow. Korean educational comics and young adult fiction, already internationally recognized, will flourish with the development of e-book animation. These changes will effectively secure a generation of Korean readers familiar and comfortable with e-books. No matter how substantial the makeup of e-books in the

publishing industry, e-books are unlikely to replace print books altogether. A sharp division between e-book compatible and print book compatible genres is to be anticipated. Fiction, young adult, languages, cooking, self-help, and comics show exceptional promise in the e-book format while other genres, such as poetry, essay, and photography will diminish in value if published electronically. And then there are the scholarly texts that are not very e-book compatible, such as science, engineering, and medicine. For these, there will remain a preference for paper and ink. All practicalities aside, the feeling of ownership, comfort, and tangibility one gets from holding a book in one’s hands will be reserved for print books. To help e-books f lourish, e-book content development must look beyond simply digitizing print books, and make full use of the technology that offers opportunities for innovation. Amazon has begun to develop Kindle Singles, 90-page e-books that are highly accessible readers or pocket books, which make full use of its format. Also, multimedia content that cannot be executed on paper will be the future of e-books. By combining the needs of readers with the characteristics of this new medium, e-book content will catapult the e-book industry into the future.

by Lee Yong-jun

ibooks

ebook

list_ Books from Korea

Vol.17 Autumn 2012

by Lee Yong-jun

ibooks

ebook

list_ Books from Korea

Vol.17 Autumn 2012

Interview

Meet Author and Scientist Jeong Jaeseung A Science Storyteller of Our Time For the past 10 years, at the beginning of every school term, there was an event that astonished professors in the sciences. Every year, almost every student would say that Science Concert was the book that left the biggest impression on them. As unusual as it is, a new revised edition of Science Concert was printed after its first publication 10 years ago. What could be the reason that this book by a young scientist, as opposed to Carl Sagan’s Cosmos, and Stephen Hawking’s A Brief History of Time, or even Richard Dawkin’s The Selfish Gene, is still so loved? Our readers can read about the appeal of science that the young scientist wanted to share with the world in the following interview. Lee Taekyong: Congratulations on the publication of the 10th anniversary revised edition of Science Concert. How do you feel about it? Jeong Jaeseung: I turned 40 this year but Science Concert was a book I wrote in my late 20s. I think readers were intrigued by a fledgling scientist who had just entered the world of science and had the audacity to propose viewing the world through science. But from that perspective, it would be difficult for me to write another book like that at this point, 10 years later. Truthfully speaking, it is hypocritical of me to tell people that science is easy and fun when I myself find it difficult. That’s why I want to come out and say, frankly that, science is hard; in fact, it is difficult even for scientists themselves. Science is difficult because you have to follow a formula, you have to experiment, and you have to know the preceding concepts to understand what all this means. But once you’ve gone through all the stages, then you can experience the wonders of the universe, which is not just the domain of the scientists; that’s the reason I wrote the book. Nowadays a lot of people are on Twitter, and whenever I have someone tell me through Twitter that they’ve read my book while in elementary school, I thank them but am not too thrilled about it. I am thinking to myself, “Unless you are a science prodigy, how can you possibly find my book interesting when it was written for college students? When you get a little older, read it again, then you’ll really appreciate it.” It’s my

Science Concert Jeong Jaeseung, Across Publishing Company 2011, 360p, ISBN 9788996588733

hope that these kids will not just skim through it because it was recommended to them. Lee: There are some abstruse parts but I found the perspective of a young scientist quite intriguing. That could be the appeal of this book. Jeong: As it’s a science book, readers will expect to read out scientific knowledge and research results, so I tried to put those in the book. At the same time, they’ll be curious as to how their view of the world will change after obtaining this information. For my part, I wanted to present them with the kind of insight one would get from reading such a book. It must have struck a chord with readers when they read my book, that it wasn’t just a book offering scientific knowledge but a new and refreshing insight into the world. Lee: Challenge Yourself to Infinite Knowledge is another book of yours that’s quite popular. Jeong: The book I had in mind was something like Bernard Werber’s The Encyclopedia of Relative and Absolute Knowledge. Rather than compiling simple scientific knowledge, the book poses imaginative questions. I wanted to write a book in which the questions themselves tell what science is about and the list_ Books from Korea

Vol.17 Autumn 2012

Interview

Science Concert Jeong Jaeseung, Across Publishing Company 2011, 360p, ISBN 9788996588733

Vol.17 Autumn 2012

Interview

scientist Jeong Jaeseung and KBS producer Lee Taekyong

answers show imagination. When Koreans were asked where they get their scientific knowledge, there was no one who gave radio as the answer, which was completely shocking for me. It occurred to me that even though the radio airs many programs on music and talk shows, offering real life stories of people that are poignant and entertaining, there hasn’t been a program having to do with science. That’s why people cannot imagine hearing about science on the radio, including the people producing these programs who believe that science has too many difficult concepts and cannot be explained without pictures, and concluding that a science radio program isn’t possible. So under these circumstances, I proposed to give it a try. In order to explicate science in an orderly and comprehensible manner, stories are of course important, and to trigger the imagination, the radio, instead of TV, is much more effective. So it all began with the goal of triggering the imagination by way of this book. This is a book that I am very fond of and it is one of the first books that came out as an e-book, and was sold in an app store linked to the iPhone. The book sold more copies than the Bible for about a year.

these ideas into other plans. For example, let’s talk about a book like, A Hundred Years After the Theory of Relativity, which presents a broad overview of how relativity, a truly complex physics theory, has influenced all kinds of different fields, transcending physics, including philosophy, sociology, and even the arts for a 100 years since it was formulated a century ago. Until relatively recently, there hasn’t been a comprehensive theory about everything being ultimately physical that has exerted so much influence on non-material areas such as our politics and arts. Reading this book offered me a valuable opportunity to explore what kind of an influence the theory of relativity had on non-material realms. And I was thankful that so many people chose to read this book. The book that felt most regrettable to me was The Great Adventure Through Japanese Science. This book came about through the efforts of the student members of a college coalition group I organized. As I see, up until now going on a trip meant mostly checking out history, then rest, leisurely activities, tasting food, and so on but that’s a very superficial way of seeing things. Looking at a building then afterward, going out to eat... I thought it would be possible to take a trip with a scientific purpose. I took undergraduate college students and traveled with them for a month, helping them to experience a different kind of trip. The book is the outcome of that trip. The students worked on it with a lot of passion. I would like readers to think these thoughts when they read the book—that it’s possible to take a trip with science as the theme—one should not only look at the exterior of a building but explore the science of the building. But then, I wrote the book with the students and booksellers simply looked the title of the book only, and placed it in the Japan travel book corner. Now the people who are looking at the books in that particular section are mostly interested in

4 5 4. Challenge Yourself to Infinite Knowledge (3 Vols.) Jeong Jaeseung, Dal Publishing 2010, 307p, ISBN 9788954605212 (Vol. 1) 5. The Great Adventure Through Japanese Science Jeong Jaeseung, Kungree Press 2008, 293p, ISBN 9788958201311

design excursions to Japan or travelogues, which means the book didn’t sell many copies and that made my heart ache. Lee: In the books you recently published, you have synthesized diverse networks and consilience. Jeong: For Science Concert I was excessively complimented and I wanted to pay all that back with an even better book. But I was overly ambitious and set too high a standard for myself, relative to what I could actually do. So I ended up writing and rewriting, and finally gave up, thinking I couldn’t produce even one word. Therefore, instead of trying to write a book that surpassed Science Concert I decided to write one that would be a guidebook to writing a great book. In order to do that, I had to seek out people with whom I could jointly work on a book and consequently learn from. That’s how from 2008 to 2011, this joint authorship continued. Cross with Chin Jung-kwon, The Science of Apology with Kim Hoh, and The Blind Watchmaker with Kim Tak-hwan are examples. With people who were from completely different fields from mine, I embarked on my “search for science in non-science” which is the key concept of Science Concert. Along with experts from my own field, I also wanted to go deeper into the subject by learning from each other, and subsequently published these books as a result. Then about in 2012, I had mustered enough courage to challenge myself to write another book that would surpass Science Concert. All the planning and joint authorship of the recent past could be viewed as my learning process through my meetings with countless people, rather than seeing it as networking.

Lee: You have also worked as a producer quite a bit; is there anything else that was really memorable to you, besides Science Concert? Jeong: Rather than thinking about what books to write, my work is more about presenting to the world ideas that continuously pop up into my head. Although the ideas I have might take place in the shape of a book, course lecture, or thesis and then get delivered to the public, I don’t think it’s necessary for me to turn every single idea of mine into a concrete plan because I’m sure there are other people who can do a better job. So in effect, what I would like to hear is “that person had many ideas that he shared with the world and as a result the world and the time period he lived in was more abundant with ideas.” But then, I am inadequate and too lazy to be described as such; therefore, I try to turn 26 list_ Books from Korea

Vol.17 Autumn 2012

1 1. The Blind Watchmaker (2 Vols.) Jeong Jaeseung and Kim Tak-hwan Minumsa Publishing Group 2010, 408p, ISBN 9788937483219 (Vol. 1)

Lee: Have you actually started working on the sequel of Science Concert?

2. Cross Jeong Jaeseung and Chin Jung-kwon Woongjin Think Big Co., Ltd. 2009, 336p, ISBN 9788901103815 3. The Science of Apology Jeong Jaeseung and Kim Hoh Across Publishing Company 2011, 318p, ISBN 9788996588702

3 2

Jeong: My books up until now, including Science Concert, were a study of Korean society from the vantage point of the complex systems of physics. I just turned 40 this year, and from now on for about 10 more years, I’d like to do research on the human brain, and especially how it makes a choice or

a decision. “How do people go about making a choice and coming up with a decision?’ All things in the world are a result of the sum of decisions. I am in the end going to challenge myself to understand our whole society based on the biological knowledge of the brain. Lee: Since the Science Concert of Jeong Jaeseung, there is a big trend for “concerts” in Korea at present; in other words, the power of these concerts has become so great that it could change the power structure of Korea. What are your thoughts on that? Jeong: All these countless knowledge and talk concerts are really about intellectuals selling their knowledge to the audience; in other words, it is the retail business of knowledge. It has become a very commercial space that’s quite different from the way a book delivers knowledge. The method of intellectual discourse has become incredibly entertainmentoriented, commercial, and practical. Therefore, it’s about the short run, not the long run, and it’s not contemplative but spur of the moment. There are merits, but on the other hand, I am wondering if I myself should become a part of that marketplace. I am getting endless offers to give lectures but I am not sure what is a suitable place or method for me. When I was writing Science Concert in my 20s, I talked about the era of concerts like today, but when it’s become a reality, I am apprehensive and hesitant. *

Professor Jeong Jaeseung, who one would think would be overwhelmed by all the requests for lectures and articles in addition to the research papers he has to work on, is still dreaming about a new way of reaching out at the age of 40. His pursuit of scientific truth and his achievements will continue to inspire us to view the world with wonder and beauty. by Lee Taekyong

list_ Books from Korea

Vol.17 Autumn 2012

Interview

scientist Jeong Jaeseung and KBS producer Lee Taekyong

Vol.17 Autumn 2012

1 1. The Blind Watchmaker (2 Vols.) Jeong Jaeseung and Kim Tak-hwan Minumsa Publishing Group 2010, 408p, ISBN 9788937483219 (Vol. 1)

Lee: Have you actually started working on the sequel of Science Concert?

3 2

list_ Books from Korea

Vol.17 Autumn 2012

Excerpt

Science Concert by Jeong Jaeseung Cardiac Physiology

[……] Recently American and British researchers in heart disease have joined with physicists to try a variety of new approaches to find the cause and cure of heart attacks. What is the reason these medical researchers have joined forces with physicists? The truth is, despite several hundred years of research on the heart, doctors still don’t have a precise understanding of its mechanical activity. It is therefore no wonder that they are still at a loss when it comes to heart attacks, which result from abnormalities in cardiac mechanical activity. What’s more, even though they know that electric shock devices can provide effective treatment for heart attacks, their knowledge is limited to a few theories on the treatment principles. Fortunately, physicists who have newly joined the field are revitalizing it by uncovering new findings. As is commonly known, the heart at rest beats regularly about once every second. It is also widely known that Galileo recorded the periodic oscillation of the chandelier in the Cathedral of Pisa using the regular pulse of his heartbeat to time it. However, a precise recording of our heartbeat over a long period of time reveals that the beat-to-beat intervals of our heartbeat are a lot more complex and irregular than expected. It may be difficult to believe, but even the heartbeat of a sleeping person is quite irregular. Harvard Medical School Professor Ary Goldberger, who was the first to discover this, demonstrated that the heartbeat remains irregular even when the observation period is changed. If you record the beatto-beat intervals of the heart beat in one minute, you can see that the intervals are very irregular on a microscopic scale. If you record the intervals for an hour and change the scale of the x-axis to a minute, the graph does not change. It’s the same for intervals recorded for the duration of a day. Does this mean that the heart beat is not a rhythmic activity but an irregular “noise?” The Chinese physicist Chung-Kang Peng, who completed his doctorate at Boston University in 1993, together with his co-researcher Professor Goldberger, recorded the electrocardiogram (ECG) of 10 healthy subjects and 10 subjects with heart disease and then compared the beat-to-beat intervals of the two groups. The results were the complete opposite of our expectations. The heartbeat of the healthy subjects was a lot more irregular, while that of the heart disease patients was quite regular. Furthermore, Dr. Peng demonstrated the long-range anti-correlations of interbeat intervals of a healthy heart. Whereas the heart disease patients’ hearts beat quite regularly with no correlation to previous beat-to-beat patterns, the healthy subjects’ heartbeat would accelerate for a while or slow a few minutes later, continuing such oscillation repeatedly. In other words, when the blood flow is limited due to a slower heartbeat, a healthy heart reacts by reducing its interbeat intervals in order to restore the blood flow. By contrast, an ailing heart is incapable of storing information on previous beat patterns and therefore incapable of recovery when there is a problem. At the nearby MIT just two subway stops away, Professor Chi-Sang Poon and Christopher Merrill devised a slightly more mathematical

28 list_ Books from Korea

Vol.17 Autumn 2012

method to prove that heartbeat activity, though irregular like noise, is “chaotic activity” containing a certain degree of order. According to their findings, even though heart rhythms are irregular and in a state of flux, they are nevertheless not random. The irregularity of cardiac activity is so elaborate that it can be described with a very simple nonlinear differential equation. Thanks to the f lexible nature of its activity, the heart can maintain normal functions by reacting to a variety of situations. Professors Poon and Merrill claimed that they could not only explain how heart attacks happened but also predict when they would occur using their mathematical model. [……]

Complex Econo-systems

[……] Then how do physicists view economic phenomena? Their paradigm, sometimes known as “complexity economics,” does not the view economy as a stable system in a parallel state. They know better than anyone else then that the many economic indicators such as the interest rate, consumer price, and stock price cannot be used to identify a simple cause of complex, irregular fluctuations. Moreover, they are certain that parallel, reductive analysis using the law of diminishing returns and positive feedback alone cannot produce a sufficient account. Physicists acknowledge the nonparallel nature and instability of the market due to the law of increasing returns and positive feedback. They call attention to the fact that markets are so unstable and irrational choices sometimes become so fixed that a small difference in the beginning stage can later lead to a dramatic outcome. They are aware that not all economic subjects are rational and that they have their individual traits and characteristics. For these individuals, the economy is a continually unfolding system of patterns and open possibilities. Therefore, they argue that making deterministic predictions about this system is fundamentally impossible and the focus should instead be turned to monitoring the activity of the whole system from an integrationist perspective. Let us then examine the law of increasing returns, which forms the basis of their complexity economics. Mainstream economics locate the cause of economic stability and balance using the law of diminishing returns. The law of diminishing returns holds that your second candy is less sweet than your first, that doubling the amount of fertilizer does not double the harvest; past a certain point, profits cannot increase as much as the amount of investment. Once you grow tired of candy, you will seek chocolate, and the farmer will not use more than a certain amount of fertilizer. Decreasing returns means companies or products cannot grow to the point of monopolizing the market; therefore, the economy is always in a stable state of variety and harmony. Is it possible that the second piece of candy sometimes tastes sweeter so that people continue to eat only that candy, which then achieves a monopoly? Stanford Economics Professor Brian W. Arthur argued that it is. Even though he received his doctorate in economics from the University of California, Berkeley, he played a decisive role in establishing the complexity of science theory and helping the complexity theory of physicists become accepted in the field of economics. The phenomenon he named the law of increasing returns has many famous examples. Until the mid-1970s there were two video recording and playback formats: VHS and Beta. Although numerous experts deemed that the Beta format was technically superior, the VHS format suddenly monopolized the market at the beginning of the 1980s. Why did this happen? At the beginning of the competition, the VHS format happened to have a slightly larger market share and, as a result, was later able to earn enormous profits despite its technical inferiority. People believed

that it was safer to follow the first-mover with a larger market share. Even though the difference in the market share was relatively small, the VHS format eventually seized the market thanks to the first-mover advantage, and the Beta format disappeared from the VHS market. Another example of increasing returns can be found in the keyboard market. Our computer keyboards use the QW ERT Y keyboard layout. The name comes from the first six letters in top left row of letters on the keyboard. How did we arrive at the QWERTY layout? Because it was the most efficient? Not at all. In 1873 engineer Christopher Sholes designed the QWERTY layout to slow down the typists’ typing speed because typewriters broke often from typing too fast. Remington Typewriter Company mass-produced typewriters with a QWERTY layout, and soon typists began to learn the new standard layout. The Dvorak keyboard, more convenient than the QWERTY, was later released but soon became extinct. Typists, who had become familiar with the latter, did not want to learn the Dvorak layout. Companies therefore continue to use the QWERTY keyboard, and new prospective typists had no choice but to master the QWERTY layout. [……]

Ten Years Late, a Curtain Call [……]

Modern Science Tries Its Luck in Lottery There was a time in 2007 when I bought 100,000 won ($90) worth of lottery tickets every week. Why did a scientist engage in such unscientific behavior, you ask? It was research for this book. Let me explain. When I was studying in the U.S., I was given a fortune cookie every time I dined out at a Chinese restaurant. The fortune cookie contains a fortune—a piece of paper with words of good luck and a list of six lucky numbers. They are usually numbers below 50 so they are sometimes used by Americans as lottery numbers. (Interestingly, restaurants in China do not serve fortune cookies, a kind of marketing strategy playing up the Asian-ness to appeal to American customers.) I collected as many as 200 fortunes; I carried them in my wallet as I vigilantly waited for the home run that would change my life overnight. Just having the fortunes on my person was enough to make me feel great. At the same time, I was a scientist who could not possibly believe in the power of the Chinese fortune cookie. In a 45-ball lottery, you have to choose six numbers from 1 to 45 that all match those produced in the official drawing; the odds of winning are 1 in 814,5060 for everyone. In 2007 I came across a book that caught my eye. It was an analysis of the relationship of the numbers entered into the draw using complexity modeling, which I found interesting as it was the focus of my graduate studies. According to the book, the winning numbers were generated to achieve maximum complexity, which is measured by entropy. In other words, even though a set of consecutive numbers like 1, 2, 3, 4, 5 and 6 and the set of 1, 6, 23, 27, 35 and 43 have the same probability of being drawn, but the book presents the former set as less likely. The argument seemed quite plausible. This book made me eager for a showdown. Between modern science and Chinese fortune cookies, which would be better at predicting the winning lottery numbers? Would modern science indeed be able to predict the winning numbers better than Chinese superstitions and supernatural powers? I wanted to feel and affirm the stately authority of modern science, so I set to work. For 10 weeks I used the numbers from my Chinese fortune cookies to buy 100,000 won worth of lottery tickets each week. Then I would

proceed to do the same for numbers generated by modern science every week for 10 weeks. Which method would offer better results? I was dying to know the answer. I used a computer software program to generate random numbers that maximized the entropy. I also took into account the regression toward the mean. The lottery began in South Korea in December 2002, so there had too few draws to consider the mean. Regression toward the mean holds that a frequently appearing number is less likely to appear again in the next round. (It is also for this reason that a rookie hitter with a high batting average faces a “second-year jinx.”) What was fascinating was that Chinese fortune cookies almost seemed to possess mystical powers in their predictions. Over the course of 10 weeks, out of the 1,000 lottery tickets, 65 had 3 winning numbers, and 7 correctly predicted 4 numbers. My winnings amounted to around 900,000 won. Of course I still had lost money, since I had spent 1,000,000 won on lottery tickets, but the rate of return proved to be better than I had expected. (As a point of reference, the largest jackpot paid in Korea was 40,722,959,400 won, approximately $36 million.) On the other hand, the predictions of modern science were less reliable than those of fortune cookies. Out of the 1,000 lottery tickets, 54 had three winning numbers, and only four tickets had four winning numbers. My winnings totaled around 600,000 won. The bank teller who checked my lottery ticket each week and paid out my winnings looked at me with curiosity, probably wondering what I did for a living. As a member of the modern scientific community, I could not help but feel humbled by the results of this lottery experiment. Even though the 21st century is known as the age of science and technology and the age of knowledge and information, after seeing fortune cookies offer better odds, I have realized that science still has a long way to go. Earlier in Science Concert, I boasted that modern physics can be used to offer quite reasonable explanations for complex social phenomena. However, I ended up getting disappointed by the failure of science to surpass the cheap, unscientific predictions of Chinese fortune cookies. Perhaps this is the true picture of modern science being held back by arrogant scientists. But the story does not end here. I hope you are prepared for an unexpected twist. Two years after the lottery experiment, I visited the Lotto website by chance, and once again found myself checking the past winning numbers. I began to wonder whether I would have won the jackpot if I had carried out my experiment not just for 20 weeks but for two years all the way until then, so I started checking if the scientifically generated sets of numbers or those suggested by fortune cookies against the winning sets of numbers. Then the unexpected happened: I learned that five out of the six numbers in one of my scientifically generated sets matched the winning numbers from a few months ago. Though I was naturally disappointed to learn that missing a single number meant a difference of several million won in prize money, I was delighted, eager to hold onto the fact that modern science was dependable: “Surely, modern science is far from dead. With enough trials, science can surpass Chinese fortune cookies.” This unexpected twist is also the conclusion of Science Concert. The road to providing a clear explanation for complex social phenomena is long and difficult. Our mathematics is still too simple, our computers, too slow, and more than anything, we lack the necessary insights into the world. However, if we are steadfast in our investigations, and patient and thoughtful in our research, I hope we scientists will be awarded with the hope of finding a solution and a passionate adventurous spirit someday; humanity is too young at this stage to find consolation merely in its strong will to face impossible challenges. translated by Kim Hee-young

list_ Books from Korea

Vol.17 Autumn 2012

Excerpt

Science Concert by Jeong Jaeseung Cardiac Physiology

28 list_ Books from Korea

Vol.17 Autumn 2012

Complex Econo-systems

Ten Years Late, a Curtain Call [……]

list_ Books from Korea

Vol.17 Autumn 2012

Interview

Looking for Hidden Pictures in the City Writer Kim Junghyuk In Seoul, there’s a route that will let you get around without using a crosswalk, not even once. Little clues are carved here and there on the route. They are hidden pictures brought to light by Kim Junghyuk. Following the author’s map, you’ll come to encounter new places and people in the city. The author has made this possible through a unique mapping system. Yang Yun-eui: Your third collection of short stories, 1F/B1 (First Floor, Basement Floor) has been published. Could you tell me a little bit about this collection? Kim Junghyuk: The last story in The Library of Instruments, my second collection of short stories, was the last story I wrote for that collection, timewise. It was called “Syncopation D.” Having written that, I had an idea as to what my third collection was going be like. The last story I wrote for the third collection is “Kryasha,” the last story included in the collection. The story seems to contain everything in the collection, in a condensed form. I could see the direction my fourth collection would take as I wrote “Kryasha.” The story ends with the sentence, “The city never grows old. Only I do.” This sentence seems to sum up the entire collection. Yang: As you can see in “Kryasha,” which you just mentioned, I got the feeling that in this collection, you took an interest in spaces, and things that go extinct in those spaces. Kim: If my first collection of short stories, Penguin News, is about things, my second collection, The Library of Instruments, is about sounds, and my third is about spaces. If I put the focus on things in the past, this time, I started out with spaces and people who live in those spaces. As you said, I came to take an interest in extinction because I was talking about people who grow old or go extinct in spaces, and the lives of those people. Yang: It seems that your attention is expanding from things to people, from sensation to the world. You could call it an expansion of themes. Would you say that such change in interests 30 list_ Books from Korea

Vol.17 Autumn 2012

led to a change in the point of view? Most of the stories in your first collection are told in the first person point of view, and the stories in your second collection are told in the first and the third person. In your third collection, the stories are told mostly in the third person. Kim: In the past I looked at things from the characters’ point of view, but this time I wanted to take a look at the world, apart from the characters’ point of view. I was an observer in the past as well, but back then I focused on the sensations I myself felt. But since I began using the third person point of view, I wanted to express an interest in events and the objective world. Yang: It seems that your various cultural activities had an impact on the change in the point of view. You’ve written two novels, Zombies and Mr. Monorail, and a variety of essays as well. You also worked as a producer of a literary radio program, and you’re a professional illustrator. Kim: Those activities probably did have an impact. It took two or three years for me to finish “Kryasha,” for example. The story is an outcome of thing that happened to me while I was writing it, as well as my cultural interests, and social issues such as the Yongsan incident. Yang: You could say that your social and cultural interests became integrated with the various media of expression you’ve taken notice of. I’ve noticed the variety of methods you used, such as signs, drawings, and formulas. Even the title, 1F/B1 (First Floor, Basement Floor), can be read differently by different people. Kim: I wanted people to read the titles of my novels in different ways. The title of the collection, as well as “C1+y = :[8]:.” Some may read it as “C One Plus Y Equals . . .” and others may read it as “The City is a Skateboard.” Yang: The word “kryasha” comes from the English word, “crusher,” showing that the same word can be pronounced differently by different people. The actual pronunciation changes according to the speaker, and so do the meaning and the context. I felt that you wanted to protect the individual nature of what’s embodied in different expressions of a word. What kind of a message does the title seek to convey? Kim: That question makes me think that signs are political list_ Books from Korea

Vol.17 Autumn 2012

Interview

Vol.17 Autumn 2012

Interview

“I think it’s money that moves my stories forward. It’s through money that people move. You can’t talk about people without talking about money.”

themselves to something, but I don’t have much interest in such people. They could appear as villains in my stories. There are such characters in my full-length novels. I’m interested in people who seek to build and perfect their own world. Not to compete with others, but to hone and cultivate themselves, to refine themselves. It’s the worlds of such people that I’m interested in.

in Korea began to jumble together.

Yang: You could say that building managers are a typical example of those who have perfected their worlds. They are those who exist in the so-called gaps. And the “slash” between the first floor and the basement is the symbol that signifies that.

Yang: So in a way, a new city was invented, with the near overlapping of reality and imagination. If you’re talking about gaps, you can’t leave out the title piece, “1F/B1.” What gave rise to it? Kim: This story had its beginning in a person. I’m not sure if I should talk about this (laughs), but I once met an apartment manager with autistic tendencies. He lacked social skills, and was engrossed in his work. The story came about as I tried to imagine his life. writer Kim Junghyuk and literary critic Yang Yun-eui

in a way, and also a social product. When I first saw the word “kryasha,” I thought it sounded soft. But actually, it has a scary meaning, as the name of heavy equipment that breaks and pulverizes things. It felt strange when I learned the difference. I thought there was a gap between how the word was actually used, and what it meant. You could say that through this collection, I’m showing my interest in such gaps, in my own way. Yang: You said “gap,” which is one of the key words in the collection. The graffiti on the city walls and the signs that divide a space give you a glimpse into unexpected events and spaces that weren’t detected in everyday life. The graffiti and signs lead you to hidden spaces, such as the “skateboard lot.” The signs seem like a sort of code. Kim: I wanted them to come off as a code. I also wanted to talk about what signs show, or what signs hide. That’s why I wrote the title “C1+y = :[8]: (The City Is a Skateboard)” in the form of a sign. I think formulas and signs are what best represent cities. They’re regulations that all city dwellers have in common, but at times, those regulations weigh down on us. Yang: There must have been a lot of readers who didn’t know how to read “C1+y = :[8]:.” (laughs) You came up with a completely new word in the form of a formula, and a symbol representing a skateboarder. I’m curious as to how you came up with it. The signs show that you left the meaning open, so that it wouldn’t be interpreted in a certain way. I also wondered if it wasn’t a sort of an art theory. Kim: “C1+y = :[8]: (The City Is a Skateboard)” had a different title in the beginning, but I came up with a new title after finishing the story, one that would express what I wanted to say. It’s the only story for which I decided on a title after writing it. I wanted the title to convey that the story was “a story of signs.” There’s a part in the story that says, “There was a city I wanted to build.” You could say that the city was a collage of my favorite cities. In fact, I wrote “Three Tables, Three Cigarettes,” in London, while looking at its streets. As I did, I thought of the streets in Korea. The buildings before my eyes and the buildings

Yang: So that’s how the alliance of building managers, who live in the basement, came about. It sheds an interesting light on the occupation of building managers. The story is humorous, but managers who have a sense of vocation emphasize that spirit in the story. Kim: I think it’s money that moves my stories forward. It’s through money that people move. You can’t talk about people without talking about money. I think it’s no fun to move because of your beliefs. People follow money, but are also disillusioned by it. In our lives, things happen mostly because of money. They happen as things we do to make money collide against or crash into each other. In that process, people form alliances, come into conflict, and scatter. I also thought it would be important to take a close look at an occupation if it involved direct moneymaking. Yang: In “The Museum of Useless Things,” people who put more importance on hobbies or tastes than on material value come together and construct meaning. There’s no direct criticism of capitalism, but affirmation of a hobby-based community does have the effect of shedding critical light on the capitalistic society. The latest collection, however, seems to show interest in the common sensations of people who have been endowed with identities within a social criterion. Kim: I’ve always been interested in capitalistic societies. If there’s a common thread in my three collections, I would say that it’s an interest in occupations. I’m also interested in people who have failed, especially in the moment immediately after the failure. Communities of such people seem to be an ideal of mine. I’ve always harbored an ideal of such communities. Yang: They are people who work to earn money, but haven’t achieved success in society. Their history could be summed up as the history of a hidden basement world, as in “1F/B1.” Seen this way, this collection does have something in common with the former collections. The attitude shown by people, who are maniacal in a way, is close to positive amateurism. They seem to say, I don’t need to be a winner, but I do need to acknowledge my feelings. They aren’t the kind of people who would devote themselves to maintaining their social position. Kim: In a way, I do want to portray people who devote

Kim: As you know, a slash is a sign that separates something from something else. One day, I felt that the slash was a very large space. That’s how the novel came about. People called my generation, who entered college in 1989, the “in-between generation.” I think every generation is an in-between generation. Any generation is between the generation before, and the generation after, and seeks to find its identity, and originality. I think people who live in cities want to create their own space and live their own lives in their in-between state. Yang: It seems that the slash implies many different things. I feel as if I’ve met “Mr. Inuk, the concept inventor” from “Penguin News” in person. (laughs) You mentioned earlier people who have failed. The inclining shape of the slash (/) seems to depict the speed of someone who has just been through a difficult situation, though the speed of someone who has experienced failure seems trivial and insignificant. For them, though, it’s probably the fastest they could go. Kim: It’s interesting that you think it depicts speed. (laughs) Yang: Shards of glass appear in “The City of Glass,” in “Three Tables, Three Cigarettes,” cigarettes ashes, as the cigarettes burn down to a zero, and in “Kryasha,” buildings crashing and turning into powder. Looking at those motifs, I thought of Karl Polanyi’s expression, “the devil’s millstone.” An enormous system called capital destroys the original form of things or people and turns them into dust. The stories don’t merely show the zero point at which things disappear. You can’t restore what has been torn apart, but the dust can return to life, joining the root of something. Kim: We come back to the sentence, “The city never grows old. Only I do,” which I mentioned earlier. I think you could say that this is a collection of seven questions on cities. Cities change, cities are under threat, cities become dangerous . . . but still, cities could become a new space for us. I’d like for there to be a possibility of being a part of that new space.

Yang: Questions are important to the girl in “Three Tables, Three Cigarettes” as well. She says something remarkable—“I know the answers already, so what I need are questions.” Kim: I think a good author is one who asks good questions. I don’t think any author throws out a question with an answer already in mind. I don’t, either. In fact, I throw out questions, thinking it’s all right even if there’s no answer. After I throw out the question, there comes a moment somewhere down the road when I think, oh, this is the answer. If someone has the answer, “I want to live in such-and-such way,” the questions that are important to me would be, “With whom? Doing what? What kind of a life, specifically?” Through this collection of stories, I think I’ve thrown out seven different questions to the readers. Yang: You’re getting ready to write a novel, aren’t you? I’m curious as to what new questions you will ask. Kim: I’ve gotten started on one. The questions in my novels may look different, but they’re asked with a similar attitude. I think as I continue to ask questions, I come to understand how to ask better questions with a better attitude. I think I grow as well, as I repeatedly ask questions about issues I’ve taken an interest in. You could say that my world has expanded. I think you’ll be able to see the history of my questions after I publish about 10 collections of short stories. (laughs) Yang: There could be a chronology of your questions, like the “Chronology of Fatsos,” created by “Fatso 130” in Zombies. (laughs) Kim: The last stories in my collections are always linked to the issues dealt with in the next collection, so there could be a chronology of questions. (laughs) * The place where I met Kim Junghyuk felt like the “skateboard lot” among the large buildings in Seoul. A place where hidden stories are revealed. The title piece of the new collection, 1F/ B1 talks about a strange hidden space (a space created by /) between the first floor and the basement. I think the slash is Kim Junghyuk himself—the author who for 10 years has been leaning over (/) to observe the world. by Yang Yun-eui

1. Penguin News Kim Junghyuk, Moonji Publishing Co., Ltd. 2006, 377p, ISBN 8932016755 2. Mr. Monorail Kim Junghyuk, Munhakdongne Publishing Corp. 2011, 408p, ISBN 9788954615396 3. Zombies Kim Junghyuk, Changbi Publishers, Inc. 2010, 376p, ISBN 9788936433802 4. The Library of Instruments Kim Junghyuk, Munhakdongne Publishing Corp. 2008, 308p, ISBN 9788954605670

1 2

list_ Books from Korea Vol.17 Autumn 2012

list_ Books from Korea

Vol.17 Autumn 2012

Interview

“I think it’s money that moves my stories forward. It’s through money that people move. You can’t talk about people without talking about money.”

in Korea began to jumble together.

1 2

list_ Books from Korea Vol.17 Autumn 2012

list_ Books from Korea

Vol.17 Autumn 2012

Excerpt

1F/B1 by Kim Junghyuk Records state that the Neotown Union of Building Managers was officially dissolved in August 2007, but it still survives as an underground organization. It was an underground organization even before they disbanded—the managers always lived underground—but now they have taken cover under perfect darkness, the underground of the underground, the pit of the world. No other organization in the history of mankind has fit the description of “underground organization” so perfectly. The building managers of Neotown call themselves SM, a title that originates from that unforgettable incident of April 2007 called, in official SM parlance, the Battle in the Dark. SM is short for Slash Manager. The Neotown Union of Building Managers differed slightly from the usual building managers’ association found in most cities. Gopyeong City’s Neotown was comprised of small buildings lower than ten stories—multi-purpose buildings for the most part—that were clustered closely together, rather than the high-rise that has become standard for modern apartment complexes. The Union was formed, in part, to deal with the unique challenges posed by this style of development. A problem in one building would spread to another building with the speed of a computer virus. An abnormal pressure rise in the outdoor units of one building’s AC system meant that someone from a different building was sure to complain of the same problem before the day was out. This was inevitable as all the buildings were built around the same time and according to similar plans. The Union of Building Managers was formed not to protect the rights of the tenants but to protect the building managers from mass complaints or questions from the tenants. As has been the way with all organizations since the Earth was created. The first president and founder of the Neotown Union of Building Managers was Gu Hyeon-seong. He would have actually made a better president of the Association of Megalomaniacs, if there was such a thing, except he had no idea that he was a megalomaniac. As has been the way with all megalomaniacs since the Earth was created. An architect by training, he enjoyed sticking his nose in everybody’s business and was a member of the Neotown Organizing Committee as well as a sponsor of the Gopyeong City Architect’s Association. It puzzled the people of Gopyeong City as to where Gu got all of his money. “Gu’s favorite word was ‘repairs.’ He called it a beautiful word. He said, ‘There is no way to build a perfect building. Only repairs can make a building perfect.’ Don’t you think that shows how much of a perfectionist Gu Hyeon-seong was?” says Lee Mun-jo, the man rumored to know Gu best. Lee was the Union’s co-founder and official No. 2 man; however his was a title in honor only compared to the organization’s No. 1 man. Gu Hyeon-seong was a millionaire that owned seven buildings in

34 list_ Books from Korea

Vol.17 Autumn 2012

Gopyeong City, while Lee was merely a glorified maintenance man. Lee was more Gu’s right hand man than anything, and it was he that took care of most of the day-to-day practicalities. Building management was something like a hobby for Gu Hyeon-seong. With all of his money he still insisted on living in the maintenance room in the basement of his building, and was wont to say that he knew of nothing more entertaining than managing buildings. Neotown was built in 1991, and the Union of Building Managers was founded a year after in 1992. From 1992 to 2007, Gu and Lee ran the Union successfully for fifteen years. Nobody rebelled against their dictatorship, nor ever questioned their decisions. Until the Battle in the Dark of April 2007, that is. Gu Hyeon-seong was nobody’s favorite, but nobody could deny that he had built up Neotown almost single-handedly. Gu strived to make Neotown a world-class destination. He threw himself into the entire process, overseeing everything from building plans to promotional strategies, so that within three years Neotown earned both the title of ‘Best Area to Open a Real Estate Office’ and ‘Best Area for Business’ as voted by real estate agents across the nation. Gu even wrote a book on the subject following the success of Project Neotown. From Basement to Rooftop, Building Management 101: All Buildings Are the Same was written for the building managers of Neotown, but as its fame grew as a work of genius that redefined the way people thought about the city and buildings it became the definitive tome for building managers everywhere. Building managers especially liked “Chapter 23: How to Change a Fluorescent Lamp.” Unlike the rest of the book, this chapter reads almost like a work of fiction with its detailed description of ungrateful tenants that assume building managers are born knowing how to change fluorescent lights and the mortification building managers suffer changing fluorescent lamps under the watchful eyes of said tenants. The author also included helpful yet easily overlooked tips such as how to gauge the temperature of a lamp without touching it, how to insert the tube into its socket, and how to open large shades with ease. It was a huge comfort to building managers simply knowing that somebody understood their plight. Indeed, one could say that the Union of Building Managers’ success under Gu’s leadership was largely due to the success of From Basement to Rooftop: “We know that the light will burn, but still we reach out. We wonder how long the lights have been smoldering, flickering on and off; we imagine how hot they must be, but still we reach out. We have no choice because the tenant is watching. The tenants think that we are born with unnaturally thick palms. They think that our gloves are made of ice. They think that we cannot feel heat. The best thing we can do is to change the light and get out of the house as soon as possible. We reach out to fight the heat of the f luorescent lamp. If anybody asked me what could possibly be lonelier than a flickering fluorescent lamp, I would say us.” To celebrate the book ’s publication, Gu invited the building managers to a reception at which he read the above passage out loud. One building manager was reportedly moved to tears. From Basement to Rooftop sold over 400 thousand

copies and remained on the bestselling list for a long time. The book provided the general public with its first glimpse into the job of building manager. Of course this prompted some to point out that it also served as the catalyst for the Battle in the Dark. The incident could have been averted if nobody had laid the building manager’s profession bare for all to see, the book’s detractors said. But the deed was done. When a book is read by over 400 thousand people it should be no surprise if one of them chooses to interpret it to the disadvantage of others. The foreword of From Basement to Rooftop starts with the interesting question, ‘Since when do building managers live in the basement?’ In his research on the history of building managers, Gu Hyeon-seong discovered that building managers used to live on the rooftop or on the highest f loor of the building. Over time they were moved steadily downwards until finally being relegated to the basement floor about ten years ago, which according to Gu closely correlated to the change of the building manager’s status. Contracted security companies usually hire four guards and one building manager per tenstory building, and in the early days of building management the power wielded by one building manager was equivalent to that of four guards. This applied to the building manager’s salary as well. Building managers enjoyed their heyday back when small buildings under ten stories were going up willynilly, but then computers and CCTVs started to replace them. Formerly the highest authority of a building and its tenants, the building manager’s position was reduced to that of a maintenance man changing fluorescent lamps and air conditioner filters and unplugging sinks. From a certain point it became accepted practice to allocate the maintenance room of a small building to its basement. Gu concluded his foreword with the following sentence: ‘Even now, building managers are slowly suffocating in the turbid air of the basement with no proper ventilation.’ At 10:00 PM, April 14, 2007, Yoon Jeong-woo, building manager of Home Safe Building, was trying to placate the tenant in No. 605. The issue was noise. The tenant in No. 605 was a woman in her mid-twenties living by herself who complained that she could not sleep at night because of the noise next door. No. 604 was occupied by a couple of newlyweds that had been married for three months, and the sound of them having sex traveled through the walls every night. The squeaking of bedsprings, the woman’s sighs interspersing the squeaks, punctuated by the man’s heavy breathing every now and then. When the woman reached orgasm she screamed so loudly it could be heard throughout the entire building. Yoon Jeong-woo was well aware of this, as he too had heard the woman’s sighs when passing their door in the hallway. Ten days ago, upon receiving No. 605’s complaint, Jeong-woo installed four sound absorbers on the wall the tenant shared with No. 604. The sound absorbers proved ineffective. Yoon Jeong-woo wondered if he should install more sound absorbers or add a one-inch layer of compressed sawdust fiberboard insulation. Any experienced building manager would have chosen more sound absorbers without a second’s doubt, but Yoon Jeong-woo had been on the job for barely four months. He was still fresh from the Building Manager’s Academy where he had been taught that installing a one-inch insulator and a sound-absorbing plaster panel was the only acceptable response to this kind of problem. This solution,

however, required major construction. The woman in No. 605 complained bitterly about the noise. She had not had any sleep for three nights, she said. That was when the lights went out. All the lights in Neotown went out at once. The woman in No. 605 screamed, and the entire building hummed with the sound of people wondering what had happened. The entire building had been plunged into darkness instantly. The building next door was the same. Yoon did not know how to react. He tried to think of the appropriate response to a blackout, but the lights in his head had turned off as well. Yoon apologized to the woman in No. 605 and headed for the maintenance room in the basement. Yoon Jeong-woo remembered how the name “Home Safe Building” had appealed to him the first time he heard it. He would have chosen to work at Home Safe Building over dozens of others if that had been the case. Yoon considered himself very lucky to have gotten the job at Home Safe Building. On his first day of work Yoon gazed with satisfaction at the word “Home Safe” engraved above the front gate of the building. He assumed that the owner of the building must be a baseball fan. In baseball, a baserunner is safe when he reaches home base before the ball. What did a person have to outrun to be safe in a building? He liked his job protecting Home Safe Building. It made him feel like a catcher in a baseball game, or a goalkeeper in a football game. I’m going to save all the tenants, he said to himself with a fist pump. It was a habit of his to compare everything to sports. Yoon berated himself for not bringing a f lashlight as he headed down the dark stairs. He had come as far as the third floor when he saw a light in the hallway. Several people were standing around with f lashlights. Yoon shouted out in the darkness toward them. “We’ll have the power up soon. It’ll only take a little while.” One of the flashlights shone on Yoon’s face. “I’m your building manager, Yoon Jeong-woo. Could I please borrow a flashlight? I have to go to the basement and it’s so dark.” Three of the flashlights shone on Yoon’s face at once. The people muttered something to one another in the darkness. It was hard to hear what they were saying. The three people went back into their apartments. It was a response to be expected. Not many people recognize the face of their building manager. They might recognize a security guard they saw every day, but one could hardly expect them to recognize a building manager they saw a few times a year and do him a favor. And it is harder to trust somebody in perfect darkness when one cannot even see one’s toes. translated by Cho Yoonna

1F/B1 Kim Junghyuk Munhakdongne Publishing Corp. 2012, 304p, ISBN 9788954618472

list_ Books from Korea

Vol.17 Autumn 2012

Excerpt

34 list_ Books from Korea

Vol.17 Autumn 2012

1F/B1 Kim Junghyuk Munhakdongne Publishing Corp. 2012, 304p, ISBN 9788954618472

list_ Books from Korea

Vol.17 Autumn 2012

The Place

Myeongdong Through History The Sanctuary of Seoul Throughout the years, Myeongdong has held a special place in the history of the nation’s capital. Starting from its origins as a foreign enclave through its destruction during the Korean War to becoming the center of the pro-democracy movement, one thing remains true: Myeongdong continues to draw people to its sights, streets, and shopping.

The Heart of Consumer Culture Surrounded by the avenues of Euljiro, Chungmuro, and Samilro, the administrative area of Myeongdong is 0.99km 2 , and the resident population recorded in 2012 is 4,069. However, the actual administrative area has little meaning; Myeongdong—for both the residents of Seoul and foreign visitors to the city—is an area formed in their minds. Ever since capitalist culture took root in Korea, Myeongdong has always been an icon of Korean consumerist culture: the most expensive land in the country; the location of f lagship 36 list_ Books from Korea

Vol.17 Autumn 2012

department stores and showrooms with the latest fashion; the “street of money” that serves as a symbol of banks, securities firms, short-term investment companies and even private moneylenders; an entertainment district that tempts people with its innumerable restaurants, cafes, and bars; and the countless people walking shoulder to shoulder. To borrow from Émile Zola who described the department store as a “cathedral of modern commerce,” Myeongdong is the sanctuary of Seoul. The Boksamyeon area of Namsan Mountain, which fell under the jurisdiction of Myeongdong in the Joseon period, was called Namchon back then. It was peopled mostly by impoverished

scholars who had little chance of political advancement and militar y men who were looked down upon compared to men of letters. After a port was opened in Myeongdong, the neighborhood which had lagged behind began to change rapidly.

The Streets of Foreigners In 1882 the soldiers in Seoul stirred up a riot. In response to the Joseon government’s request for support, China sent 3,000 troops and about 40 merchants. These men did not return back to their country after the situation subsided. In 1884 the Qing Office of General Affairs and Chinese Hall—the equivalent of the chamber of commerce for Qing merchants—were built in Myeongdong on the present site of the Chinese embassy and the Central Post Office respectively. In 1885 Japanese merchants were also granted legal residency. They mostly lived in Southern Myeongdong, at the foot of Namsan Mountain, where the Japanese Consulate was located. As the number of foreigners residing in Seoul grew, the Joseon government made agreements with the diplomats of each country to restrict the areas where they could live. Present-day Myeongdong was designated as the Chinese concession, while the area south of it in present-day Chungmuro became the Japanese settlement. Following the Japanese victory in the Sino-Japanese War (1894-95) most Qing merchants returned to China. The Japanese took over the Chinese concession without the permission of the Joseon government. And after the Russo-Japanese War broke out in 1904, the Japanese residents in Seoul became a privileged group. Countless soldiers, public officials, merchants, workers, and barmaids flocked to the capital. Most of them settled down in Myeongdong and the surrounding area. Myeongdong remained a largely residential area until the mid-1920s, but after the Government-General of Korea relocated to the present site of Shinsegae Department Store across from Gyeongbok Palace, and Gyeongseong (Seoul) City Hall relocated to face Deoksu Palace, Myeongdong grew into a commercial district. The Namdaemun area became home to the stock exchange and financial companies including the Bank of Japan, Chosun Commercial Bank, and Teikoku Life Insurance. The four leading department stores in Chungmuro—Mitsukoshi, Hiroda, Minakai, and Chojiya—were all built in the mid-1930s.

Myeongdong became the background for all these companies and department stores. Small securities firms and short-term lenders rose up, along with dining and entertainment establishments such as tea houses and coffee shops, motels, restaurants, cafes, and bars in every alleyway. Present-day Myeongdong began to take shape around this time period. The youth nurtured their taste for Western culture while enjoying coffee and jazz in cafes; Myeongdong was both the loading dock and the showroom of Western culture. However, after Japan provoked the Pacific War, the lights that illuminated the night streets of Myeongdong went out. During the war general consumer goods were in short supply, and the purchasing power of the public also plummeted. Coffee shops and bars were all shut down by the government, citing them as adult entertainment establishments.

From Ruins to Romance— the Myeongdong Revival On August 15, 1945, Koreans were liberated from Japanese colonial rule. With this began a large-scale migration of the population. At the time there were 75,000,000 Japanese civilians in the Korean peninsula who returned to Japan. This was followed by the return of Koreans living abroad, many of whom settled down in Seoul. Even some of the rural populace flocked to Seoul. They were attracted to the numerous jobs and positions opened up by the departure of the Japanese. Starting in 1946 these new migrants were joined by people who were moving south from present-day North Korea. Within a year of Korea’s liberation from Japan, more than 30 percent of the city’s population was newcomers. Seoul was overflowing with men and women looking for jobs all over the city. Immediately after the liberation, Seoul became a “floating city.” Even under these circumstances some people seized the chance to make money quickly. A few of them took over the high-class restaurants with entertainment and coffee shops left behind by the Japanese and reopened them for business. The fastest growing business was bars, which were patronized mostly by artists and cultured people who had developed a taste for them before the liberation. The streets of Myeongdong were revived: they were now, once again, the streets of decadence and pleasure. list_ Books from Korea

Vol.17 Autumn 2012

The Place

Vol.17 Autumn 2012

The Place

Chungmuro (1920)

Myeongdong Theater (2012) dral (2012) Myeongdong Cathe Myeongdong (1890)

However, the Korean War, which broke out in 1950, devastated Myeongdong. During and after the war, Myeongdong remained a lost space. Only around 1955-56 did it begin to emerge from the devastation. Buildings in Chungmuro, to the south of Myeongdong, suffered greater damage, so the latter ended up taking over some of its functions and becoming the heart of downtown Seoul. Following the war Seoul became a city of dabang (literally “tea room,” often translated as “coffee shop”). The dabang space was used as a salon, a placement agency, and at times even an office, in place of the many spaces destroyed in the war. Myeongdong, the epicenter of dabang culture, became home to countless such coffee shops, where people who used to discuss literature and art in the area congregated once again. Then the bars reopened one by one for business. The postwar nihilism left a lasting mark on many dabang and bars in Myeongdong. In the spring of 1956, in a cramped Myeongdong bar, the poet Park In-hwan spontaneously wrote the lyrics to a song that begins, “Though I’ve now forgotten his name.” The musician Lee Jin-seop, who was sitting next to him, then wrote the melody for the lyrics, and Im Man-seop sang the song. Since then the song, dubbed the “chanson of Myeongdong,” has become a symbol of its namesake neighborhood.

The Center of Fashion Even after the war was over, there was for a long time a U.S. army PX in the former Mitsukoshi—now Shinsegae—Department Store, where all kinds of goods ended up through various channels. These included not only liquor, cigarettes, and coffee but also publications, which helped disseminate the latest fashion. The speed of economic development of the 1960s led to the growth of the production and consumption of consumer goods, as well as the expansion of the economic space. From 1956—when the land readjustment project was completed—and through the 1960s, several large buildings were erected, including the Savoy Hotel, Metro Hotel, Sejong Hotel, UNESCO building, YWCA Center, and the Daeyeongak Hotel. 38 list_ Books from Korea

Vol.17 Autumn 2012

T hese ne w structures tra nsformed t he la ndsc ape of Myeongdong. Their rise, which coincided with the rigid social atmosphere following the military coup d’état of May 16, 1961, exerted a large influence on commerce as well as culture. Many adult entertainment establishments closed down due to the government crackdown, which was justified on the grounds of “eradicating old social evils” and “simplification of lifestyle.” Fashion and clothing companies related to the newly rising textile industry rose up in their place. In particular, the new Jaeil Department Store (present-day M Plaza), which was built on the former site of Myeondong Children’s Park in 1967, played a big role in changing the function and atmosphere of Myeongdong. The birthplace of designer labels, Jaeil Department Store, was soon surrounded by new designer shops.

The Mecca of Youth Culture Following the mid-1960s Seoul changed rapidly. Trams disappeared and the subway opened; high-rise buildings were erected during the redevelopment of downtown Seoul; large apartment complexes were built south of the Han River, along with additional bridges connecting the north and south of Seoul; the Korea Export Industrial Corporation was established and highways were built; and the population of Seoul increased exponentially, surpassing five million in 1970 and eight million in 1978. The development of the Gangnam (“south of the river”) area changed Myeongdong fundamentally: many cultural facilities, broadcasting stations, banks, and companies relocated to Gangnam. New residential development for the upper and middle classes was also built south of the river. The land value of Myeongdong was still the highest in the country, but the customers at its shops and businesses were no longer the most fashionable or affluent. As a result, the image of Myeongdong as the center of culture and the arts somewhat faded. Youth filled the space of the artists who had left. The “May Revolution” of 1968 in Paris which stirred up the entire European continent gave rise to a youth culture of resistance against the established

authority in Korea. Long hair, the acoustic guitar, and marijuana emerged as its icons. Myeongdong presented a space for selfexpression to the Korean hippies. From the late 1960s places that served as meeting venues for young singers and their young audience opened one by one for business, and soon dabang and beer halls with live music became very popular. Around this time Myeongdong was overflowing with young people in jeans and the main street became known as the “street of acoustic guitars.” However, due to the new government policy in 1975 to “root out decadence and selfindulgence,” the f lourishing youth culture dissipated in an instant. From then on until the late 1980s, art and culture all but disappeared from Myeongdong.

Hallowed Ground of Pro-democracy A dark period followed the declaration of President Park Chunghee’s Yushin Constitution in 1972. Myeongdong was a light that illuminated the darkness during this period. The central source of light was Myeongdong Cathedral. In 1973 Catholics priests formed a national association of Catholic priests aimed at promoting justice, and kindled the flame of the pro-democracy movement. Myeongdong was the site of the major events of the movement in the 1970s including the 1979 national convention at the Y WCA Center calling for the abolition of the Yushin Constitution. T h rou g hout t he pro - democrac y movement of 1987 Myeongdong Cathedral was the center of the activist efforts. In February the following year a memorial service was held there for Park Jong-cheol, a Seoul National University student who had been tortured and died during a police-led interrogation. This event catalyzed the movement. At the time the cathedral served as a shelter and base for the protestors calling for democratization. Following the government’s concession to the protestors’ key demands on June 29, Korean democracy began a new chapter. Myeongdong Cathedral was later dubbed the hallowed ground of the pro-democracy movement in Korea, and served for a long time as the base for various social movements including student

activism, the labor movement, and the fight against poverty.

Myeongdong, Today and Tomorrow Following the 1987 pro-democracy movement, real wages increased rapidly, launching an age of mass consumption: expansion of the average living space per household; growth of personal car ownership; development of the restaurant industry; and the appearance of complex consumption spaces. Such changes had a direct impact on the space and culture of Myeongdong. The businesses that used to embody its essence— the “Myeongdongness”—relocated elsewhere like Gangnam. Other than its land value, Myeongdong had lost its status as the best of Seoul. The lifestyle changes resulting from personal car ownership contributed greatly to the decline of Myeongdong. After the mid1990s Myeongdong mostly served customers without cars like teenagers and foreign tourists. Shops began to carry low-price merchandise, and antenna shops that test the marketability of new products disappeared as soon as they appeared. Today Myeongdong is a huge complex consumption space: its function does not differ much from that of the COEX Mall in Gangnam or Lotte Town in Jamsil. However, its structure and landscape embody a rich history. The cheers and exclamations that were heard at the stock exchange, the people discussing literature and art in the tiny bars and dabang and the young singer-songwriters performing at the music dabang and beer halls have all disappeared from Myeongdong, but one can find traces of history everywhere: in the stone posts found in the back alleys; in the Chinese embassy, Myeongdong Cathedral and the Myeongdong Theater; and the old Chinese restaurants that have long been around as neighborhood fixtures. The history of Myeongdong—which may only exist as a memory for some and hold value as a commodity for others—still remains the greatest driving force behind its future. by Chun Wooyong

list_ Books from Korea

Vol.17 Autumn 2012

The Place

Chungmuro (1920)

Myeongdong Theater (2012) dral (2012) Myeongdong Cathe Myeongdong (1890)

Vol.17 Autumn 2012

activism, the labor movement, and the fight against poverty.

list_ Books from Korea

Vol.17 Autumn 2012

Theme Lounge

Arirang Beloved by Koreans through the ages, the emblematic national song “Arirang” has worn many faces.

calligrapher Lee Sang-hyun

40 list_ Books from Korea

Vol.17 Autumn 2012

The age of “Arirang” has dawned. Recent years have seen a surge of events related to “Arirang” ranging from festivals to exhibitions and academic conferences. The author of this article has participated in two of such events: an academic conference hosted by the Institute of Korean Literature and Arts of Soongsil University under the theme of “The Present and the Future of “Arirang” Scholarship on in Korea” in June 2010, and a two-day musical performance entitled “Korea No.1 Brand Arirang” (National Gugak Center) at the 29th Korean Traditional Music Festival held in October 2010. Events associated with “Arirang” are increasing in frequency as well as in significance. In June 2012, the Ministry of Culture, Sports and Tourism hosted the Arirang Festival 2012 featuring a variety of “Arirang” related events and performances, such as an academic symposium under the theme of “Arirang in Culture, Arirang in the World” and “Arirang” performances by K-pop stars. The event helped attract the nation’s attention to the song and promoted the classic symbol of Korea throughout the world. Another notable event was the Arirang Special Exhibition held in April 2012 at The National Folk Museum of Korea. The exhibition, featuring over 2,000 items associated with

“Arirang,” explored the meaning of the folk song in the life of Koreans. In May 2012, the Korean Cultural Center in Washington, D.C. held art exhibitions and performances associated with “Arirang” at its Soul of Korea 2012. The “Promotion of Newly Composed Korean Traditional Music: 21st Century Korean Music Project,” slated for September this year, selected “Arirang” as the theme for the competition. When exactly did “Arirang” originate? Many Koreans think it comes from the 1926 film Arirang. The film’s director Na Yun-kyoo personally rearranged the folk song and used it as the theme song for the movie. However, the origin of “Arirang” harkens much further back in history. A large number of regional variations, such as the Jindo “Arirang,” Miryang “Arirang,” Gangwon Province “Arirang,” and Jeongseon “Arirang” show that “Arirang” has been with Koreans for a very long time. The folk song “Arirang” underwent many changes through time. In Maecheonyarok, the Joseon loyalist Hwang Hyeon records that “Emperor Gojong and his queen enjoyed

the movie Arirang (poster for Japanese market), directed by Na Yun-kyoo

‘Arirang’ performances late into the night.” Although such records do not describe the “Arirang” performances of the time in detail, they clearly show that “Arirang” was popular with Koreans regardless of their social station. In 1896 American anthropologist Alice Fletcher recorded performances of “Arirang” by Ahn Jeong-sik and Lee Hui-cheol, national scholarship students studying in the U.S., during a recorded interview with the two students. This shows that “Arirang” was widely sung in the late Joseon period as well. “Arirang” was also popular throughout the Japanese colonial period, particularly Na Yun-kyoo’s arrangement that shows distinctive features of early form of shinminyo, a form of popular music. It is believed that the popularity of the film led to the popularity of the song “Arirang.” “Nowadays, “Arirang Taryeong” is so popular that everyone is humming the tune, from mothers preparing food for the family to both male and female students to infants that have barely been weaned. The song is so popular one student started singing it absentmindedly instead of the song set for her school music test, for which she was sorely reprimanded…It is true that the song is widely sung in Seoul. Na Yun-kyoo’s film Arirang enjoyed great popularity and it is natural that it has impacted life at homes and schools as well.” “New Trend! Fad,” Byeolgeongon, December 1928

the novel Arirang

The above excerpt about “Arirang” from the magazine Byeolgeongon was published in 1928. The success of the film Arirang not only popularized the song but also transformed it. During that time the song was used as a score for plays and dance performances, made into dance music, and was even introduced to Japan. What is it about the song that has allowed it to enjoy such long-lasting popularity? What is the source of the song’s amazing longevity? Say the word “Arirang” and the soft sound of “A” and “R” lingers gently on the tongue. Sing “Arirang” and the lyrics “Arirang, Arirang, Arariyo, Arirang gogaero neommeoganda” list_ Books from Korea

Vol.17 Autumn 2012

Theme Lounge

Arirang Beloved by Koreans through the ages, the emblematic national song “Arirang” has worn many faces.

calligrapher Lee Sang-hyun

40 list_ Books from Korea

Vol.17 Autumn 2012

the movie Arirang (poster for Japanese market), directed by Na Yun-kyoo

the novel Arirang

Vol.17 Autumn 2012

Theme Lounge

the National Folk Museum of Korea, a poster for the exhibit “Arirang”

and the simple yet beautiful melody moves listeners’ hearts and incites sentimentality. Professor Keith Howard of the University of Sydney gave a talk at the 2009 International Arirang symposium entitled “Arirang to the World,” in which he offered one explanation for the song’s long-lasting grip on the Korean public: “‘Arirang’ is today a symbol, an icon of Korea, and an essential part of Korean identity but it is globally known and touches upon universal human emotions and sentiments. All versions of “Arirang” share similar sentiments: the loss of a loved one, loss of land and property, longing for a return to the land and a yearning for peace. It is a song that pulls at the heartstrings of not only Koreans but also people of the world. Its melody is also well suited for a variety of musical arrangements and variations and sampling by other music genres such as jazz and pop." As Howard explains, “Arirang” may be simple but its very simplicity is what allows it to embrace anything and make it part of itself. Inger Marie, the Norwegian jazz vocalist of global fame, spoke about the healing power of “Arirang.” She said, “it is a song that embraces the elements shared by all humankind, such as longing, despair, sorrow, struggle, consolation, love and hope, which acquires the power of healing through such universality. From such emotional depths, “Arirang” gains the power to heal and move the hearts of humankind.” The source of its longevity lies at the song’s power to embrace and strike a balance between all things. While more soulful renditions of the song have the

42 list_ Books from Korea

Vol.17 Autumn 2012

power to move the listener to tears, such renditions as Yoon Do-hyun Band’s “Arirang,” which was used as the cheering song of the supporters of the Korean national team during the 2002 Korea-Japan World Cup, was the very icon of collective passion and excitement. The simple melody of “Arirang” serves as a vessel for accommodating all types of human emotions. The same strength allowed “Arirang” to transform, evolve and be consumed during the Japanese colonial period as a labor song, a popular song, and an anthem of resistance; it is safe to say “Arirang” has accompanied Koreans in all walks of life and in various places. “Arirang” prior to Korea’s independence from Japanese colonial rule was consumed mostly as a folk song or a popular song. The folk song versions continued the tradition of “Arirang” as a collectively created folk song, whereas versions produced by the popular music industry were created for professional recording artists. Although some folk song versions of “Arirang” were accompanied by western instruments such as a harmonica ensemble, they were mostly accompanied by traditional instruments such as the stringed gayageum and traditional wind instruments. Through these folk song versions, “Arirang” preserved its tradition of representing the sentiment of each region. In contrast to the folk versions, “Arirang” underwent diverse transformations in popular music. It was arranged into diverse musical genres, such as trot, jazz, and dance music, and was accompanied by a variety of instruments from the guitar, the Japanese traditional flute shakuhachi, to even string quartet ensembles. Various approaches were adopted in arranging “Arirang,” from versions with a slight variation to completely new arrangements that only kept the title or chorus, such as “Pasqueflower Arirang,” “Arirang Nostalgia,” “Arirang Nangrang,” and “Bar Arirang.” Such popular versions of “Arirang” expressed the sentiment of the Koreas of the time and consoled the Korean people. After liberation from Japan “Arirang” went through yet more change. Overseas musicians, in particular, expressed great interest in the song, which led to such performances as Oscar Pettiford’s “Ah-Dee-Dong Blues,” Pete Seeger’s “Arirang,” Nat King Cole’s “Arirang,” and Giovanni Mirabassi’s “Arirang.” In 1999, George Winston featured “Arirang” on an album. This trend can be traced to the 1932 interpretation of “Arirang” recorded by the Moulin Rouge Jazz Band. If “Arirang” had lost its integrity and authenticity during the process of transformation and accommodation, it would have not been as widely loved as it is now. To the surprise of many, “Arirang” continually succeeds in maintaining its authenticity while creating a beautiful harmony with everything it embraces and accommodates. That is the reason

Hwang Hyeon, Maecheonyarok

why Koreans consider it as a unique marker in their DNA. It is rare for a song to resonate with every basic emotion from joy to anger, sorrow to happiness. As it did before the liberation, “Arirang” is continuing its transformation. Musicians all around the world are moved and inspired by it and understand Korea and its people through the music. Recently, Kim Chang-wan Band released a rock version of “Arirang” for free to support the Korean delegation for the 2012 London Olympics. The popular reception “Arirang” currently enjoys would have been impossible if the song remained in its original form. “Arirang” is not a fossilized relic from the past: it is alive and continues to evolve. From folk to pop music, from icon of sorrow to icon of fun and excitement, “Arirang” never ceases evolving. “Arirang” will be with us forever as long as it never ceases to reinvent itself. by Zhang Eujeong

* photos provided by the National Folk Museum of Korea and Kim Youn-kab 2

1. A Geographer's Arirang Journey Lee Chung-myun, Easy Publishing Co. 2007, 318p, ISBN 9788995889657 2. A Study on the Original Arirang Harry Cho, Hakgobang 2011, 462p, ISBN 9788960712140 3.

The Culture of Korea’s Arirang Kim Tae-joon, Kim Yun-kab, and Kim Han-soon Pagijong Press 2011, 384p, ISBN 9788962922066

list_ Books from Korea

Vol.17 Autumn 2012

Theme Lounge

the National Folk Museum of Korea, a poster for the exhibit “Arirang”

42 list_ Books from Korea

Vol.17 Autumn 2012

Hwang Hyeon, Maecheonyarok

* photos provided by the National Folk Museum of Korea and Kim Youn-kab 2

1. A Geographer's Arirang Journey Lee Chung-myun, Easy Publishing Co. 2007, 318p, ISBN 9788995889657 2. A Study on the Original Arirang Harry Cho, Hakgobang 2011, 462p, ISBN 9788960712140 3.

The Culture of Korea’s Arirang Kim Tae-joon, Kim Yun-kab, and Kim Han-soon Pagijong Press 2011, 384p, ISBN 9788962922066

list_ Books from Korea

Vol.17 Autumn 2012

Reviews Fiction

Imagining the World Through Flowers Listening to the Music of Flowers Yun Humyong, Moonji Publishing Co., Ltd. 2012, 315p, ISBN 9788932022895

During our life, we see f lowers at birthdays, graduations, on acceptances to schools, weddings, and at funerals. In our most important moments, there are always flowers. But how many of us actually make an effort to listen to the music of these flowers? Flower s a re a lw ay s or n a ment s and never the subject. Beautiful and pretty are words that are spoken from the perspective of the viewer, a nd not from the f lowers. How often do people try to listen to flowers instead of bestowing meaning on their lives by means of f lowers? One can say it isn’t just the flowers. While none of us hesitate to lend our ears to the meaning and purpose of existence, most are indifferent to existence itself. Only when there is genuine love is it possible to hear a sigh, feel tears, and witness the smile of existence. Yun Humyong is a writer who sings about this sincere love of flowers. For the author, f lowers represent life, love, and the world. He is a multitalented artist who has also exhibited his f lower artwork, with the title of “Listening to the Music of Flowers.” Yun’s stories are not about the contrived language of flowers but show the writer’s sincerest efforts of trying to hear their very language. He is a writer who has studied flowers for a long time, drawn 44 list_ Books from Korea

Vol.17 Autumn 2012

pictures of flowers, written poems and novels about f lowers, and strived to discover the truth of humanity through flowers. His a nt holog y of shor t stories, Listening t o the Mu sic of Fl owe r s , delineates life’s never-changing truth, a truth that is similar to f lowers that always resurrect beauty in the natural course of blooming and withering. No matter how beautiful flowers are, in the end they wither, but come spring, they are reborn with enduring beauty. Even though f lowers seem lifeless in their external form during winter, they retain their intrinsic beauty even in quiescence. Flowers offer a precious truth that spring will arrive even under the most difficult circumstances. In Yun Humyong’s work, flowers are not simply an object of appreciation but the zenith of existence. I n Yu n's c ol le c t ion, t he r e a r e numerous incidents of death—death of a mother, death of a teacher, and death of a respected poet, Yi Sang. In his work, he covers not only the death of people, but also the death of space, as in the space of memory that is being endlessly dug out and destroyed in the name of redevelopment. Among these dying things, Yun discovers the essence of life that can never die. Even if they disappear in front of our eyes, the vestiges of their

lives will not die. He is showing us it is the writer’s fate to vividly depict these traces. Resurrecting the beautiful marks of life in our hearts, left behind by those disappearing things, becomes the duty of the author. “Let’s express life, express our most truthful self, and express love.” These are the dreams envisioned in Yun Humyong’s new book. by Jung Yeo-ul

list_ Books from Korea

Vol.17 Autumn 2012

Reviews Fiction

Imagining the World Through Flowers Listening to the Music of Flowers Yun Humyong, Moonji Publishing Co., Ltd. 2012, 315p, ISBN 9788932022895

Vol.17 Autumn 2012

list_ Books from Korea

Vol.17 Autumn 2012

Reviews Fiction

Reconciling Age-old Memories Goodbye, Mother Kim Joo-young, Munhakdongne Publishing Corp. 2012, 276p, ISBN 9788954618250

In t he histor y of modern Korea n literature, Kim Joo-young is known as an epic novelist who delves into the life of common people and their aff lictions in the context of history. His outstanding recreation of history and inquiry into the lives of people is held in very high esteem. Then, in 2012, he published an entirely different kind of a novel. Goodbye, Mother is a book about a protagonist who is coming to terms with age-old memories of his mother. The protagonist’s falling out with his mother came about long ago when she remarried, for her marriage came as a big shock to a boy in his adolescence. Many years later, even at the news of his mother’s death, the protagonist is unable to come to terms with his unhappy memories associated with his mother. However, while making arrangements for her funeral, and through dialogue with his stepbrother, the protagonist is able to retrace the past from his mother’s perspective; thus begins the process of

What We Leave Behind

reconciliation. He begins to understand that his mother’s choice was imposed upon her by the ruthlessness of modern Korean history, such as the Japanese colonial period and the Korean War; moreover, his complicated family history was also a by-product of those tragic eras. Through his mother’s death the protagonist makes peace with the past and understands his mother’s life in its entirety. Reconciliation always takes place a little too late. But if it weren’t for this belated reconciliation, how forlorn would be the memories that sustain our lives? Herein lies the importance of Kim Jooyoung’s novel, Goodbye, Mother. The future is dictated by how one deals with past memories. The future of the protagonist, who is able to bid his mother goodbye, will perhaps be filled with peace.

Song Sok-ze, Munhakdongne Publishing Corp. 2012, 264p, ISBN 9788954617918

Before the modern novel came into being with the advent of print media, the novel in the form of community storytelling had existed for a long time. Although at present the novel is entrapped within the printing mechanism of publication and distribution, at the core of the whole process, there remains the age old tradition of storytelling. These stories are still told by a storyteller from a community, who is different from a modern novelist writing in seclusion. In this context, Song Sok-ze is viewed as an important asset to Korean literature. He is a writer who has carried on the tradition of stor yteller that has been carried down from agrarian communities to modern times. The motif that runs through his novels is that of a storyteller who has to convey the ethics and history of a community while being alienated 46 list_ Books from Korea

Vol.17 Autumn 2012

in modern society. The work Song has published in t he la st 20 yea rs show how he has delved into this community stor ytelling, most of which has been overlooked in contemporary literature. H i s novel, C ommanding, c a n be seen in the same light. The basic plot of this book is the confrontation between a gang and a small number of people from an agrarian society. On the f lip side of the story however, there’s soulsearching and criticism against the rapid industrialization that has destroyed the tradition of storytelling, which used to serve as a cornerstone for community. Rapid industrialization has led to a demise of stories that made order and prosperity possible for a community. As a result, we can no longer experience the bliss of a storytelling culture. What has replaced it is the standardization of mass media. That is why Song’s book, Commanding, is so valuable for he shows us the power of stor y telling and the memories of community that was lost as a

Eun Hee-kyung, Changbi Publishers, Inc. 2012, 252p, ISBN 9788936433925

by Jang Sungkyu

The Raconteur Returns Commanding

Life Unperturbed

Eun Hee-kyung’s Life Unperturbed tells the story of Joseph and Ryu. Twenty years ago, in a strange city called S, the two were passionately in love. Even after Ryu abandons Joseph without a word, Joseph cannot forget her and grows old as a bitter, middle-aged writer. The story juxtaposes Joseph’s life at the present, as a writer who is slowly losing the public’s attention and whose personal life is embroiled in scandal, and Ryu’s life in the past as a lonely girl growing up in a broken home. The plot initially draws in the reader with the revenge drama of a pupil plotting to exact revenge on his mentor. Ian, Joseph’s old pupil, is a screenwriter who wants to cast Joseph in his film Writers in Crisis that reveals the hypocrisy of established writers through their personal lives. Although reluctant, Joseph decides to accept Ian’s offer, thinking he might be able to meet Ryu again for the first time in 10 years. The revenge plot and the suspense of whether Joseph will be reunited with

Ryu makes for a spectacular page-turner. What makes this work truly successful, however, is Joseph’s “take-no-prisoners” comment on the hypocrisy in our society, particularly of the literary circle, and his candidness in revealing even the basest details of his life. Coupled with Eun’s cynical yet driven style, readers will find something to mull over in every sentence. Although the story first appears to be about the protagonist Joseph and his struggle with thwarted desire, it is the tragic tale of Ryu’s mother and her stoicism in the face of ever y kind of betrayal imaginable that stands out. Beginning with a description of the breathtaking beauty of a young woman who is on the phone with her lover, Life Unperturbed follows her downward spiral from bliss to aching loneliness. “They had already seen the most bewitching beauty possible; everything ever after would only remind them of their loss.” Life Unperturbed offers a bewitching portrait of this loss. by Cho Yeon-jung

Revisiting Dystopia result of industrialization. By doing this, he provides us with a powerful impetus for soul-searching vis-à-vis the paradox of what industrialization has done. by Jang Sungkyu

Jezebel Djuna, Jaeum & Moeum, 2012 351p, ISBN 9788957076378

“I chose ‘Djuna’ as my alias because I happened to be reading a book by Djuna Barnes at the time,” said Djuna, a science fiction writer and a film critic. She started publishing sci-fi short fiction and film reviews on the Internet in 1993 and steadily rose to prominence. Djuna has not disclosed even her most basic personal information such as sex, age, or educational background, but there are theories—from speculation that Djuna is a woman to claims that Djuna is a creative group that consists of three individuals. While the sci-fi genre on the whole doesn’t have a loyal fan base in Korea, Djuna does. Jezebel is a fix-up (series of short stories all based on the same worldview but can each stand on its own) sci-fi novel. The story takes place in the future on Crusoe, a planet formed by the linker virus. A virus that modified the host’s genetic structure

and merges the host with its environment, the linker virus alters the values and reasoning processes of its hosts. The narrator notes, “Many species live together on Crusoe, but because the linker virus is always disrupting the gene pool, children are hardly ever born.” How do people cope in an environment where escape, evolution, and reproduction are not easy? In the writer’s afterword, Djuna explains that she had intended to imagine a world based on outdated scientific theories such as the geocentric universe and inheritance of acquired characteristics, and employ motifs of the “unsuspecting protagonist thrust into a space adventure.” Gripping new episodes and the typical Djuna social commentary can be expected in the future. Djuna is geared up for the future. Let the wild ride begin. by Kim Dongshik

list_ Books from Korea

Vol.17 Autumn 2012

Reviews Fiction

Reconciling Age-old Memories Goodbye, Mother Kim Joo-young, Munhakdongne Publishing Corp. 2012, 276p, ISBN 9788954618250

What We Leave Behind

Song Sok-ze, Munhakdongne Publishing Corp. 2012, 264p, ISBN 9788954617918

Vol.17 Autumn 2012

Eun Hee-kyung, Changbi Publishers, Inc. 2012, 252p, ISBN 9788936433925

by Jang Sungkyu

The Raconteur Returns Commanding

Life Unperturbed

Revisiting Dystopia result of industrialization. By doing this, he provides us with a powerful impetus for soul-searching vis-à-vis the paradox of what industrialization has done. by Jang Sungkyu

Jezebel Djuna, Jaeum & Moeum, 2012 351p, ISBN 9788957076378

list_ Books from Korea

Vol.17 Autumn 2012

Reviews Fiction

Steady Sellers

An Insult to Blind Love The Foundation of Love: A Couple's Story Jeong Yi-hyun, TOLL Publishing, 2012 210p, ISBN 9788954618182

Jeong Yi-hyun is no stranger to the theme of love and romance. In her first work, Romantic Love and Society, Jeong took love and romance from its place in the philosophical sphere and placed it in a social context by defining romantic love as a temptation that coerces men and women into a social contract. Simply put, romance, according to Jeong, is a voluntary self-deception and fantasy. The Foundation of Love: A Couple's Story is a record of a relationship between two mature adults who fully understand that a romantic relationship is a social contract. If perfect love is to be defined as one’s f irst love or a pursuit for an unrequited ideal, this couple’s relationship i s f a r f rom p er f e c t . From t he ver y beginning they both admit that loneliness and boredom is what made them seek out a relationship. The sentimental title, the reader soon discovers, is purely ironic, as evinced by the author’s cynical treatment of romance. Jeong insists that even coincidence, that

How Sex Relates to Life Eve Bares All Gu Kyung-mi, et al., Munhak Sasang Co., Ltd. 2012, 254p, ISBN 9788970128757

Sex is a clandestine kaleidoscope of human relationships. Sometimes it satisfies our fantasy of becoming one with another person, other times we experience the bitterest disappointment. That is why sex triggers conflicting emotions such as bliss and disillusionment, happiness and sadness, and pleasure and displeasure. The gratification of sexual desire is truly an alienating experience on many different levels. At the most basic level it is the act of facing your desire; at the next level it means to reveal your desire to another and become privy to their desire. A sexual encounter made at the most basic level of our physical desire sometimes results the keenest understanding of the world. Considering that literature has a natural affinity for leaving the mundane behind a nd look ing beyond what is obvious, it is not surprising that literature 48 list_ Books from Korea

Vol.17 Autumn 2012

gravitates toward the topic of sex. Eve Bares All is a collection of short stories about sex told by six writers, all women. In one of the stories, sexua l intercourse is proof of love that transcends life and death; in another, a device that helps us realize that reality has a flip side called disillusionment. It is also described as mundane yet infinitely artistic, or a testament of how miserable life can become. Given that the collection is about sex, the works of Kim E-seol and Han Yujoo are particularly interesting in that they both regard sex as completely irrelevant to romantic feelings of love. “Set Play” by K im E-seol, k nown for her hardhitting writing focusing on the lives of the disenfranchised, looks at the sadness as well as the desires of teenagers unprotected by society that indulge in sex without scruples. In the short story “Don’t Care to Remember the Title,” Han Yujoo cynically describes a moment of shattered trust wherein a woman calls out another man’s

striking occurrence of a transcendental quality, is only a product of self-deception. After the protagonists Jun-ho and Minah meet for the first time they run into each other by chance, discovering that they live in the same neighborhood. This coincidence, however, only makes things awkward when they break up—a fateful encounter reduced to a nuisance. This coldness is the product of Jeong’s perspective as author and narrator. In her cold study of the couple’s romance both Jun-ho and Min-ah are described as assailants as well as victims. While Jun-ho and Min-ah eventually go their separate ways, this does not make the story a tragedy. Neither is it a comedy. The breakup hardly leaves a scratch on this impassive couple that moves on with no hint whatsoever of a soul-transforming change. There is no greater insult to romance than a love that leaves no mark. A chilling blow to romantic love is delivered by a piercingly observant author.

Solidarity in Suffering and Hope Wonmi-dong People Yang Gui-ja, Sallim Publishing Co. 2004, 366p, ISBN 9788952202000

by Kang Yu-jung

name in her sleep while her boyfriend is awake next to her. To the couple, sex becomes a reminder of the sadness, not joy, of their relationship, pressing them to recognize the chilling reality of life instead of physical pleasure. If it is the duty of the average person to keep the myth of sex and love alive, it is the duty of the writer to look more deeply into how sex relates to life. The authors of this book more than fit the bill. by Cho Yeon-jung

Yang Gui-ja closely examines the pains and struggles of the daily lives of the poor and downtrodden. Her characters, oblivious to the source of their sufferings, often cling to a false hope that plunges them further into the depths of sorrow and ruin. But even as she depicts a landscape of despair, Yang speaks of hope—a true empathic message of those who have known despair and pain. Yang’s short story collection expresses passionate faith in humanity’s dream of solidarity as we live in solitary pain. Wonmi-dong People is a series of short stories all set in the outskirts of Seoul in an area called Wonmi-dong and its montage of colorf ul characters. The

collection begins one winter day when the temperature plummets to below zero. Eunhye’s family is forced to leave Seoul due to f inancial restraints and settle in Wonmi-dong. The eerie, grim, and moving scene sets the tone for the rest of the short story collection. Their new neighborhood is largely inhabited by a uniformly pitiful, hopeless lot including a father who desperately searches for a new job after being fired from the old one but can’t adjust to the new one either; Old Man K ang who worked hard and bought land that he blew on his children’s failed business insists on growing crops on a small patch of land despite neighbors’ complaints; a poet who

has sustained brain damage after being tortured for participating in the student movement; a former office worker who abandoned his job and family for a life of wandering the woods with a backpack filled with rocks; Lim who came up from the country and did everything he could but can’t escape poverty; a tea house lady who went from one brothel to the next until she wound up opening a tea house in Wonmi-dong as a last resort; and a man who lives in the basement of a boardinghouse and simply wishes nothing more than to conduct his affairs in peace. But Yang is relentless in her efforts to find the minute spark of hope in each of her characters’ lives. She embraces them the way they are—their follies, incompetence, transparent stratagems, selfish desires, indifference to other’s victimization and misfortune, cowardice, and passivity. Yang sees past the selfishness that is their survival tactic and sheds light on their fundamental kindness. The message of hope in a world devoid of hope, the dream of a better world when the world comes crashing down—that is the enduring message of this long-cherished book that rings true even today. by Park Hyekyung

list_ Books from Korea

Vol.17 Autumn 2012

Spotlight on Fiction

At Least We Can Apologize (Excerpt)

A story by Lee Gi-ho translated by Christopher Dykas

At Least We Can Apologize Lee Gi-ho, Hyundae Munhak Co., Ltd. 2011, 349p, ISBN 9788970128610

list_ Books from Korea

Vol.17 Autumn 2012

we would go back to packing the socks in their plastic. Perhaps it was thanks to the picture, but the socks sold well.

At Least We Can Apologize

Part One: Finding Wrong 1. The Pillars of the Institution Si-bong and I first met in the institution. I was there first, and Si-bong entered a week later. From then on we shared the same room. Neither Si-bong nor I know how many years we spent there together. That’s because we can’t remember. I know that there, I grew six centimeters taller. Si-bong gained eight kilograms. Some time ago Si-bong had reached 84 kilograms. He was the only person in the institution who gained weight. The caretakers always told him to thank them for that. They would add that our growing taller, or our growing heavier, was because of the pills they gave us. Si-bong and I religiously took the pills we were given: four a day, in the morning and at night. When we first started taking the pills we felt sick and dizzy,

50 list_ Books from Korea

Vol.17 Autumn 2012

as if teetering on a seesaw. Now, when we don’t take the pills we feel dizzy. That’s why Si-bong and I were always waiting for pill time. When the caretakers would stomp over to our room, pills in hand, and stand at our door, we would rush over, our heels barely grazing the floor, and kneel down with both hands outstretched. We never had a problem swallowing those pills; they slid perfectly down our throats and disappeared into our bodies. When we weren’t taking our pills, we worked, either packaging socks or labeling soap. On the sock crates we would attach a group picture of all of the institution’s residents. When we took the photo, Si-bong and I were in the back row on either side, standing at perfect attention. We both liked that picture. That was on account of our looking like perfect pillars of the institution. Every time we weren’t feeling well, Si-bong and I would take out that picture and look at it. Then

The point when trouble started at the institution came when a new, older man with long sideburns moved into our room. The man would put his pills into his mouth and, after the caretakers left, spit them out again. One time the man said he wasn’t ill. He said that he’d done nothing but fall asleep in the square at the train station, and woke up in the institution. Sibong, too, said that he had gotten into a van at the square in front of the train station, and that when he got out he was at the institution. I didn’t say anything. The man with the sideburns lowered his voice and spoke. “Look at you! You guys are fine and you’re locked up in here! We have to get out of here as soon as we can—and I’m telling you: That’s not gonna happen by taking those pills!” Si-bong and I looked at each other for a moment. The man looked at us as well. “But, sir… it’s like we’re the pilla rs of the institution.” Si-bong followed the man’s tone, speaking in a low voice. All I did was nod silently. The man just stared at us without a word. Then he rolled over toward the wall. After that, the man stopped speaking to us. Every day the man with sideburns took pieces of paper from the sock crates in the workroom and, back in our room, wrote on them: We are being held captive. If you find this note, please report this to the police. You will be generously rewarded. The man would always sign his name at the end

of the note. He would stick a grain of cooked rice on the back of the paper to glue it to a stone. Then, every morning during cleaning time, he would throw the messages over the fence. The image of the man staying up late each night to write these notes was so pitiful that Si-bong and I decided to help him. Before loading each box of socks into the crates, we would write a note inside: We are being held captive. If you find this note, please report this to the police. The man in our room said that you will be generously rewarded. We wrote these notes inside the sock crates. We would always end the note by signing, The Pillars of the Institution. We didn’t want to cause the man with sideburns any trouble, so we always wrote the notes quickly so that no one else would see. The socks sold well. One morning, exactly one month after we started writing the notes, the institution was swarmed with police officers, government workers, and TV news reporters. We greeted them like true pillars of the institution, standing at perfect attention. 2. The Home We Knew The first person to come out of the institution was the superintendent. He got into a black car along with two police officers. Before getting in, he turned around for a moment to look at the main building. Sibong and I remained standing at attention in front of the building. The superintendent’s eyes met ours for a moment. As always, Si-bong and I greeted him politely with a bow.

list_ Books from Korea

Vol.17 Autumn 2012

we would go back to packing the socks in their plastic. Perhaps it was thanks to the picture, but the socks sold well.

At Least We Can Apologize

50 list_ Books from Korea

Vol.17 Autumn 2012

list_ Books from Korea

Vol.17 Autumn 2012

The two caretakers, the director general, and the cafeteria woman were also taken by a police van. As the cafeteria woman was being taken away at the hands of the police officers, she yelled, “I’m a patient, too! A patient! I’m not normal!” The police said nothing. Some of the reporters came up to us and asked, “Could you please tell us who ‘the Pillars of the Institution’ are?” Si-bong and I answered politely that it was us. As soon as we did, even more reporters and other people gathered in front of us. They asked questions in quick voices. “How were you brought to the institution?” “Have you suffered any abuse here?” “What exactly does ‘Pillars of the Institution’ mean?” Just as Si-bong and I were about to answer the questions one-by-one, the man with the sideburns cut through the crowd and came up to us. The man took our hands and shook them vigorously. He was beaming. We were not. The man answered the reporters’ questions for us: We were all taken from the train station, we were all beaten daily by the superintendent and the two male caretakers, we heard every kind of insult from the cafeteria woman, but, despite all that, we were able to hide our plan, win the confidence of the superintendent, and were entrusted with the sock packaging operation. And “Pillars of the Institution” … that was our code name, our mission: to tear down the pillars of the institution. The entire time the man spoke he kept hold of Si-bong’s hand and mine. Sweat was collecting in our palms. After the reporters left, the government officials

52 list_ Books from Korea

Vol.17 Autumn 2012

brought in a doctor. Guardians of some of the residents began to show up as well. The government workers stood by the doctor, asking the residents questions. “Would you like to go to another facility? Or would you like to go home?” The doctor sat there, tapping his pen on the table as he stared at the residents. From time to time he even yawned and drew pictures of trees on his paper. He smelled of alcohol. The government workers did not ask me and Si-bong questions. Instead, they pointed to us and whispered in low voices, “There, the whistleblowers.” When everyone was done being questioned, one of the government workers came up to us and handed us envelopes. “You two can go home now.” Inside the envelopes was money for us to get home. The man with sideburns came up to us as well. “Get home safe, Mr. Pillars. Maybe we’ll see each other again. If you ever wanna see me, just come on over to the square in front of the train station in the town over there.” We walked out of the main gate of the institution. Spread out in front of us were low-lying hills, pine trees and firs, all coated sparsely with the final remnants of snow. Si-bong and I looked at the clouds above the firs for a while. The trees looked like pillars, holding up the clouds. Si-bong asked me, “So, you’re gonna go back home now?” I answered honestly, “I don’t know where my house is.” Si-bong continued to look at the clouds, then said,

“Really? I know where my house is…” I said nothing as I looked at the dirt road that led up to the highway. The crisscrossing tire tracks in the dirt looked like the metal bars on our windows at the institution. Si-bong brushed off his pant legs and spoke. “So, you wanna just start by going to the house we know, first?” Si-bong brushed off his pant legs. I nodded silently. Only then did we slowly start walking. After walking for a while, Si-bong and I turned around for a moment to look back at the institution. With all the people gone from inside, the institution looked somehow in danger, as if it might come tumbling down at any moment. I felt queasy. The institution was the place where we had lived for a number of years, a place that had taught us so much. That was certainly something to be thankful for. Now, Si-bong and I were leaving that place. 3. The Caretakers When I first entered the institution I was beaten almost daily. I was beaten in the morning, beaten at lunchtime, and beaten before bed. Sometimes I wasn’t beaten in the morning and then beaten twice at night, and I was even beaten twice at lunch and three times at night before. I was beaten with a pointer, beaten with a steel pipe, slapped, punched, kicked with a booted foot, and even beaten with a thick book. I was beaten with a chair, beaten with a trash can, beaten with socks, and beaten with a shovel. After being beaten like this for some time, one day I looked over and there was Si-bong. He had both arms wrapped around his head as he was being beaten. That was the first time

that Si-bong and I met. After that, we were beaten together every day. We were beaten together under our beds, beaten together in the hallway, beaten together after being called into the office, beaten together in the workroom, beaten together on the hill behind the institution, and beaten together in front of the main gate. Being beaten together like that for so long, we became friends. The ones beating us were the two male caretakers. They were the same age, cousins, and also nephews of the superintendent. One of them was shorter and the other was taller. The shorter one always went around in one of those white gowns that doctors wear, and the taller one went around wearing jeans and army boots. The shorter one went around with his own fork, spoon, and toothbrush in the left pocket of his white doctor’s gown and, in the right pocket, his own latex gloves. Whenever he beat us, or gave us our medicine, he would always wear his gloves. The taller one barely had any hair on the top of his head. Every morning he would wash his hair for a long time and, after combing all the hair on the back of his head forward, would spray it down with hairspray. In the back pocket of his jeans he always carried a convenient can of hairspray and comb and, after beating us, would take great care to fix his hair. Every time we smelled the scent of his freesia hairspray, we thought to ourselves, “Ah-ha, guess the beating’s over.” The two men lived on the second f loor of the main building, in the room across the hall from ours. Unlike our room, theirs had wooden flooring and there was a large TV and a refrigerator. They would have the television on until all hours of the night, but the

list_ Books from Korea

Vol.17 Autumn 2012

52 list_ Books from Korea

Vol.17 Autumn 2012

list_ Books from Korea

Vol.17 Autumn 2012

movies they watched tended to have more moaning sounds than talking. Sometimes after the movies were over the caretakers would make phone calls somewhere. They took turns asking questions like, “Might this be the home of that big-tittied gal I had sex with a year ago?” or “By any chance, are you wearing nothing but pantyhose right now?” and hang up right away. After that, all we would hear was giggling. Even after hearing all that, Si-bong and I never laughed a single time. That was on account of the two male caretakers not being particularly fond of us laughing. Sometimes the superintendent would come around to the two male caretakers’ room, looking for them. This was usually when the caretakers overslept and weren’t able to give us our pills on time. When this happened, the superintendent would call them “worthless pieces of garbage.” He would also call them “useless, good-for-nothing vermin,” and “crazy fucking street rats.” On days like that, the two would beat us even before breakfast, repeating exactly what the superintendent had said to them. “Worthless pieces of garbage!” “Useless, good-for-nothing vermin!” “Crazy fucking street rats!” Once, the shorter one had the flu and spent four days straight lying in bed. The taller one wasn’t able to sleep a wink, as he spent the whole night running back and forth in the hallway, using a wash bin to wet a facecloth. Both Si-bong and I were awake, but he didn’t order us to do anything. He brought plain white rice porridge directly from the cafeteria woman himself, washed the shorter one’s white gown himself,

54 list_ Books from Korea

Vol.17 Autumn 2012

and waited outside the bathroom with toilet paper in his hand. When the superintendent came to their room to yell at them, calling them “worthless pieces of garbage,” the taller one stood up and yelled back, “Jesus Christ, Uncle! Don’t you think this is a little much?! I told you, the kid’s sick!” The superintendent glared at them for a long moment and, without saying a word, slammed the door shut and left. When the shorter one finally got out of bed, the first thing he did was beat us. In order to make it easier for the shorter one to hit us, the taller one stood behind us and held our shoulders. “Don’t overdo it. You still have to take it easy for a few days,” the taller one said, concern in his voice. “Yeah, okay.” The shorter one put on his plastic gloves and showed a faint smile. He didn’t overdo it, punching us only a few times in the chest with his fists. His fists were the same as they had been before. And that was how Si-bong and I knew that he was all better, and we thought about how it was all thanks to the taller caretaker. 4. The Institution All together, the institution had three buildings. With the main gate to your back, the first building seen straight ahead was the main dormitory building, where we and the other residents lived. It was a white, two-story building, and on the first floor were the administrative office and the superintendent’s office, a staff lounge, a washroom, and the laundry room. On the second floor were the residents’ and caretakers’ rooms. All of the windows of the dormitory building were covered by thick, interlocking metal bars and in

the halls the fluorescent lights were kept on day and night. All of the residents’ rooms had the same set-up: six steel beds and a sink on one wall. All of the residents used this sink to wash their faces, shampoo their hair, brush their teeth, wash their clothes, and get drinking water. In the laundry room, there were two washing machines that had been donated, but we never once washed our clothes there. Usually the only thing we did in that room was get beaten with a thick hose. To t he le f t of t he m a i n bu i ld i n g w a s t he superintendent’s residence. It was a small house with three rooms, a storehouse, and a red tile roof. The superintendent lived there by himself. He was a man far older than even the director general, with the hair all around his ears turned completely white, but he said that he had never once been married. He had no children or anyone. Sometimes the caretakers would say things to us— whether we were listening or not—so that the director general could hear, like, “And that’s exactly why we’re here. If Uncle makes a wrong move, what would happen? We have to take care of the family business.” But, when it was just the two of them, they would say things like, “Man... When that old fart croaks the first thing I’m gonna do is put in a driving range.” “Didn’t you say last time you were going to put in a motel?” “Did I? Heh… anyway, next year all this is getting torn down and we’ll get it started.” To the right of the dormitory was a long building, half of which was the cafeteria and half of which was

the workshop. Someone told us it was originally the building where the milk cows would sleep or just stand around, but they’d all been sold off long before we entered the institution. Even though all the cows were gone, the slate roofing they used to face, the cement floor with its cracks here and there, and the drainage system were all the same. Along one wall there was the same long, horizontal piping and a half-wall of perfectly lain brick. We would hang the socks to be packaged all the way down along the steel piping, or stack the boxes against it. Sometimes, when we had time, we would sit on top of the brick wall with our lunch trays and eat there. On days when we had too much soup left over, we would pour it down the drain. That was on account of the cafeteria woman not liking it when we left food uneaten. The first time we left food, she threw our lunch trays in our faces. She did the same to all of the residents. Whether old or young, whether having left a lot, or a little, no exceptions, no discriminating. Behind the main building there was a low-lying hill. On the hill there were many pine and fir trees, thickets and weeds, as well as large boulders here and there. One snowy winter day, two rabbits came down from the hill, all the way to the backyard of the institution. The director general and the two male caretakers caught them with vegetables as bait and turned them into a soccer ball. From time to time they would kick the soccer ball around in the backyard, often sending it up the hill. Every time Si-bong and I saw that we nodded our heads. Having come down from the hill, it was only a matter of course that they would want to go back up. Half way up the hill there was a cylindrical

list_ Books from Korea

Vol.17 Autumn 2012

54 list_ Books from Korea

Vol.17 Autumn 2012

list_ Books from Korea

Vol.17 Autumn 2012

barbed wire hedge that connected to the fence of the institution. Si-bong and I went all the way up to that barbed wire a total of two times. Each time was to bury a resident who had died. As there was no place on the grounds of the institution suitable to bury a person, we went all the way up there. Of course, each of those times we went with the caretakers, but the only ones digging into the earth with those shovels were Sibong and I. The earth was hard and there were lots of rocks, so the tips of our shovels clanked and clanked. Meanwhile the caretakers rubbed their hands together, repeating with annoyance: “Man, I’m freezing to death out here.” 5. Our Wrongs Every time the caretakers beat us they would ask us: “Do you know what you did wrong?” “I said: ‘Do you know what you did wrong?!’” For a while in the beginning I couldn’t answer. That was on account of not knowing what it was I’d done wrong. So, as the caretakers beat me they would yell, “We beat you like this every day because you don’t even know what you did wrong!” as they kicked me in the behind, or slapped me in the face. Si-bong , on t he ot her ha nd, a ns wered t he caretakers’ question from the first day. “Yes, I know what I did wrong!” For a moment, the caretakers opened their clenched fists and looked at him with surprise. I looked at him as well, through the corner of my eye. Si-bong looked at the caretakers directly in the eye and spoke. “My wrong is that… Even if you hit me, there’s no knocking sense into me!”

56 list_ Books from Korea

Vol.17 Autumn 2012

That day, Si-bong was beaten so hard that there was no way he could have made sense of anything. The caretakers even threw a trash can at him, his face covered by both of his arms. Thanks to that, I was barely beaten at all. To this day, I still feel thankful to Si-bong for that. It was certainly something to be thankful for. Even Si-bong’s first words to me were all on account of wrongs. One dark evening, Si-bong lay in his bed and asked me, “Did we do something wrong?” Our beds were dressed with a thin layer of industrial plastic. On days when government workers would come from their offices, white sheets were spread out on top. As I fingered the crinkling plastic, I thought about what it was I could have done wrong. It seemed as though I’d clearly done something wrong, but I couldn’t for the life of me think of what it was. So I continued to say nothing. Si-bong turned in bed to face me and said, “I don’t like getting beaten.” The fluorescent light of the hallway shone slightly on his eye, which was swollen so badly he looked as though he were squinting. “Really, as much as they hit me, I can’t seem to come to my senses.” When he said that, I thought about how he was really going to get it the next day. So I continued to say nothing. That was on account of figuring that, in any case, I’d be thanking him again. The next day Si-bong was only slapped a few times on the cheek, and wasn’t beaten at all anywhere else. I was hit in the chest, on my thighs, in my ribs, and in

the face. When the caretakers asked Si-bong once more what he had done wrong, he answered in a loud voice, “Actually… I—I cursed!” The shorter one put on his plastic gloves and looked Si-bong in the eyes. “Cursed? Cursed who?” “The caretakers, sir!” The two male caretakers looked at each other, and then asked Si-bong again. “What did you say when you cursed?” “Well… I said… um… ‘Motherfuckers!’” I stood there, looking straight ahead. At any moment I expected a scream to leap out of Si-bong’s mouth. First, though, I heard the male caretakers laughing. “Yeah, that’s right, you little shit. That’s exactly what you did wrong. Why would you go and do something like that, now, huh?” The taller one slapped Si-bong in the face three times as he spoke those words. The shorter one just kept on laughing. The taller one looked at me and asked, “What about you? Did you curse us?” Rather than answer, I shook my head. I hadn’t c u r se d t hem. T h at i s a n u ndoubte d, per fe c t recollection. Just then, the shorter one’s fist came flying at me. As soon as I’d fallen over, the taller one stomped down on my ribs. “You’re even worse, you piece of shit!” The shorter one took a few steps back toward the wall, then charged forward again, kicking me hard in the butt. As it happened, Si-bong stood there at attention, looking down at me, not saying a word. After the caretakers had gone down to the first floor

office, I asked Si-bong, “When did you curse them?” I was feeling my ribs with one hand and, each time I did so, the pain shot all the way to the other side of my body. “I didn’t,” he said, taking a step closer to me. “Then why did you say you did?” “I don’t know… it’s what I’m gonna do now.” Sibong brushed the dirt off my pant leg, saying quietly, “Motherfuckers…” He looked back up at my face and gave a slight smile. “’Cause, you know, last night I was thinking about it, and I didn’t know if it was a wrong or not.” After he said that to me, he repeated the words. “Motherfuckers.” 6. The Wrongs That Follow the Confessions From the next day on, we lived creating wrongs. As we didn’t know what it was that we had done wrong, we always started with the confessions. That was on account of our being beaten less for confessing than for not confessing. Si-bong admitted to cursing the caretakers again and was beaten repeatedly in the thighs with a steel pipe. The caretakers said that committing the same wrong again was an even greater wrong. So we had to come up with new wrongs every day. Some of them became “wrongs,” while others became “greater wrongs.” On days we committed wrongs, we were beaten less, on days we committed “greater wrongs,” we were beaten a lot, and on days we admitted to nothing, we were beaten repeatedly all day long. “Actually… I didn’t take all of my medicine! I threw

list_ Books from Korea

Vol.17 Autumn 2012

56 list_ Books from Korea

Vol.17 Autumn 2012

list_ Books from Korea

Vol.17 Autumn 2012

it away!” This was a wrong. At this point, the shorter one stood up on his toes, yanked on our hair bit by bit, and took out more medicine from the pocket of his gown. “Actually… Behind your back I made like I was going to choke you, sir!” This was a “greater wrong.” The caretakers knocked us down, jumped on our chests, and repeatedly punched us. For a long while they said nothing, only panting heavily, sending their fists flying. “We were listening the whole time to the moaning sounds coming out of your room, sirs!” This was yet another wrong. The caretakers looked at each other and gave a chuckle, then ordered us to give it a try and make our own moaning noises. Sibong and I stood there at attention and, staring up at the ceiling, made our own moaning noises for some time. The caretakers laughed as they listened to us. Then they slapped us lightly on the cheek a few times. Just as they were about to leave, Si-bong made a voice imitating those of the caretakers. “By any chance, are you wearing nothing but pantyhose now?” As soon as he said that, the caretakers took to our throats once more. That was on account of it having turned into a “greater wrong.” Once, after a full week of constantly thinking of new wrongs to confess, neither Si-bong nor I could come up with anything more and had nothing left to say. That day, all day long, the caretakers dragged us around, beating us with belts in the chest and on our shoulders, in the back and in our sides. They said that it was because we had committed “an even greater,

58 list_ Books from Korea

Vol.17 Autumn 2012

much greater wrong,” and that that must have been why we weren’t talking. They yelled at us to tell them what it was right away, but we truly couldn’t think of anything else. As the caretakers continued to whip us with belts, it became even more difficult to think of anything. And for that, the beating continued. After we confessed a wrong, we always made sure to commit it. That was on account of our feeling unsettled after having the confession in our heads all day long. So, on days we said we didn’t take our medicine, we really threw it away instead of taking it. On days we said we’d cursed the superintendent in the bathroom, we really cursed him. We made sure to commit exactly the wrongs we confessed, and only those wrongs. Only that way could we ease our minds and sleep soundly. Sometimes, on days when we forgot to commit the wrongs we’d confessed, we would get out of bed and pound on the door to wake the caretakers. Generally they would start off by kicking us as soon as they opened the door, still, Si-bong and I would endure it until we had fully committed our wrongs. Once Sibong motioned as if to strangle one of the caretakers who had turned his back, and when the other caretaker saw this, he strangled Si-bong. Through choked gasps Si-bong pounded the floor with one hand. At that moment I watched Si-bong with envy. That night, he snored loudly in a deep, peaceful sleep. 7. Medical History Si-bong and I continued walking. The frozen earth was starting to melt and the mud stuck to our shoes. Waves of warmth were emanating from a bundle of

straw in the middle of a deserted field. Crows made small circles overhead as they came down to settle in the crown of a poplar by the road. Si-bong and I walked along with our hands stuffed into the pockets of the work clothes given to us at the institution. We didn’t speak at all. The day’s sun was warm, but the wind was strong. The unpaved road led to an industrial highway of four lanes. As we walked, we stayed close to a sound barrier that shot up out of the ground like the blade of a giant saw. Passing semis sounded off their air horns and, when they did so, Si-bong would stop, cover both ears with his hands, and stand there for a long while. Each time, I waited for him. Once we’d arrived at a bus stop, we sat down on the bench for a minute to catch our breath. Si-bong’s forehead was glistening with sweat. He asked me, “Are you gonna take the bus?” Staring at the other side of the road, I answered. “It’s too far to walk to your house.” “But… I probably can’t take the bus.” Only then did I look Si-bong directly in the eyes. The sweat continued to collect on his forehead. The collar of his shirt had become dark with moisture. “You can’t take the bus?” “Yeah, ’cause there’s no bathroom.” I didn’t quite understand what he meant. “A long time ago I was in a taxi and I had to go to the bathroom.” He was scratching his head as he spoke. “So the taxi pulled over and I squatted down right in the ditch by the side of the road to take care of my business, but when I got up, the taxi was gone.” “Wow… it just left you there and drove off?” “No. It ended up underneath a semi. It was a pitch

black night.” I let out a long sigh. “Was there anyone else in the taxi?” “My father, my mom.” He let out a short laugh. “Ever since then, every time I get into a car I have to do a number two. That’s why my little sister used to hit me all the time… Never really got better.” When Si-bong first came to the institution in the director general’s van, his pants were heavily soiled. The director general kept cursing him, and the male caretakers snickered and said, “Sir, what are we gonna do with a guy this messed up?” That day, under the orders of the male caretakers, I spent a long time trying to clean Si-bong’s pants. The smell didn’t go away easily. Only now did I understand why that was. Si-bong and I started to walk again. We were headed toward the train station. Since trains have bathrooms, we could ride without worry. We’d been walking for a while without speaking when Si-bong asked me. “So… how did you end up in the institution?” I stopped and stood for a while, trying to recall the memory from long ago. It wouldn’t come to me. I told him what I could remember. “I… I walked in.” “You walked in? By yourself?” “No, my father walked me to the superintendent’s office.” My father had spoken with the superintendent for a long time. The whole time all I could do was stand outside the door. From inside I could hear my father’s voice in bits and pieces.

list_ Books from Korea

Vol.17 Autumn 2012

58 list_ Books from Korea

Vol.17 Autumn 2012

list_ Books from Korea

Vol.17 Autumn 2012

“So he’s really not normal… He’s just not normal!” My father came out of the superintendent’s office and looked me in the eyes without saying anything. He gave me a stroke on the head and disappeared down the other end of the hall. I was left to the male caretakers right away. From that day on, I really had become someone who wasn’t normal, a resident of the institution who couldn’t remember his father’s face, his mother’s, his home, his age, nothing. I told Si-bong the whole story. All that I knew, all that I remembered, that was it.

About the Author Lee Gi-ho debuted when his short story “Birney” won the monthly Modern Literature New Writer’s Contest in 1999 and was awarded the Lee Hyo-seok Literary Award in 2010. His short story collections include Earnie and Being at a Loss, I Knew This Would Happen, as well as the novel At Least We Can Apologize. He is currently a professor in the department of creative writing at Gwangju University.

60 list_ Books from Korea

Vol.17 Autumn 2012

Reviews Fiction

Steady Sellers

An Insult to Blind Love The Foundation of Love: A Couple's Story Jeong Yi-hyun, TOLL Publishing, 2012 210p, ISBN 9788954618182

How Sex Relates to Life Eve Bares All Gu Kyung-mi, et al., Munhak Sasang Co., Ltd. 2012, 254p, ISBN 9788970128757

Vol.17 Autumn 2012

Solidarity in Suffering and Hope Wonmi-dong People Yang Gui-ja, Sallim Publishing Co. 2004, 366p, ISBN 9788952202000

by Kang Yu-jung

list_ Books from Korea

Vol.17 Autumn 2012

Reviews Nonfiction

A Buddhist Monk Mentors Youth The Things We Can See Only After We Stop Venerable Haemin; Illustrator: Woo Chang-heon Sam&Parkers, 2012, 292p, ISBN 9788965700609

The Things We Can See Only After We Stop was written by a young 39-year-old monk who has a Twitter following of over 200,000. With so many followers reading his 140 word tweets every day, it is perhaps not surprising that 600 reprints of his book have been printed in the five months of publication. The Things We Can See Only After We Stop has been at the top of the bestseller list for four months and has sold over 700,000 copies. A unique intellectual class emerged in Korea a few years ago: mentors. It has been about 20 years since the political authoritarian regime disappeared in Korean contemporary history. The last 20 years of the democratization in Korea has accelerated post-authoritarianism not only in regards to political authority, but also in all areas of society. The authoritarian era of the past created a wartime situation that polarized all areas of politics, society, and culture into “us and them” with a single dividing line. The evils of over-politicization have been great as even an artist’s personal opinion was magnified and reproduced according to each camp’s ideolog y.

The authoritarian era was a time when the value of art and statement was not recognized and independent, and distinct personalities were doubted amid fierce political struggle. Ironically, however, it was this authoritarian era that completely destroyed the basis of authority in society. The saying “the era without a teacher” is a bitter description of Korea n societ y of t he pa st fe w decades. Perhaps due to the aftermath of the dismantling of authority, simple and rustic messages of healing by mentor figures have recently gained authority in the Korean book market. This is why the writing of Venerable Haemin, who has diligently communicated with young people suffering from unemployment a nd t he socia l ly wea k w it h his heartwarming messages on Twitter, are popular. Venerable Haemin is a handsome Buddhist monk who is still young. He has not attained spiritual enlightenment in a lonely temple in the mountains but studied film at UC Berkeley and received his master’s and doctorate degrees at Harvard and Princeton universities,

respectively. He has relinquished all the worldly successes so desired by a society that focuses on educational background to become a monk. This fact has made people respond positively to his humble messages. by Bae No-pil

list_ Books from Korea

Vol.17 Autumn 2012

Reviews Nonfiction

A Buddhist Monk Mentors Youth The Things We Can See Only After We Stop Venerable Haemin; Illustrator: Woo Chang-heon Sam&Parkers, 2012, 292p, ISBN 9788965700609

list_ Books from Korea

Vol.17 Autumn 2012

Reviews Nonfiction

An Artful Life Hyegok Choi Sunu: An Ambassador for the Beauty of Korean Arts Lee Choong-ryul, Gimm-Young Publishers, Inc., 2012 416p, ISBN 9788934958147

Hyegok Choi Sunu is the author of the well-known work “Leaning Against an Entasis-style Pillar of Muryangsujeon,” a monumental art essay that introduced re a der s to t he e le g a nt s t r uc t u re of Muryangsujeon (Hall of Eternal Life) at Buseoksa (a temple from the Goryeo period located in Yeongju, North Gyeongsang Province) overlooking breathtakingly beautiful scenery. Thanks to his essay, the place has become a popular tourist attraction in Korea. Who the author was, however, is less well known. Immediately after the Korean War, when nobody cared about the beauty of Korean art or structures, Hyegok Choi Sunu was drawn to the Hall of Eternal Life with its collapsed roof and started writing about its beauty. How did this come about? This question is answered by Lee Choong-ryul in his latest work Hyegok Choi Sunu: An Ambassador for the Beauty of

Korean Arts. It is a detailed reconstruction of the life of Hyegok Choi Sunu, a pupil of Jeon Hyeong-pil and pioneer in the history of the Korean museum system. This book is a history of the National Museum of Korea as well as biography of Hyegok Choi Sunu. Readers will learn about the secret history of the National Museum of Korea from the episodes of how Hyegok Choi Sunu risked his life protecting museum artifacts during the Korean War. It also serves as a guide to a better understanding of the traditional culture of Korea. Readers will naturally encounter the origin of the beauty of Korean arts, from Goryeo celadon, white celadon, grayish-blue-powdered celadon to antiques a nd fol k a r t s a nd moder n a r t s. A n encounter through this book with Hyegok Choi Sunu, who reportedly said “The museum is my tomb,” will be equivalent to an encounter with the beauty of the Korean arts.

Seo Yugu, translated by Jeong Myunghyun, Min Chulgi, Chung Chungkee, and Jeon Jongwook SIAT Publishing Co., Ltd., 2012 1,630 p, ISBN 9788956372457

Pungseok Seo Yugu (1764-1845), an intellectual of the late Joseon period, is not a well-known figure even in Korea. Perhaps due to discontent people have about the ruined dynasty, the intellectual figures favored by Koreans are usually the ones who cried for reform. Because Joseon came to a humble end, the unfortunate pioneering geniuses, who wanted to go beyond that era and were subsequently oppressed, stand in the spotlight today. This creates interesting cases where a person’s failed dreams and ideals are valued more highly than what he or she has actually achieved. In this regard, Seo Yugu’s life is not so attractive to people today. Seo came from a prestigious family and he was a successful high-ranking official. He was never sent into harsh exile, which was 64 list_ Books from Korea

Vol.17 Autumn 2012

common among the intellectuals of Joseon. However, he was persuaded to “return home voluntarily” because he lost his position. This return lasted for 18 long years as he lived in poverty in his rural home. This was not a time of solitude in which he did nothing, however, struggling with the thought of death while waiting for the poison ordered by the king to arrive. After leaving the political arena, Seo worked in the rice paddies and fields until his hands became ca llous. His heroic character is well revealed during this time. Despite the fact that he was a leading scholar, a high-ranking official, and an intellectual in philosophy and the study of Confucian classics, he made a comprehensive study of Silhak (Practical Learning) such as farming and fishing. He experienced everything himself and reviewed extensive reference materials from China, Japan, and the West before compiling The Encyclopedia of Rural Life, which consists of approximately 28,000 items, 113 volumes, and 54 books. Seo’s The Encyclopedia of Rural Life

Awake in the Middle of the Night: Dasan’s Diary in Exile Read with Classical Korean Poetry Jeong Yak-yong, edited by Jung Min Munhakdongne Publishing Corp. 2012, 296p, ISBN 9788954618397

by Han Mihwa

Still Dreaming Of Striking Gold? The Encyclopedia of Rural Life—The Largest Practical Encyclopedia in the Joseon Dynasty

Translating Beyond Translation Jeong Yak-yong (1762-1836, pen name: Dasan) was one of the leading Confucian scholars of the Joseon period. After the death of his patron King Jeongjo, Dasan was sent into exile for 18 years. Some 500 books he wrote during his exile include research on Confucian classics, poetry, essays, the state system, history, geography, and science and technology. This year marks the 250th anniversary of Dasan’s birth. Awake in the Middle of the Night is a compilation of 120 poems Dasan wrote during his exile. Written in classical Chinese, the poems read like internal monologues that have been translated into Korean. Editor Jung Min is a scholar of classical Korean literature and a bestselling author. He says: “The poems written during [Dasan’s] exile reveal his bare face. The poems written at the beginning of his exile show how he struggles to control a mind in turmoil. As his exile continued, however,

we see that he begins to recover his tranquility.” Jung Min liberally translated the poems from Dasan’s point of view in order to convey Dasan’s “bare face.” “West wind comes past my house a in my hometown / while east wind drops in on me on its way / I can only listen to the winds coming / but cannot see from where they rise.” This is the first poem in “Eight Consolations at the Place of Exile.” After translating it literally (metaphrase), Jung Min gave it another translation (paraphrase) which becomes a translation beyond translation. by Pyo Jeonghun

Seeking the Unseen

may not suggest ideas that go beyond the era, but shows the lives of the era just as it was. As the original book is extensive, translating classical Chinese into Korean took more than 10 years of effort. This b o ok i s on ly t he i nt ro duc t ion; t he translation of the encyclopedia itself will be completed in 2014 in 55 volumes. by Bae No-pil

Invisible Worlds Lee Kang-young, Humanist Publishing Group 2012, 366p, ISBN 9788958625018

We often forget the fact that the invisible world is the basis for the visible world we live in. Although we know that the Earth revolves around an axis and that the moon and stars follow orbits in space despite appearing in similar positions every night, we cannot directly observe such phenomena and remain ignorant of the source of power behind nature. Invisible Worlds aims to make the beautiful yet invisible world of physics clear as day by neatly organizing the subject. Lee Kangyoung offers readers a window into a world by microscopes that peer into the microcosmic world or by telescopes that explore outer space. Invisible Worlds describes a tiny world where only microscopes have traditionally been able to venture. It includes interesting anecdotes such as the story of Dutchman A nton v a n L e euwen ho e k , a m a s ter draper by trade, who developed the first

microscope as a way to improve upon the magnifying glass used to examine cloth fibers. Lee also describes the development and evolution of the telescope, which enabled the exploration of the heavens. Invisible Worlds provides an exhaustive account of the telescope's evolution, from its beginnings when Galileo tried to counter the belief that the heavens rotated around the Earth by showing that the Earth rotated on an axis, to the current day with its astronomical telescopes. Nevertheless, “...no matter how la rge or adva nced ground-based telescopes become, they will forever be limited by the fact that starlight mu s t p a s s t h rou g h t he at mo sphere before reaching Earth.” Through various examples the book shows readers that the eternal task of scientists is to unravel the mysteries of an invisible world. The book a lso provides in-depth explanations of an even smaller world inhabited by atoms, neutrinos, and quarks. Lee suggests that readers should use a new definition of “seeing” to explore the

world, inspired by scientists who theorize about particles they cannot see but can conceptualize as another way of “seeing.” by Jang Dongseok

list_ Books from Korea

Vol.17 Autumn 2012

Reviews Nonfiction

An Artful Life Hyegok Choi Sunu: An Ambassador for the Beauty of Korean Arts Lee Choong-ryul, Gimm-Young Publishers, Inc., 2012 416p, ISBN 9788934958147

Seo Yugu, translated by Jeong Myunghyun, Min Chulgi, Chung Chungkee, and Jeon Jongwook SIAT Publishing Co., Ltd., 2012 1,630 p, ISBN 9788956372457

Vol.17 Autumn 2012

Awake in the Middle of the Night: Dasan’s Diary in Exile Read with Classical Korean Poetry Jeong Yak-yong, edited by Jung Min Munhakdongne Publishing Corp. 2012, 296p, ISBN 9788954618397

by Han Mihwa

Still Dreaming Of Striking Gold? The Encyclopedia of Rural Life—The Largest Practical Encyclopedia in the Joseon Dynasty

Seeking the Unseen

Invisible Worlds Lee Kang-young, Humanist Publishing Group 2012, 366p, ISBN 9788958625018

world, inspired by scientists who theorize about particles they cannot see but can conceptualize as another way of “seeing.” by Jang Dongseok

list_ Books from Korea

Vol.17 Autumn 2012

Reviews Nonfiction

Give Vegetarianism a Try Green Temptation Kim Yeol, Purple Cow Contents Group 2012, 372p, ISBN 9788997838004

Buddha, Leonardo da Vinci, Leo Tolstoy, Fra nz K a f k a, Nata lie Por tma n, a nd popular Korean singer Lee Hyo-ri have something in common: vegetarianism. As recently as 10 years ago, outside of monks, vegetarians were few and far between in Korea. It was extremely difficult, if not impossible, to live as a vegetarian in Korean society. In particular, becoming vegan, not eating such foods as Chocopies, deep-fried shrimp, eggs, and milk, meant not eating anything at all. The perception of vegetarianism began to undergo a drastic change a few years ago, especially as vegetarian celebrities started telling the world how becoming ve g e t a r i a n h a d c h a n g e d t he i r l i f e . Vegetarianism, as with yoga, is rising as a trendy lifestyle choice. Many restaurants have added vegetarian dishes to their menu. Most importantly, innumerable reports and books published on the adverse effects of eating meat are leading people to rethink vegetarianism slowly but surely. Green Temptation is based on the

The Truth About Education Korean Parents Lee Seungwook, Shin Heekyung, and Kim Eunsan Munhakdongne Publishing Corp. 2012, 312p, ISBN 9788954618533

Korean Parents reveals to the reader an embarrassing reality concerning Korean parents and their children. Even though they live in a country ranking 9th in the world for its trade volume in 2011, they are miserable due to their obsession with success. This has taken a toll on education and family in Korea, as this book vividly illustrates in excerpts from interviews with Korean parents and children with the authors, who are counselors and therapists specia lizing in yout h a nd pa renting problems. To begin with, the pressure to get good grades and get into a good university is driving these children to near madness. Their daily schedule, starting as early as primary school, is filled up with lessons in one private educational institute after another. If they like science, their parents immed iately send t hem to a private 66 list_ Books from Korea

Vol.17 Autumn 2012

educational institute for prodigies. But homework deprives them of time for the creative enjoyment of science. It is not uncommon for Korean parents to force their children into a certain career. A heartbreaking note that an unfortunate son left his mother who had coerced him to become a doctor, reads: “The years of living as your son have been hell. I will leave you now. Consider me disowned.” We cannot help but wonder about the purpose of education. Is it to help children achieve success or to help their parents satisfy their desires? While Korean children are pushed to extremes, their families are falling apart. The children, sick and tired of their pushy parents, have stopped talking to them. The fathers are viewed as working machines that bring in money to pay for the private education of their children. It is not surprising that these children, only given instructions to follow but not opportunities to think or act for themselves, grow up into unhappy adults,

Success Starts Over author’s firsthand experience. Thirteen years ago he asked himself: “What gives me true satisfaction?” He has practiced vegetarianism since. The purpose of this book is to examine the effects of practicing vegetarianism on the human body, and explores myths and truths about vegetarianism. The author emphasizes that vegetarianism is not just about personal hea lt h but about benef iting t he environment, animals, and the Earth. He challenges the reader with the question of whether or not it is ethical to kill and eat animals. To summarize, this book not only provides a practical guide for vegetarians but poses philosophical questions about the ethics of eating meat.

Abandon the Past: Cultural Icon Kim Bum-soo's Endless Challenge Lim Won-ki, Dasan Books 2012, 240p, ISBN 9788963707600

by Han Mihwa

like robots, not knowing what they want to do or what they are good at. In today’s society, where the childparent relationship has become more of a debtor-creditor relationship than a relationship of love, Korean parents should face themselves to see how materialistic they have become in the name of love for their children. That is what Korean Parents urges them to do. by Han Mihwa

A lthough K im Bum-soo may be unfamiliar to some, he is synonymous with the KakaoTalk smartphone service with which all Koreans are familiar. Launched in March 2010, KakaoTalk surpassed the 10 million member mark in just one year. The previous record-holder for the fastest acquisition of 10 million users was HanGame, which achieved this feat in 1999 after just 18 months. Kim Bum-soo was also HanGame’s creator. Adandon the Past was written by IT reporter Lim Won-ki who conducted over 20 inter v ie w s w it h K i m Bu msoo through the KakaoTalk messaging service. Lim's keen interest in Kim's life comes through in the book’s pages. From Kim's first mesmerizing encounter with PC communications in a college buddy's boarding room and his entry into the Internet Cafe business after getting a personal loan, to his pioneering role in Korea’s Internet industry as the co-founder of HanGame and NHN Naver, Abandon the Past recounts Kim’s amazing work

ethic and trailblazing journey. Throughout the book Kim emphasizes that one must first empty oneself to be filled. If one wants something, one must “erase the past and start anew.” K im Bum-soo practices what he preaches. In September 2007, during Kim's heyday as the Executive Director of NHN's American subsidiary, NHN USA, Kim suddenly announced his departure from the company he co-founded. He had built the firm and was a major shareholder yet he decided to leave everything behind and start over. A lthough he emptied himself, he has been reinvigorated by his goal of attracting 50 million users for the KakaoTalk mobile messenger service. Of course, not all ventures succeed, and the criterion of success is vague. Kim points out the importance of avoiding the pressure to rush that is brought on by the expectant gaze of the public. Perhaps that's why he says, “We must find the things that we enjoy and can excel in if we are to be happy.” by Jang Dongseok

Becoming Social Butterflies Are You Socially Inclined? Ryu Seoungho, Samsung Economic Research Institute 2012, 184p, ISBN 9788976334466

If the greatest invention of the 20th century is the Internet, then perhaps the greatest invention of the early 21st century is social media. To a major extent, social media governs our day-to-day lives, and is rapidly changing the world. Ry u Seoungho, the writer of Are You Socially Inclined? was a work ing professional in the cultural contents sector, serving at the Korea Creative Content Agency and the National Information Society Agency, and is now a professor in the department of visual culture at Gangwon University. In this book, he provides an intriguing analysis of social media from the standpoint of socia l psychology. This book informs us that social media has brought about a new kind of humanity, w h i c h h e r e f e r s t o a s "a u g m e nt e d humanity." The intimacy, contagion,

simultaneity, and extroversion of social media transform a solitary weak individual into a powerful giant. An era has opened up in which people are in a sense all-seeing and knowing like the Buddha, as if they were clairvoyant or could hear every sound in the world. In the age of social media, people do not erect structures like the pyramids for their own satisfaction, but for everyone to easily access; all possible love and care is devoted to establishing virtual realms that thousands of followers may visit. Then why is it that people are so obsessed with social media? According to Ryu's analysis, people become attached to social media because it can meet their basic desires for happiness, integration, and trust. "Socia l media is our generation's Demian," Ryu claims. People in this complicated and uncertain world are looking for an interlocutor like Demian (the character in the Hermann Hesse book of the same name) who will listen to their

story, and it is social media which plays this very role. by Richard Hong

list_ Books from Korea

Vol.17 Autumn 2012

Reviews Nonfiction

Give Vegetarianism a Try Green Temptation Kim Yeol, Purple Cow Contents Group 2012, 372p, ISBN 9788997838004

The Truth About Education Korean Parents Lee Seungwook, Shin Heekyung, and Kim Eunsan Munhakdongne Publishing Corp. 2012, 312p, ISBN 9788954618533

Vol.17 Autumn 2012

Abandon the Past: Cultural Icon Kim Bum-soo's Endless Challenge Lim Won-ki, Dasan Books 2012, 240p, ISBN 9788963707600

by Han Mihwa

Becoming Social Butterflies Are You Socially Inclined? Ryu Seoungho, Samsung Economic Research Institute 2012, 184p, ISBN 9788976334466

story, and it is social media which plays this very role. by Richard Hong

list_ Books from Korea

Vol.17 Autumn 2012

Reviews Nonfiction

Bid Adieu to Clutter! The Power of Organizing for 15 Minutes a Day Yoon Sun-hyun, Wisdomhouse Publishing Co., Ltd. 2012, 264p, ISBN 9788960865273

W hat does it mean to be organized? Most people view it as they would spring cleaning, but the famous lecturer and Korea's f irst organization consultant, Yoon Sun-hyun, defines organized as “time, money, intelligence, peace of mind, executive skill, creativity, opportunity, consideration, and love.” He claims that a disorganized room, a cluttered mind, and stagnant human relationships can bring about decay. People need to clear out the stagnant and the old so that they can receive the new if they are to experience miracles in their lives. Pr e s id e nt O b a m a i s f a mou s f or keeping a bare desk with just a telephone and a few documents. Although he has the busiest schedule of anyone in the world, he realizes the importance of conscious choice and concentration. In the management philosophies of the world's most successful companies such as Apple, Philips, and others, simplicity occupies a special place. In a study by Professor Samuel Gosling of the University of Texas, 83 students'

dorm rooms and 94 corporate offices were examined. Messy people were found to be less efficient and creative than those who kept their spaces clean and organized. According to a study by the National Sleep Foundation (NSF) in the U.S., those who make their beds everyday are 19 percent more likely to sleep soundly than those who don't. Divided into sections on space, time, and human relationships, the book reveals other surprising cases about the power of being organized and provides useful tips for planning life to achieve abundance and stability. If you invest just “one percent of your day,” or 15 minutes, to getting organized, you will be able to take control of your life!

Kim Kyoung-jip, RH Korea 2012, 304p, ISBN 9788925546476

W hen modern Korea's representative humanities scholar Kim Kyoung-jip was in his 30s, he decided to live his life divided equally into thirds, 25 years for learning, 25 years for teaching, and the final 25 years for reading books and writing. True to his word, now that he is 54 he lives in a village where he spends his days writing and sparing no advice to the young. While the author has lived his life passionately and diligently, he communicates his belated realization after entering middle age that life has priorities. Filled with such aphorisms as “My biggest regrets concern things I haven't done rather than those I have,” “I have often said my f inal farewells without even being able to look others in the eye,” “Once the flowers have withered my heart and eyes become aware of the beauty in simple and familiar things as if I’m seeing 68 list_ Books from Korea

Vol.17 Autumn 2012

leaves for the first time,” “Those who have experienced the depths of despair feel more grateful about ordinary life,” “When one remains still one can see the truly beautiful,” “Youth is forgotten rather than lost,” and “One's current age is the best age,” the book uses unpretentious and accessible prose to showcase Kim's life philosophy and the unforgettable principles he has ta ken to heart. By proposing a new way of looking at life, this book can offer peace of mind to those struggling through middle-age. He note s t hat, “W h i le r u n n ing , one on l y t h i n k s of t he f i n i s h l i ne because running is an obviously goaloriented behavior. Other thoughts have no chance to enter the mind. Unlike running, however, walking is an enjoyable process during which various thoughts i nt e r m it t e nt ly e nt e r t he m i nd a nd unexpected ideas can suddenly appear. While enjoying these musings, one reaches one's destination unawares.” Do these lines make you want to go on an unplanned

Let's Travel Their Way Park Bumshin, et. al., Dongyang Books 2012, 512p, ISBN 9788983009234

by Richard Hong

Stopping to Smell the Roses The Things I've Come to Understand at Forty

Famous Korean Writers Revisit the Past For Let's Travel Their Way, 15 writers r e pr e s e nt a t i ve of t he i r g e ne r a t ion, including Park Bumshin, Jo Jung-rae, Kim Yong-taek, Yi Mun-yol, and Song Sok-ze, write essays introducing travel itineraries. One of the unique appeal of this book is seeing the profiles of the people who serve as the writers' travel companions. Writer Park Bumshin visits Cheongsan Isla nd wit h f ilm director Chung Jiwoo, poet Kim Yong-taek visits Buan, North Jeolla Province with singer and musical producer Yoo Yeol, novelist Kim Takhwan goes together with comedian Nam Hee-seok to Changwon and Masan in Gyeongsang Province, and poet Ko Un visits Gunsan and Seonyudo with artist Lee Jong-gu. Their feelings and impressions on these happy excursions are meticulously recorded in this volume. The writers get revitalized by visiting places that, to them, are like a mother's embrac e: plac e s t hat have appea red in the writers’ works, places that have given them literary inspiration, and their

hometowns that represent their cultural roots. Through earnest conversations with the comedians, actors, singers, artists, and various luminaries who accompany them, readers can enjoy another kind of travel experience. Park Bumshin advises what to prepare for a trip. "If you want to meet good people, you must have a good eye and a good heart to recognize them. Are you ready to meet someone good?" Song Sokze gives his definition of traveling well: "Traveling somewhere familiar, seeking out familiar tastes in the company of someone I know keeps me in good health." Ultimately, what does travel mean for you the reader? That is the question quietly posed. by Richard Hong

All About Music walk? The Things I've Come to Understand at Forty is a meaningful book that will move readers. by Richard Hong

People Who Make K-Pop Kim Hak-seon, Eulyoo Publishing Co., Ltd. 2012, 408p, ISBN 9788932471938

Music critic Kim Hak-seon’s People Who Make K-Pop is an introduction to Korean pop music, coming in at the hefty length of 400 pages. Although the word K-Pop is printed prominently on the cover, the author does not focus only on popular Korean idol groups. The book’s original Korean title can be translated into “K-Pop Charms the World,” but when it comes to its true identity the English title offers a key hint. In a bold move, the author traces back to the 1970s and chronicles modern Korean music in detail before taking on the current K-Pop boom. While the book is not portable, it fits in well on a bookshelf at home. Each chapter features representative musicians and their hit albums that once ruled the day. In the 1970s section, Shin Jung-hyoun, Han Daesoo, Nam Jin, Na Hun-a, and Patti Kim get due coverage. In the section on the

2000s, readers get introduced to familiar names such as Huckleberry Finn, TVXQ, Verbal Jint, and Epik High. As the preface suggests, the book is a balanced mix of the publisher’s desire to feature the Korean Wave and the author’s desire to introduce favorite musicians. In recent years, a host of books on Korean pop music have been published: Archaeology of Korean Pop 1960/1970 (Sin Hyeonjun); C'est si bon, Seo Taiji and Trot Music (Lee Yung-mee); Top 50 Albums of the 90s (Kim Young-dae); Politics of Trot Music (Son Min-jeong); and Idol: The Cultural Phenomenon of Idols from H.O.T. to Girl's Generation (Lee Dong-yeun). Kim’s new book is a welcome addition to the expanding archive of information on Korean pop music. by Cha Woojin

list_ Books from Korea

Vol.17 Autumn 2012

Reviews Nonfiction

Bid Adieu to Clutter! The Power of Organizing for 15 Minutes a Day Yoon Sun-hyun, Wisdomhouse Publishing Co., Ltd. 2012, 264p, ISBN 9788960865273

Kim Kyoung-jip, RH Korea 2012, 304p, ISBN 9788925546476

Vol.17 Autumn 2012

Let's Travel Their Way Park Bumshin, et. al., Dongyang Books 2012, 512p, ISBN 9788983009234

by Richard Hong

Stopping to Smell the Roses The Things I've Come to Understand at Forty

All About Music walk? The Things I've Come to Understand at Forty is a meaningful book that will move readers. by Richard Hong

People Who Make K-Pop Kim Hak-seon, Eulyoo Publishing Co., Ltd. 2012, 408p, ISBN 9788932471938

list_ Books from Korea

Vol.17 Autumn 2012

Reviews Nonfiction

Steady Sellers

In Search of Giant Robots Korea’s Super Robots Pennyway; Illustrator: Lennono, Hans Media Publishing 2012, 352p, ISBN 9788959754137

The driver’s seat is always reserved for his father. No matter how the boy begs, pleads or complains, his father remains adamant about the issue. One day, the boy sleeps and dreams about something that might give relief to his desire. What’s moving, however, is not the four-wheeled machine. To his surprise, he finds himself navigating a giant robot that is taller than a high-rise and armed with rocket and laser beam weapons. In the control room, the boy jumps into wherever he wants, be it the sea or the sky. Korea’s Super Robots illustrates Korea’s own history of robots. The book chronicles decades of history about Korean robots including the country’s first giant robot, Golden Iron Man, and the national hit robot Robot Taekwon TV, created by Kim Cheong-gi. It is well-known that Korean robots have been influenced by Japanese sci-fi and American superheroes. Korea’s Super Robots aggressively tracks down how Korean robots were modeled after such archetypes and at the same time showcases the results

Battling in the Public Bath God of Bath (3 vols.) Ha Il-kwon, Funnism, 2012 280p, ISBN 9788901144610 (Vol.1)

Foreign travelers usually show surprise when t hey hea r t hat in Korea t here is a group of professionals dedicated to scrubbing dirt off clients in public bathhouses. Equally if not more surprising is that their skills are highly advanced to perfection. They are called mokyok gwanrisa or “bath coordinator” in English. They scrub off your dead skin for a fee, but the God of Bath is not entirely dedicated to such a peaceful, soothing, and refreshing image. A youth named Heo-se (which can be translated into ‘vanity’ in Korean) grows up as the only son of the bathhouse owner in a small regional town. He does not like his father scrubbing dirt off strangers to make a living. To get out of the situation, Heo-se opts to inf late his abilities and spends money reck lessly rather than working hard, as his name implies. By the 70 list_ Books from Korea

Vol.17 Autumn 2012

time he graduates from college, Heo-se finds himself submerged in mounting debt and hits the road to escape from a debt collector. During his escape, he happens to enter a large-scale pyramid-shaped bathhouse, named “Geumja-tang” and scrubs dead skin off an old man, who turns out to be the chairman of the bathhouse. Geumja-tang is far from a normal bathhouse. Professional bath coordinators prov ide premiu m ser v ic e s in t his imaginative comic series. The story is of course centered on the growth of Heose in this bathhouse where a host of rival characters thrive. For instance, K im Seong-gong is a top graduate of a state university majoring in bath coordination; Kang Hae is a bathhouse kid who learned how to scrub off dirt even before he started speaking. All these hilarious stories get played out in a deadpan manner with a touch of seriousness, which in turn generates laughter. One of the key scenes involves what is called “scrub battle.” Fighters,

of creative reinterpretation in detail. In addition, the book leaves space for robot comics such as Lim Chang’s The King of Robots, Lee Jung-moon’s Iron Man Kang Ta Woo, and Go Yu-sung’s Robot King. Equally interesting are episodes related to popular robot comics and animation. In the 1970s, Korean society generally held a negatively view of comic books and animated features. As a result, the famous animated movie Maruchi Arachi was forced to adopt an anti-Communist theme in order to secure an audience and bolster its commercial footing. The title of Electric Man 337 reflected the estimated cost for making an invincible man featured in the popular American TV series, “The Six Million Dollar Man.” As animated features produced decades ago might come off as outdated or crude to today’s audiences, the book attempts to revive classic characters into modern and artistically refined forms with the help of illustrator Lennono (Han Sang-heon). Plenty of original images throughout the book make it a visually satisfying read.

Changing Korea’s Travel Culture My Exploration of Cultural Heritage (6 vols.) Yu Hong-june, Changbi Publishers, Inc. 2011, ISBN 9788936479732 (set)

by Yi Myung-suk

equipped with specially customized towels, jump into a watery arena and stage a scrubfirst-or-lose battle. The scrub showdowns where scantily-clad men with plenty of muscles fight for honor and prestige in a Greek-style bathhouse tend to conjure up an image of an Olympian battle. But a professional scrubbing is just one of the many skills required for bath coordinators; after all, one should truly understand the client’s wish to become a true “God of Bath.” by Yi Myung-suk

Though it is rare, there are cases where a book becomes a huge cultural phenomenon that in turn leads to a social phenomenon and then further establishes itself as culturally representative of the era. When we talk about a certain era, there is a book that cannot be left out: My Exploration of Cultural Heritage by art historian Yu Hong-june, a professor at Myongji University. The sixth and latest volume of Yu’s book was published in 2011. Since the publication of the first volume in January 1993 more than three million copies have been sold as of March 2012. This sales record is the best within the general humanities category in Korea. My Exploration of Cultural Heritage is considered a pivotal bestseller of the 1990s. It is not just that it has been sold in great numbers, but also because of the enormous

changes the book brought about in Korean society. First of all, it has changed Koreans’ travel culture. Prior to its publication, most Koreans traveled to eat, drink, and just to have a good time. But after Yu’s book became a bestseller, Koreans began to travel to experience history, culture, tradition, and stories. W h at w a s t he e le me nt t h at h a s inf luenced Koreans’ travel culture to the extent that the travel culture can be divided into before and after the book? First, the book introduced various places Koreans were not aware of. There had only been a limited number of places that were popular among Koreans prior to the publication of the book. However, My Exploration of Cultural Heritage showed how many regions in Korea have diverse cultural and historical assets. The phrase

“The whole land is a museum” in the first volume made many readers nod in agreement. Second, it provides an interesting and precise introduction to Korean traditional c u lt u re a nd h i s tor y. Yu c oi ne d t he expression “You can see as much as you know” and the author, a man who visited various regions in Korea while studying art history, is indeed the right person to voice this sentiment. His extensive knowledge of Korean traditional culture unfolds in the book. Third, the popularity of the book reflects an overall change in Korean society. The democratization movement was very active in Korea up to the 1980s. In the 1990s, however, when democratization was achieved to a certain extent, many Koreans turned their attention to culture. Critics, therefore, call the 1980s in Korea the era of social sciences and the 1990s the era of culture. This book is the main icon that symbolized the era of culture. Fourth, Professor Yu had been active in giving public lectures on culture and art histor y long before the book was published. His lectures mesmerized the general public who did not have expert knowledge on his subject. My Exploration of Cultural Heritage is therefore the fruit of Yu’s excellent skills as a storyteller. At an event celebrating the milestone of three million copies sold, Yu Hong-june said: “I wrote really hard, but I’ve only written half of what I’ve intended. The seventh volume will be on Jeju Island, the eighth on the cultural heritage of North Chungcheong Province and Gyeonggi Province, the ninth on UNESCO World Cultural Heritage sites and villages, and the tenth on Korean culture in China and Japan.” As can be seen in his plan, My Exploration of Cultural Heritage is in itself an ongoing big cultural event. The volume on Gyeongju has been translated and published as Smiles of the Baby Buddha (2000) and Volumes 1, 2, and 3 were published in Japanese between 2000 and 2005. by Pyo Jeonghun

list_ Books from Korea

Vol.17 Autumn 2012

Reviews Nonfiction

Steady Sellers

In Search of Giant Robots Korea’s Super Robots Pennyway; Illustrator: Lennono, Hans Media Publishing 2012, 352p, ISBN 9788959754137

Battling in the Public Bath God of Bath (3 vols.) Ha Il-kwon, Funnism, 2012 280p, ISBN 9788901144610 (Vol.1)

Vol.17 Autumn 2012

Changing Korea’s Travel Culture My Exploration of Cultural Heritage (6 vols.) Yu Hong-june, Changbi Publishers, Inc. 2011, ISBN 9788936479732 (set)

by Yi Myung-suk

list_ Books from Korea

Vol.17 Autumn 2012

Reviews Children's Books

Dreaming of Freedom The Polar Bear Lee Mi-jung, I-Seum, 2012 32p, ISBN 9788937885273

As this picture book is without words, one has to look at the drawings closely in order to understand the meaning. Let’s begin with the cover. There is the face of a gloomy looking polar bear through the bars of a cage. However, the bear is smiling against the blue sky with white clouds on the back cover. The book thus tells us how the gloomy bear came to smile at the end. In the first scene, there are several polar bears in a cage at the zoo. But there is one polar bear that sits apart from others. Turn the page and the gate of the cage is open and a polar bear is walking away. The bear arrives at an amusement park full of people, but no one pays attention to him. He continues to walk following a red balloon floating in the air. Before he knows it, he is at the center of the city far away from the amusement park. The bear goes down the stairs and enters the subway station, remains alone after the train leaves, then walks down the street busy with people and cars. It soon gets dark and lights go on in the buildings. He walks down the alley scattered with litter and sees a red balloon on a billboard. The red 72 list_ Books from Korea

Vol.17 Autumn 2012

balloon that disappeared from sight has reappeared. It begins to rain as the bear moves toward the billboard. He goes right up to the electric billboard and pushes himself in. It is a completely different world inside the electric billboard. A flight of stairs continues up in the sky where white clouds float and there is a train at the end of the stairs. In the last scene, the bear has his eyes closed and a red fish among many fish that f loat in the sky lingers close to the bear’s mouth. The bear would just have to open his mouth to be able to eat it. Other polar bears are looking at this polar bear peacefully. This book portrays the dream of a polar bear trapped in a cage at the zoo, a dream where he escapes the cage and returns to a free and abundant home. Since no one is surprised to see a bear out of his cage at an amusement park, subway station, or an alley in the city, it must be the bear’s dream, as there would have been havoc if the bear had actually escaped the zoo. The bear’s journey shows readers the daily life of the city where its various facets—an amusement park full of

laughter, a subway station full of people, a highway congested with cars, a deserted construction site, and an alleyway filled with litter—coexist. However, could the home the bear dreams of really exist? The glacier and the ice sheet of the Arctic Circle are melting due to global warming. The life fundamentals supporting the polar bear is rapidly disappearing. Polar bears are endangered due to lack of food. In this case, doesn’t the free and abundant home only exist in the bear’s imagination? Though the book deals only with the situation the polar bear is in, it reminds us of the dire situation many animals on Earth are facing today. by Eom Hye-suk

list_ Books from Korea

Vol.17 Autumn 2012

Reviews Children's Books

Dreaming of Freedom The Polar Bear Lee Mi-jung, I-Seum, 2012 32p, ISBN 9788937885273

Vol.17 Autumn 2012

list_ Books from Korea

Vol.17 Autumn 2012

Reviews Children's Books

Spark a Revolution The Secret of Story Island Lim Tae-hee; Illustrator: Hong Jung-sun Munhakdongne Publishing Corp. 2012, 288p, ISBN 9788954618113

From the beginning of time, storytelling has been a way of overcoming hardship and suffering. These stories recount the disappearance of the cause of our suffering. They invite us into different and beautiful worlds, and they turn fleeting moments of joy into eternal happiness. The interwoven stories contain the innermost human desire for freedom. Ami, the female protagonist of The Secret of Story Island, arrives at an island by chance and encounters and befriends the persecuted people living there and helps them with their revolution. Ami is originally from Bangladesh, born to parents who came to Korea as migrant workers. She cannot attend school because of her illegal status, and instead undergoes great suffering at a furniture factory. Ami escapes the factory and bounds for the open sea, eventually finding herself at an island. There, she discovers that one tribe is being enslaved by another, and that these tribes themselves are defined by hierarchies and discrimination. The

Discovering Old Seoul Hanyang in 1770— The First City of the Joseon Kingdom Chung Seung-mo; Illustrator: Kang Young-jee Borim Press, 2012, 58p, ISBN 9788943308902

Set in 1770, t he 4 6t h yea r of K ing Yeongjo’s reign, Hanyang, the capital and the first city of Joseon, is depicted between the night of the 14th day and the night of the 15th day of the first lunar month. The book contains the stories of people’s daily lives one might have seen or heard while walking around Hanyang for a full day. On the 14th day of first lunar month, there are children who are beating a jeung, a doll made to ward off evil spirits at the foot of Naksan Mountain. Although the following day, the first full moon day of the New Year, marks the beginning of the year’s rice farming, there are no big events in Hanyang as it is a city. Rather, it is emphasized that a day in Hanyang begins when the four main gates open. Namdaemun Street is busy with people who have come to sell f irewood and 74 list_ Books from Korea

Vol.17 Autumn 2012

vegetables. Rich and powerful noblemen with high positions in the government live in Bukcheon while poor noblemen live in Namcheon. Yukjo Street with the buildings of six ministries and 77-year-old King Yeongjo who is having a very busy day are also portrayed. The book then turns to an afternoon in Hanyang. First, it shows the quiet area outside Seodaemun and moves on to Jongno, the most flourishing district in Hanyang. There are many governmentlicensed shops in Jongno, which is also called Unjongga because crowds of people gather in the area. The book then depicts a variety of scenes: Confucian scholars who have social gatherings in the village where White Pagoda, also known as Ten-Story Stone Pagoda of Wongaksa Temple Site, is located; a guest room at the house of Minister Kim; the lifestyle and the latest trends of women in Hanyang; Confucian students of Sunkyunk wan (Nationa l Confucian Academy); and the alleys of Hanyang. Finally, this book tells us that

Escape the Prison of Your Perception! girl’s outsider status helps her perceive the hidden paradoxes inherent in the relationship bet ween the ruling a nd exploited tribes. Ami exposes the truth behind the valuable treasures that the exploited tribes unearth in the mines, thus enabling their revolution. What seemed like a suffocating system that could never change began to transform with the new winds of revolution. Lim Tae-hee moves beyond the fantasy genre and makes a concerted effort to tackle difficulties faced by young people today. The Secret of Story Island deals with issues of resistance to inequality, tolerance of other cultures, understanding of others, and love among human beings.

Is It OK to Hate Angels? Choi Namee; Illustrator: Hong Jung-sun Hankyoreh Children's Books 2012, 184p, ISBN 9788984315778

by Kim Ji-eun

traces of Hanyang remain in various places in Seoul, the capital of Korea with a population of over 10 million. Readers need not read this book in order. You can check keywords and read the part that interests you first. As it is full of detailed information on Hanyang, along with illustrations, it is a good book to consult anytime you want to know more about Hanyang. In particular, it will be very useful to those who have a special interest in Seoul. by Eom Hye-suk

Choi Na mee established a na me for herself as a writer with her pivotal, prizewinning young adult novel, My Mother’s 40th Birthday, in which she tackles the challenging idea that a family in which members hurt each other is better off separated. The book’s appearance in 2005 was followed by a string of publications dealing with divorce, single-parent homes, alternative families, and other family configurations. Choi, who was a pioneer of such books, has just published a collection of short stories called Is It OK to Hate Angels? The protagonists of these stories are not the well-behaved, docile children that conform to the desire of adults. In accordance with whatever situation they happen to be in, adults will imagine children as either macho male figures (“X-File”), as angelic, pure, and sweet children who always say yes and take pleasure in helping others (“Is It OK to Hate Angels?”), or those model children who, as befitting of priests’ offspring, are

always happy to give in (“Heavy Rain”). But Choi defies this adult desire and sets out to explore the children’s true desire, and demonstrates the extent to which these children will struggle to protect that desire. The protagonists are not sweet. Adults might even feel they are impudent and rude. The conflict of desires that is described in these stories has very much to do with the way we perceive the world. We pay so much attention to what others think that we are practically constructed by others’ perceptions. Not only that, people’s perceptions are usually tainted with biases. Children are inevitably imprisoned by the perception of the adults raising them. To abandon children in this state of entrapment would be an author’s neglect of duty. You can leave the prison of their perception, say what you wish to say, and live life the way you wish to live. by Yu Youngjin

Regrets Beget More Regret The Golden Feather Jung Sul-ah; Illustrator: So Yunkyoung Moonji Publishing Co., Ltd. 2012, 235p, ISBN 9788932022994

The Golden Feather, the recipient of the prestigious Mahaesong Literature Award for children’s literature, is fantasy fiction that transgresses the boundaries of space and time. All people have an element of regret in their past; who doesn’t fantasize about going back in time and editing those elements out of their history? But we inhabit a cold-hearted reality that stops for no one. In this novel, The Island of Time is an imaginary place where the past can be subject to modification and elimination. The protagonist Haemi comes face to face with a moral dilemma. That is because the past of constant modification is a camouf laged one that stands at a great distance from the past that is true. Author Jung Sul-ah has read Haemi’s inner conf licts carefully and proceeds

to narrate her story with great attention. Haemi is a realistic character that readers will find easy to identify with. In order to edit regretful events from her life, Haemi ends up engaging in more regretful behavior, until she reaches a crisis from which she cannot return. It turns out that the fact that her behavior goes unnoticed by others is not enough to absolve her. This is because Haemi herself knows the truth, and this truth does not change. Ju ng seem s to be c onve y i ng t he message that one should listen carefully to one’s inner voice, a message that is relayed gently through the story that unfolds on The Island of Time. She portrays the jealousies and friendships that children experience with great affection, while raising the question of what it takes to protect one’s true self. by Kim Ji-eun

list_ Books from Korea

Vol.17 Autumn 2012

Reviews Children's Books

Spark a Revolution The Secret of Story Island Lim Tae-hee; Illustrator: Hong Jung-sun Munhakdongne Publishing Corp. 2012, 288p, ISBN 9788954618113

Discovering Old Seoul Hanyang in 1770— The First City of the Joseon Kingdom Chung Seung-mo; Illustrator: Kang Young-jee Borim Press, 2012, 58p, ISBN 9788943308902

Vol.17 Autumn 2012

Is It OK to Hate Angels? Choi Namee; Illustrator: Hong Jung-sun Hankyoreh Children's Books 2012, 184p, ISBN 9788984315778

by Kim Ji-eun

Regrets Beget More Regret The Golden Feather Jung Sul-ah; Illustrator: So Yunkyoung Moonji Publishing Co., Ltd. 2012, 235p, ISBN 9788932022994

list_ Books from Korea

Vol.17 Autumn 2012

Overseas Angle

Creating a Library of Korean Literature In an unprecedented joint venture, Dalkey Archive Press teams up with LTI Korea to translate more titles than ever before.

76 list_ Books from Korea

Vol.17 Autumn 2012

It is a fact known to most in the literary world that very few literary works from non-English speaking countries are being translated into English, either in the United States or the United Kingdom. This situation began to develop as long ago as the early 1980s and has now reached a critical stage. The diminishment in books not only reflects a scarcity of contemporary world literature reaching English readers, but because English is now the bridge language to other countries, it also creates severe problems in having texts available that can be read throughout the world by both readers and other publishers for consideration of editions in their languages. In late summer of 2011, I contacted LTI Korea Director K im Seong-Kon, who wa s t hen teaching at Ha r va rd University. I suggested to him my interest in starting a Korean series of books that would ensure a number of Korean literary works would come into English each year. Dalkey Archive has a number of these series with other countries now, usually allowing for two to four books to be published each year. The archive supports these books with exceptional marketing initiatives that are not normally possible because of budget constraints. Without such marketing initiatives, books are left to chance, and yet in the current climates of both the United States and England, there is little chance for a work of literature to gain very much attention. One should keep in mind—whenever talking about translations—that what is seen as a crisis of translation, especially in the U.S., is in fact a crisis in the literary culture at large. Media outlets for book reviewing have become nearly non-existent, and those that remain cater to what they perceive Americans are most interested in. The result is that few literary works are reviewed, and the higher the quality, the less likely that they will be reviewed. Bookstores are therefore cautious about buying these books, and the public has little means of hearing about them. This situation is what any American publisher faces in publishing literature, and this situation becomes more difficult when the literature is in translation. Those publishers, usually small and underfunded, go on publishing literature against all odds. They do not have titles on their list that will become bestsellers and therefore offset the losses of their literary books, nor do they want such books on their lists. And yet these are the very publishers most in need of financial support. Unlike in other countries, the government in the U.S. provides very little support for the arts. The largest grants

given to literary organizations ranges from 40 to 60 thousand dollars per year, and this is with a population of over 300 million people. Private foundations, with very few exceptions, do not fund literature at all, nor do individuals. Most small presses survive by virtue of overworked and underpaid staff that almost always consists of a very small number of people. In such an environment, literary presses see low sales, oftentimes in the range of 700 to 1,200 copies. And on some days these numbers even look encouraging. Anyone can analyze such numbers to see how economically unfeasible publishing such books is. And yet small presses continue doing it. But what if a large press such as Random House were to publish them? The results are nearly identical, which is precisely why Random House does not do such books. Most funding agencies in other countries fund the partial costs of a translation, and that is all. They mistakenly believe that this modest help should be enough for American and British publishers to do a translation. But this is far from enough. The average cost of publishing a translation is from $35,000 to $45,000. If a funding agency provides half of the cost of translation (let’s assume that this amounts to $3,000), the publisher is still looking at approximately $40,000 in costs. Even if a book sells 2,000 copies (a good number for a translation), the publisher is still facing costs (and a loss) of about $24,000. Funding agencies in non-English speaking countries have, for some reason, a difficulty in understanding these raw facts. The Library of Korean Literature is, however, a bold experiment that will address these problems. Its overall goal, as far as I am concerned, is not to increase sales in some dramatic way; the goal is to introduce these books to the reading public in the most effective ways so that they will find an audience that is interested in them but otherwise would not know about them. Dalkey Archive is making a long-term commitment to these books and to reach the audience for them. These efforts will go on for a long time after the first 25 are published in 2013 and 2014. LTI Korea is making a major investment in this project, but one that is equaled by Dalkey Archive itself. The entire project will cost approximately $750,000, and expenses are being shared by both parties, as is the planning and implementation. Without the innovative, forward-thinking of LTI Korea, this project would not have been possible. In the fall of 2013,

the first 13 books in the Library of America will be published, and 12 will be published the following year. These books will all be published on the same day in the U.S., the U.K., and Ireland, and will thereby become a media event because of the large number of books being published and the simultaneous publication. We intend at Da lkey A rchive Press to ma ke these publications just the beginning of our commitment to Korean literature and culture. In addition to the publication of these titles, we will also be creating a body of critical works that will be available to English-speaking readers in order to help them approach Korean literature. Marketing initiatives have already begun for these books and will continue over the next three years and beyond. Our expectation is that this dramatic approach will begin to solve many of the problems with publishing literature in the English-speaking world today. by John O’Brien

* John O’Brien is the founder and publisher of Dalkey Archive Press.

list_ Books from Korea

Vol.17 Autumn 2012

Overseas Angle

Creating a Library of Korean Literature In an unprecedented joint venture, Dalkey Archive Press teams up with LTI Korea to translate more titles than ever before.

76 list_ Books from Korea

Vol.17 Autumn 2012

* John O’Brien is the founder and publisher of Dalkey Archive Press.

list_ Books from Korea

Vol.17 Autumn 2012

Book Lover's Angle

New Books

Fiction

Spending Time with Baudelaire and Balzac in Seoul

Vol.17 Autumn 2012

by Aurélie Julia

* Aurélie Julia is received her doctorate in literature at Université Paris-Sorbonne. She is currently an editor of Revue des Deux Mondes.

78 list_ Books from Korea

the catalogue of Editions Zulma). I was unaware of the reputation of Ahn Do-hyun, despite his being translated into French (Editions Picquier). Han Gang was also a discovery, as was Pyun Hye-young. Each of the writers was chosen because they have an upcoming publication in France. Reading their short stories and novels, I was surprised by the generally somber tone: the family unit is exploding, dia logues bet ween REVUE DES DEUX MONDES (Corées futures) 2012. 3 people are impossible, individuals must confront anonymity and solitude; the absurd, an end-ofthe-world atmosphere also permeates their works. Some of the writers explain that it is impossible for them to write humorous stories, or at least they have to avoid superfluous topics. A writer’s task is to engage, and to denounce as well as to “exorcise internal enemies, demons forever held in check,” explains Lee Seung-u. Is it not a novel’s raison d’être to pose the essential questions facing humanity? Clearly, my interlocutors think so. The poet Ahn Dohyun teaches me a Korean saying: When a man faces two roads, he must always take the most difficult one; that which is easily acquired will be easily lost. The conversations take place in cafes, which are quiet, spacious places where young people meet up to read, work, and discuss. Bookshelves line one section of the wall, speakers send out an eclectic mix of pop and classical music. I like to record the interviews, to hear the voices of the writers, of course, but also to hear all these sounds which, in an instant, allow me to recapture the mood of the moment. The words of Lee Seung-u harmonize with the sounds of Chopin, the words of Eun Hee-kyung mix with the chords of Pink Floyd; rock music accompanies Kim Junghyuk’s jokes. As for Ahn Do-hyun, he proposes to meet in an obscure spot where one can savor dried squid with beer; in this locale lit up by buzzing neon lights, the ear gets accustomed to the babel of down-to-earth Koreans who have come to relax and laugh over drinks. After the ultra-trendy sites and streets of the capital, it is fantastic to discover another aspect of the country and to savor a different authenticity. The week passes too quickly; it’s already time to leave. Besides the extreme vitality of Korean literature, I take with me the memory of unbelievable kindness and hospitality. “The best thing about Korea is the Koreans,” Choe Junho, the former director of the Korean Cultural Center in Paris, had told me. There is no longer any doubt about that!

Gesunamu Publishing House

Thursday, June 21, 2012. The French Institute. “It’s 6 o’clock. It’s time to start.” “What do you mean it’s time to start? It’s just 6:00 sharp.” “The lecture is scheduled to start at 6. It’s 6, so it’s time to start.” That was my first big surprise in Seoul: punctuality. Any travel guidebook will give you information on the many specific things which will surprise a Westerner’s eyes and taste buds: neon lights, computers, supersonic cars, food, eating meals on the floor. But the authors of Lonely Planet and Petit Futé forgot to mention one key point: the sense of punctuality. As an act of respect, politeness, and common courtesy, punctuality seems to be a cardinal rule in the Republic of Korea. Arriving for an appointment 15 minutes in advance is nothing unusual. To be five minutes late, however, borders on the height of boorishness. 6:07 p.m.: It is really time to start if the organizers do not want to lose the large number of audience members who have assembled on the 18th floor of the high-tech Woori Building. The evening’s program features a presentation of a special issue of the Revue des Deux Mondes devoted to the two Koreas. I would never have thought that 70 people would come out to hear five speakers discourse on various aspects of Korean studies but there they were, with high expectations. A brief presentation of the Revue opens the round table. To speak of this institution which has been around for 183 years in front of a select circle of men and women is profoundly disorienting yet magical. “Revue des Deux Mondes was launched in 1829. In the beginning, it was a magazine dedicated to travel but rapidly evolved to include political, historical, and literary topics. Why is it called ‘Deux Mondes?’ The name ‘Two Worlds’ evokes the pairing of Orient/Occident, Europe/America, classic/modern.” No yawning in the audience, no sighs: the ears are attuned almost religiously to the names of Baudelaire, Balzac, Turgenev, Cocteau, Joyce, and Le Clézio. There are clearly still some admirers of the French language left in the world in the 21st century. 7:30 p.m.: Applause signals the end of the session. The faces gathered around the cocktail table are beaming, not only at what they have heard, but also at the sight of the petit fours! In France a round table will usually conclude around 8 or 8:30 p.m., but this is not customary here: Koreans dine early; by 7 p.m., stomachs are bulging. That the audience members are still present at 7:30 is that much more remarkable. 9:30 p.m.: It’s time to go back to the hotel. Tomorrow, I leave for Jeonju, a provincial city famous for its historical heritage and culinary specialties. The great poet Ahn Do-hyun lives there. I am indebted to Jean-Noël Juttet, the coordinator of the Korean issue, for bringing me to Seoul, and I am indebted to the French Institute for sponsoring my mission, but it is to Park Mihwi and Jung Jin-kwon of LTI Korea that I owe many unforgettable memories and an ultra-dynamic schedule! Thanks to these two organizers of my stay, I was able to interview seven writers currently in vogue. Some were known to me, having been published in France: Kim Junghyuk (Editions Cartouche), Kim Ae-ran, Eun Hee-kyung, and Lee Seung-u (all three appearing in

Recommended by Publishers Korean editors have handpicked their favorite titles among the collections from their own publishing houses. The following list contains hidden gems in Korea’s publishing industry. For further information, please contact the agents directly.

Mirage

One Late Night in 1994

Lee Geumyi, Prooni Books, Inc. 2012, 208p, ISBN 9788957983249

Lyu Hyun-san, Jaeum & Moeum 2012, 384p, ISBN 9788954427227

15-year-old Da-in spends six days with her mother and high school classmates in a Mongolian desert. The novel reads like a travelogue to explore the changes in perspective about the mother and daughter’s relationship as the daughter becomes a mother herself. Their dramatic tale is told from both perspectives.

The summer of 1994 was sultry enough to make people feel deeply frustrated. In the novel, Sejong Group, a fictional crime ring modeled after the notorious Jijon gangsters, plays a central role as the symbol of discrepancies, ironies, and social problems.

Airport Picnic

Lincoln Town Car Baby

Kim Min-seo, Woongjin Think Big Co., Ltd. 2011, 336p, ISBN 9788901126074

Bae Ji-young Woongjin Think Big Co., Ltd. 2012, 336p, ISBN 9788901128344

As a result of the eruption of an Icelandic volcano, a number of people get stranded at Incheon International Airport. With flights cancelled indefinitely, people use their unwanted free time to ponder their key choices in life, imagine new chances, worry about the future, or recall past glories. Copyright Agent: Kim Chan-young rights@wjbooks.co.kr 82-2-3670-1168 www.wjbooks.co.kr

A boy called ‘M’ is found in 1981 in the presidential limousine and the funeral coach ‘Lincoln Town Car.’ The incident leads to a depiction of South Korea in the 1980s-1990s. M spends his childhood in the red light district and near a U.S. army base, and the author chronicles major events that swept the nation in a lively fashion. Copyright Agent: Kim Chan-young rights@wjbooks.co.kr 82-2-3670-1168 www.wjbooks.co.kr

Lemontu Jang’s Imagination Factory

Pygmalion Children Koo Byung-mo, Changbi Publishers, Inc. 2012, 284p, ISBN 9788936456450

Kim Ha-seo, Jaeum & Moeum, 2012 304p, ISBN 9788957076651

Lemontu Jang is a modern version of Mephistopheles. This character is the novel’s key vehicle for demonstrating the way humans pursue their secret desires. The author freely switches between reality and imagination, depicting the human imagination as another reality generated by anxiety, horror, and desire.

Set in a fictional school named Rosenthal School, the story revolves around the confrontation between a documentary producer and a superintendent over the school’s secrets. The details described point to the issues that plague South Korea’s current education system in particular and society in general.

list_ Books from Korea

Vol.17 Autumn 2012

Book Lover's Angle

New Books

Fiction

Spending Time with Baudelaire and Balzac in Seoul

Vol.17 Autumn 2012

by Aurélie Julia

* Aurélie Julia is received her doctorate in literature at Université Paris-Sorbonne. She is currently an editor of Revue des Deux Mondes.

78 list_ Books from Korea

Gesunamu Publishing House

Mirage

One Late Night in 1994

Lee Geumyi, Prooni Books, Inc. 2012, 208p, ISBN 9788957983249

Lyu Hyun-san, Jaeum & Moeum 2012, 384p, ISBN 9788954427227

Airport Picnic

Lincoln Town Car Baby

Kim Min-seo, Woongjin Think Big Co., Ltd. 2011, 336p, ISBN 9788901126074

Bae Ji-young Woongjin Think Big Co., Ltd. 2012, 336p, ISBN 9788901128344

Lemontu Jang’s Imagination Factory

Pygmalion Children Koo Byung-mo, Changbi Publishers, Inc. 2012, 284p, ISBN 9788936456450

Kim Ha-seo, Jaeum & Moeum, 2012 304p, ISBN 9788957076651

list_ Books from Korea

Vol.17 Autumn 2012

Fiction

Nonfiction

Even the Sphinx Doesn’t Know the Answer Song Ha-choon Hyundae Munhak Publishing Co. 2012, 348p, ISBN 9788972756071

This collection of short stories brings readers to different places such as Siberia, Ulleung Island, Kyoto, Egypt, the Silk Road, Dunhuang, India, and the Himalayas. The stories provide insight while also referencing widely known poems and literary texts related to the spots. The book offers a thrilling experience with the help of a mix of fantasy and everyday life.

Typhoon Boy Im Su-hyun, Moonji Publishing Company 2012, 360p, ISBN 9788932023144

An outdated resort town, Dat Island, is a locale for boys who roam gambling facilities and red light districts. Kang-woo does not exactly belong to the boys, as he is determined to embrace being isolated and sidelined as well as take part of in this depravity. His attitude and the author’s talent put a fresh spin on the coming-ofage novel. Copyright Agent: Choi Jiin Jiin@miinji.com 82-2-338-7224 (Ext. 7111) www.moonji.com

Classical Poetic Songs of Korea

Historical Biography of Non-Adults

Study Like a Fool and Dream Like a Genius - Season 2

Kim Dae-haeng Ewha Womans University Press 2009, 136p, ISBN 9788973008179

Shin Hae-wook Hyundae Munhak Publishing Co. 2012, 312p, ISBN 9788972755982

Kim Eui-shik, Myungjin Publications Inc. 2012, 304p, ISBN 9788976776822

The earliest records of songs in South Korea trace back 2,000 years. The book describes how classical poetic songs from the early stage to the 19th century impacted Koreans and their life. Many research efforts are underway to examine classical poetic songs, and the author’s endeavor stands out as it focuses on the meaning of songs and reconstructs the life of ancient Koreans based on the records about poetic songs.

These essays generated strong responses from readers when the author serialized the lively articles for a literary magazine, taking on subjects such as novels, movies, and comics. Adults are those who have passed the threshold as responsible beings in society, while minors are those yet to become adults. Famous non-adults include Bartleby, Holden Caulfield, and Franz Kafka. The author closely observes the nonadults in literature in an insightful fashion.

Ban Ki-moon, United Nations SecretaryGeneral, is one of the most famous role models for Koreans. The original title sold one million copies, as it showcases the inspiring efforts and passion of a boy who wanted to become a diplomat. The sequel concerns with Ban’s activities following the reelection to a second term, focusing on a humble leadership and the book’s message that good-hearted people will win in the end. Copyright Agent: Han Hye-jung myungjinbooks@gmail.com 82-2-326-0026 (Ext.112) www.myungjinbooks.com

Tap into Children’s Potential

Financial Economics 101

Treasures of Korean Art

Oh, My Beauty

Wonhyo

Larry Kwak and Ruth Kwak, PRUME 2012, 364p, ISBN 9788992650748

Lee Chan-keun, Bookie Publishing House 2011, 528p, ISBN 9788960511644

Yu Hong-june, Nulwa, 2011 264p, ISBN 9788990620538

Cho Yoon-ju, Daewon C.I., Inc. 2012, 196p, ISBN 9788925291352

Park Tae-won, Hangilsa, 2012 384p, ISBN 9788935668328

Authors Larry and Ruth Kwak have made it to Time magazine’s 100 most influential people in the world because of their research on the development of cancer vaccines. They have brought up four children, all of whom gained admission to top-ranking universities in the U.S. The book sums up the educational know-how of the famous couple.

The book is an easy-to-understand introduction to finance, aimed at helping readers grasp the topic in an integrated way. Basic financial concepts are explained and the financial industry’s historical background as well as today’s trends are described in a style that is customized for finance beginners such as students and other mainstream readers.

Treasures of Korean Art is a masterful guide of historically valuable treasures and relics. Renowned author Yu Hongjune gives a broader definition of national treasures. As such, not only the treasures designated by the national administration but also other lesser known relics the author personally values are introduced and explained. The book’s strength lies in its focus on various treasures and fresh interpretations of their real beauty and styles.

Like other South Korean women, the author has invested time and effort maintaining her looks while working as a show host on a shopping cable channel. Ten years have passed, and she is now one of the most popular show hosts. More importantly, many people want to know how she looks far younger than her age. The book reveals tips and information about beauty care, reflecting the author’s costly yet valuable trials and errors.

Wonhyo, a prominent Korean monk, is a leading thinker who had a great impact on East Asia. The author Park Tae-won, who won the second Wonhyo Academic Award in 2011 organized by the Korean Buddhism Promotion Foundation, is widely regarded as an authority on Wonhyo. The book explains his key Buddhist ideas in 10 categories while reflecting his profound views on Buddhism and existence.

80 list_ Books from Korea

Vol.17 Autumn 2012

How to Become a MentorParent for Middle School Students Ko Bong-ik and Lee Jeong-ah Myungjin Publications Inc. 2012, 368p, ISBN 9788976777218

If your kid doesn’t listen to your advice, what would you do? The book offers a guide about what should be done to treat teenage children properly by encouraging parents to identify problems, issues, and solutions in 17 representative situations in the broader categories of everyday life. Copyright Agent: Han Hye-jung myungjinbooks@gmail.com 82-2-326-0026 (Ext.112) www.myungjinbooks.com

Professor Oh’s Self-Love Note Oh Jea-eun, Shantibooks, 2009 320p, ISBN 9788991075528

Unlike theory-packed psychotherapy titles, the book is a therapeutic read offering up the author’s rich experiences. Professor Oh Jea-eun comes across his own brokenhearted inner child only after going through excruciating failures and painful incidents, including thoughts of suicide. Oh has pulled off a turnaround as a successful psychotherapist by overcoming all varieties of psychological wounds.

The Story of the Chinese, Vol.1 Kim Myung-ho, Hangilsa, 2012 548p, ISBN 9788935662111

The history of modern China is nothing if not turbulent. The author, who has deepened his knowledge of China over the past four decades, offers insights into notable Chinese revolutionaries, intellectuals, and artists. Featuring rare photographs, diaries, letters, and memoirs, the book provides a glimpse into lively and interesting Chinese figures.

My Mother’s 40th Birthday

Learning Supernatural Powers

Choi Na-mee; Illustrator: Jung Moon-ju Sakyejul Publishing, 2012, 184p ISBN 9788958286004

Lee Byung-seung; Illustrator: Choi Jung-in Haksan Publishing Co., Ltd., 2011, 152p ISBN 9788925880365

The author is an excellent storyteller of children who are about to enter adulthood. This book shows how Gayoung, a 13-year-old girl, slowly comes to understand the role of the mother. Instead of offering a choice between a good and bad mother, the book offers an engaging and humorous view on our mother from the perspective of Gayoung.

Dong-yi wants to excel in both sports and academics so other classmates envy him. He develops this petty wish largely because of Jun-hyeok, who always gets the highest test scores in school. Dongyi gets particularly annoyed when Junhyeok brags about himself in front of Min-ji; it turns out that Dong-yi has a crush on her. For Dong-yi, the only way to outsmart Jun-hyuk is to develop supernatural powers.

Children’s Books

The Forest Where the Wind Cries to Sleep Choi Na-mee; Illustrator: Jung Moon-ju Sakyejul Publishing, 2012, 184p ISBN 9788958286196

The revised edition of the author’s first title, The Forest Where the Wind Cries to Sleep, is meaningful largely because the author has long built up trust among readers. The book is centered upon Juha, who lost her mother at an early age and, as a result, became a precocious child. In a series of moving episodes, Juha grows up as a normal child with the help of her grandfather. Copyright Agent: Kang Hyun-joo kanghjoo@sakyejul.co.kr 82-31-955-8600 www.sakyejul.co.kr

list_ Books from Korea

Vol.17 Autumn 2012

Fiction

Nonfiction

Even the Sphinx Doesn’t Know the Answer Song Ha-choon Hyundae Munhak Publishing Co. 2012, 348p, ISBN 9788972756071

Typhoon Boy Im Su-hyun, Moonji Publishing Company 2012, 360p, ISBN 9788932023144

Classical Poetic Songs of Korea

Historical Biography of Non-Adults

Study Like a Fool and Dream Like a Genius - Season 2

Kim Dae-haeng Ewha Womans University Press 2009, 136p, ISBN 9788973008179

Shin Hae-wook Hyundae Munhak Publishing Co. 2012, 312p, ISBN 9788972755982

Kim Eui-shik, Myungjin Publications Inc. 2012, 304p, ISBN 9788976776822

Tap into Children’s Potential

Financial Economics 101

Treasures of Korean Art

Oh, My Beauty

Wonhyo

Larry Kwak and Ruth Kwak, PRUME 2012, 364p, ISBN 9788992650748

Lee Chan-keun, Bookie Publishing House 2011, 528p, ISBN 9788960511644

Yu Hong-june, Nulwa, 2011 264p, ISBN 9788990620538

Cho Yoon-ju, Daewon C.I., Inc. 2012, 196p, ISBN 9788925291352

Park Tae-won, Hangilsa, 2012 384p, ISBN 9788935668328

80 list_ Books from Korea

Vol.17 Autumn 2012

How to Become a MentorParent for Middle School Students Ko Bong-ik and Lee Jeong-ah Myungjin Publications Inc. 2012, 368p, ISBN 9788976777218

Professor Oh’s Self-Love Note Oh Jea-eun, Shantibooks, 2009 320p, ISBN 9788991075528

The Story of the Chinese, Vol.1 Kim Myung-ho, Hangilsa, 2012 548p, ISBN 9788935662111

My Mother’s 40th Birthday

Learning Supernatural Powers

Choi Na-mee; Illustrator: Jung Moon-ju Sakyejul Publishing, 2012, 184p ISBN 9788958286004

Lee Byung-seung; Illustrator: Choi Jung-in Haksan Publishing Co., Ltd., 2011, 152p ISBN 9788925880365

Children’s Books

The Forest Where the Wind Cries to Sleep Choi Na-mee; Illustrator: Jung Moon-ju Sakyejul Publishing, 2012, 184p ISBN 9788958286196

list_ Books from Korea

Vol.17 Autumn 2012

Children’s Books

Desert Girl: Ninne

Laughing Cheerfully

Let's Play!

In Love With Math

Bad Guy in Town

My Friend Is an Alien

Ready to Meet Your Dad?

Stupid Letter

Kim Ji-young, Nurimbo, 2012 36p, ISBN 9788958761396

Sim Mia, Nurimbo, 2012 28p, ISBN 9788958761419

Park Jung-sup, Bear Books, 2012 36p, ISBN 9788993242621

The princess lives in a kingdom where nobody laughs. One day, she leaves of the royal castle and encounters a bear making a strange face. She mimics the bear. Doctors say that she is ill and the name of the disease is “Bursting Out in Laughter.” This picture-book is deeply entertaining, thanks to the author’s innovative storytelling and interesting subject.

Kim Young-mi; Illustrator: Hwang Jung-ha Sigongsa Co., Ltd., 2012, 32p ISBN 9788952764041

Hwang Sun-mi; Illustrator: Noh In-kyung Sigongsa Co., Ltd., 2012, 112p ISBN 9788952765628

Dong-su saves some money, only to see the coin bank disappearing overnight. The suspect, Dong-su believes, is a next-door neighbor living in the same apartment. Fully convinced about his hunch, Dong-su puts the man’s composite sketch in the apartment complex. What he does not expect at all is that the coin bank gets discovered in the water storage he recently bought.

Hwang Sun-mi, a top writer of children’s stories in South Korea, takes on the subject of first love. Eleven-year-old Dong-ju receives a love letter but it has been sent him by mistake. Due to the letter, a series of incidents take place. The story is a lovely depiction of an adolescent boy who falls in love with a girl for the first time.

Some children’s books can be truly moving. A title on mathematics can do the same magic by highlighting the beauty of logic. The book helps readers to understand mathematics not just as an academic endeavor but also as an ideal approach to exploring the subject’s origins and fundamentals. The focus is placed not on how much one knows about a subject but on how such new knowledge gets secured.

Even the freezing cold of Antarctica does not discourage the fatherly love of emperor penguins. The father emperor penguin in the story pours love on its unborn child who is yet to hatch. Beautiful illustrations capture the characteristics of and life of the emperor penguins.

What will you do when you have mountains of homework but feel tired and sleepy? For a child, the answer is simple: you go out and play! Let’s Play is a picture book encouraging kids to play, intended to be a toy of images. For instance, the yellow silhouette-like shape of a child sitting on a chair remains the same, but the background changes and a new story gets introduced as readers turn the page.

Park Hyeon-suk; Illustrator: Bae Jongsuk Iandbook, 2012, 104p ISBN 9788997430024

Lim Gun-hee, Prooni Books, Inc. 2012, 208p, ISBN 9788957983232

An old woman named Ninne is called “Girl of White Camel.” Why is it that she gets such an exotic nickname? Ninne begins to tell about her own story at a windy night in the desert, with the stars falling asleep. The story involves Ninne’s adventurous journey in the desert in search of her mother, a tale that gets accentuated with the help of beautiful illustrations.

Kim Jeong-soon; Illustrators: Lee Si-won Kyung Moon Sa 2012, 192p, ISBN 9788961055338

This collection of children’s stories features a range of issues from bullying in school to the selfish communications symbolized by text messages. For all the weighty issues, the stories take a clever and bright tone for the most part, moving the plot forward. The uplifting tone of the stories encourages readers and society to pay more attention to today’s children. Copyright Agent: Choi Jin-woo agency@prooni.com 82-2-581-0334 (Ext. 117) www.prooni.com

Comics

I Like Wind

I Like My Sister

I’ll Keep It to Myself

Choi Nae-kyeng; Illustrator: Lee Yoon-hee Marubol Publications, 2008, 40p ISBN 9788956631820

Ko Dae-young; Illustrator: Han Sang-un Gilbut Children publishing Co., Ltd. 2012, 32p, ISBN 9788955822007

Kwon Jeong-saeng; Illustrator: Kim Dongsoo Munhakdongne, 2012, 116p ISBN 9788954618267

The emotional and scientific benefits of the wind are observed through a child with a rich sensibility and intellectual curiosity. The child talks about his observations to the mother, who in turn offers kind explanations customized for a child. The readers can understand just how valuable the wind is by following the mother-child story.

The boy loves spending time with his elder sister. People often ask him the bewildering question, “Who do you like more? Your mother or your father?” The boy’s answer remains the same: “I like my sister more!” For the boy, the idea of getting separated from his sister leads to a nightmare as the sister needs more personal space and time as she grows up.

This collection of children’s poems was made five years earlier than the author's famous debut piece, Puppy Poo. The poems reflect an important phase and play the source of literary inspirations for the late Kwon Jeong-saeng. The uplifting poems were composed while Kwon was fighting poverty, offering a message of hope for younger readers.

82 list_ Books from Korea

Vol.17 Autumn 2012

Planet Earth: The Song of the Child

Ally Is Not a Fool

The First Day of School

Glorious

Ahn Do-hyun; Illustrator: Kim Jun-young Gesunamu Publishing House 2010, 140p, ISBN 9788989654643

Song Eon; Illustrator: Kim Dongsoo Borim Press, 2011, 34p ISBN 9788943308827

Jang Ye-seo, Haksan Publishing Co., Ltd. 2012, 160p, ISBN 9788925885315

The book features songs of reflection and hope for the children who are forced to work endlessly. While some of us are eating tasty chocolates in an airplane floating in the sky, other children are climbing trees to meet the daily production quota at a cacao farm. This unsettling situation gets played out through concise yet powerful pictures and songs.

Ally is a kind-hearted boy who always walks carefully not to step on innocent insects. Adults tell other children to stay away from Ally, calling him “that fool.” But the speaker of the story appreciates Ally’s affection for small creatures and thinks that he is a true hero. When Ally grows up to an adult, he turns into a human rights activist. Readers are likely to conclude that we need more fools like Ally.

Gu Dong-jun lives in the 1960s. Kim Jiyun lives in the 2000s. This picture book shows how the two children experience elementary school. The author adopts a picture diary format, offering simple writings and drawings that reflect the characters’ expectations, anxieties, and disappointments. Gu Dong-jun of the 1960s, it turns out, is Kim Ji-yun’s teacher in the 2000s, a factor that adds depth and fun to the story.

Yoon Yeorim; Illustrator: Yun Jee-heo Munhakdongne, 2012, 44p ISBN 9788954617413

Rusenbrithen is a kingdom where the king is selected not by succession or popular vote but by the “Glorious Fiesta,” a contest in which five candidates compete to collect sacred treasures. As the ceremonial contest starts, the king gets ready to hand over his throne while contenders race to stay ahead. But a surprising development hits as one of the final contestants is a girl with an obscure reputation. Copyright Agent: Hong Yoo-bin hyb@haksanpub.co.kr 82-2-828-8805 www.haksanpub.co.kr

The Warrior Who Never Dismounts From His Horse, Vol.1 Hur Young-man, Gimm-Young Publishers, Inc. 2012, 268p, ISBN 978899717232

Genghis Khan is the main figure in this comic book. Based on joint research by experts on Mongolia and extensive field research, the book fully reconstructs the nature, customs, and history of Mongolia in the 12th and 13th centuries. From the birth of the ruler to the battle for the throne in Mongolia, a large-scale story gets played out against the backdrop of the Mongolian grasslands. Copyright Agent: An Hye-yun hyan@gimmyoung.com 82-2-3668-3201 www.gimmyoung.com

list_ Books from Korea

Vol.17 Autumn 2012

Children’s Books

Desert Girl: Ninne

Laughing Cheerfully

Let's Play!

In Love With Math

Bad Guy in Town

My Friend Is an Alien

Ready to Meet Your Dad?

Stupid Letter

Kim Ji-young, Nurimbo, 2012 36p, ISBN 9788958761396

Sim Mia, Nurimbo, 2012 28p, ISBN 9788958761419

Park Jung-sup, Bear Books, 2012 36p, ISBN 9788993242621

Kim Young-mi; Illustrator: Hwang Jung-ha Sigongsa Co., Ltd., 2012, 32p ISBN 9788952764041

Hwang Sun-mi; Illustrator: Noh In-kyung Sigongsa Co., Ltd., 2012, 112p ISBN 9788952765628

Park Hyeon-suk; Illustrator: Bae Jongsuk Iandbook, 2012, 104p ISBN 9788997430024

Lim Gun-hee, Prooni Books, Inc. 2012, 208p, ISBN 9788957983232

Kim Jeong-soon; Illustrators: Lee Si-won Kyung Moon Sa 2012, 192p, ISBN 9788961055338

Comics

I Like Wind

I Like My Sister

I’ll Keep It to Myself

Choi Nae-kyeng; Illustrator: Lee Yoon-hee Marubol Publications, 2008, 40p ISBN 9788956631820

Ko Dae-young; Illustrator: Han Sang-un Gilbut Children publishing Co., Ltd. 2012, 32p, ISBN 9788955822007

Kwon Jeong-saeng; Illustrator: Kim Dongsoo Munhakdongne, 2012, 116p ISBN 9788954618267

82 list_ Books from Korea

Vol.17 Autumn 2012

Planet Earth: The Song of the Child

Ally Is Not a Fool

The First Day of School

Glorious

Ahn Do-hyun; Illustrator: Kim Jun-young Gesunamu Publishing House 2010, 140p, ISBN 9788989654643

Song Eon; Illustrator: Kim Dongsoo Borim Press, 2011, 34p ISBN 9788943308827

Jang Ye-seo, Haksan Publishing Co., Ltd. 2012, 160p, ISBN 9788925885315

Yoon Yeorim; Illustrator: Yun Jee-heo Munhakdongne, 2012, 44p ISBN 9788954617413

The Warrior Who Never Dismounts From His Horse, Vol.1 Hur Young-man, Gimm-Young Publishers, Inc. 2012, 268p, ISBN 978899717232

list_ Books from Korea

Vol.17 Autumn 2012

Meet the Publishers

Relatively new on the publishing scene, EunHaeng NaMu Publishing Company has made its reputation by taking risks with new authors and developing new marketing strategies that bring authors closer to their audiences.

도서출판

EunHaeng NaMu Publishing Co., Ltd.

Readers in Korea will remember A Night of Seven Years, a much talked about novel that heated up bookstores last year. They must have been unable to put the book down until they came to the last page, captivated by powerful storytelling, a grand narrative, and the amazing feat of imagination. Few are aware, however, that working together on the periphery are author Jeong You-jeong who stands askance from the spotlight of the literary world, and publisher EunHaeng NaMu that has just begun to publish Korean literary works in earnest. EunHaeng NaMu, founded 15 years ago, has established itself firmly at the center of the Korean publishing market. EunHaeng NaMu had its inception in 1997. Three former editors, including Joo Yeon-sun, the head, started the company with nothing more than 60 million won, which was used up in just a month. To keep the company going, they continued to publish specialty books, essay collections, and popular novels, and as they did this, their first big break came their way. It was Eternal Libero, the autobiographical book of essays by Hong Myung-bo, the soccer player. EunHaeng NaMu came across the manuscript just prior to the beginning of the 2002 World Cup, and published it within two months. At the time, there wasn’t any other book on Korean soccer players. With the Korean team going to the semifinals, the book sold 300,000 copies in one month. They had hit the jackpot. Five years after its creation, the company was able to move into its current building, and devote themselves to creating good books in a stable environment. Like other publishers, EunHaeng NaMu was full of desire to publish good works of literature. The entry barrier to the world of literature, however, was high. Writers wanted to give their manuscripts to long-standing major publishers, and the books that had been published by EunHaeng NaMu consisted mostly of a variety of specialty books. In 2005, EunHaeng NaMu was given

its second big break. This time, it was a book of literature—but not Korean literature. The second big break was Flying Trapeze by Okuda Hideo. Flying Trapeze performed its duty well, selling over a million copies. With Okuda’s In the Pool and South Bound becoming hits one after another, EunHaeng NaMu came to be seen as a publisher specializing in Japanese novels, but it now had an even stronger desire to publish books of Korean literature. In 2009, EunHaeng NaMu published Shoot Me in the Heart, the recipient of the Segye Literary Award, granted by the Segye Ilbo. With this novel by Jeong You-jeong, the publisher finally made its way into the world of literature. The gate became wide open with A Night of Seven Years, published in 2011; the third big break. A peripheral author and a peripheral publisher had joined hands to climb over the barrier into the literary world. Now authors who had been marginalized or neglected in literary circles wanted their works to be published by EunHaeng NaMu, and the publisher took on an image of a youthful publisher of Korean literature. The selection of genres or books by Eu nHaeng Na Mu a re ba sed on their youth appeal. Authors, too, prefer EunHaeng NaMu over large publishers when they want to communicate directly with readers, for the publisher implements marketing strategies that allow such communication. In general, books are advertised through newspapers or the Internet, but EunHaeng NaMu comes up with original marketing strategies with the cooperation of young authors. In particular, book trailers have become the most effective marketing strategy. A one or two minute book trailer, like a movie trailer, is created by an editor and a music video producer. Book trailers can be actively used by online bookstores or on electronic displays, where a great number of people can see them when the author can’t be on television. As a principle, EunHaeng NaMu puts as much effort into marketing as the

authors do into their books. They believe that authors should shine forth like stars as they join in the advertising efforts. The publisher does not hesitate to take risks with authors. They neither discriminate nor build barriers against authors. In other words, their decision to publish a book is based solely on the work itself, and not on the status of the author. They don’t care for the author’s reputation, reviews by celebrities, or books that readers can’t understand. They care only for the work. They want to publish books that speak to today’s readers. As a rule, however, they publish no more than one

book of Korean literature a month. That’s how much care they are willing to put into it. Today, works of literature account for half of EunHaeng NaMu’s publications, and it is the publisher’s aim to have Korean literature account for half of that. They still publish specialty books as well as self-help books and books on science, history, and culture. With the growing trend towards an e-book market, they have recently begun to publish app books. It is their belief that there’s no need to limit content to a single form. Movies can be made into books, and books can be made into movies, plays, graphic novels, app books, and games. It is hoped that the growth of EunHaeng NaMu will lead to new communication between Korean authors and readers around the world. by Yoon So-hee

4 1

5 1. Shoot Me in the Heart Jeong You-jeong, EunHaeng NaMu Publishing Co. 2009, 346p, ISBN 9788956602998

4. A Man Walking Dogs Jeon Min-sik, EunHaeng NaMu Publishing Co. 2012, 296p, ISBN 9788956606064

2. Eternal Libero Hong Myung-bo, EunHaeng NaMu Publishing Co. 2002, 252p, ISBN 9788987976983

5. The Consultant Im Seong-sun, EunHaeng NaMu Publishing Co. 2010, 296p, ISBN 9788956603391

3. A Night of Seven Years Jeong You-jeong, EunHaeng NaMu Publishing Co. 2011, 523p, ISBN 9788956604992

6. The Ghost Kang Hi-jin, EunHaeng NaMu Publishing Co. 2011, 336p, IBSN 9788956605364

list_ Books from Korea

Vol.17 Autumn 2012

Meet the Publishers

도서출판

EunHaeng NaMu Publishing Co., Ltd.

4 1

5 1. Shoot Me in the Heart Jeong You-jeong, EunHaeng NaMu Publishing Co. 2009, 346p, ISBN 9788956602998

4. A Man Walking Dogs Jeon Min-sik, EunHaeng NaMu Publishing Co. 2012, 296p, ISBN 9788956606064

2. Eternal Libero Hong Myung-bo, EunHaeng NaMu Publishing Co. 2002, 252p, ISBN 9788987976983

5. The Consultant Im Seong-sun, EunHaeng NaMu Publishing Co. 2010, 296p, ISBN 9788956603391

3. A Night of Seven Years Jeong You-jeong, EunHaeng NaMu Publishing Co. 2011, 523p, ISBN 9788956604992

6. The Ghost Kang Hi-jin, EunHaeng NaMu Publishing Co. 2011, 336p, IBSN 9788956605364

list_ Books from Korea

Vol.17 Autumn 2012

Afterword

Contributors

Korean Classics as the Next Wave There has been an explosion of interest in contemporary Korean culture around the world. Young people in Asia, and increasingly i n E u r o p e a n d t h e Un it e d States, are growing passionate about K-Pop, Korean film and comic books, and more recently food and cosmetics. But the Korea that they are introduced to through such products is obviously a very limited one, and in some respects one that diminishes, rather than enhances, the impact that Korea has in the world. The Korean Wave can inspire with its vitality and its originality, but it does not have all that much to say about the environmental crisis, the growing gap between rich and poor, or the crisis in education. All these problems are very real for the young people around the world who turn to Korea looking for inspiration. There are answers to those needs that can be found in great Korean traditions, but we need to cast our net wider. Many young people end up getting the impression that Korea is a country that suddenly came into being in the 1990s, and was before that a rather undeveloped country. Nothing could be more wrong. Of course Koreans have some responsibility for that myth in that Koreans tend to emphasize how Korea went from a standard of living equal to Somalia to a top 10 economy in 50 years. That is a great story, but it is misleading. If Koreans did not have a great cultural tradition and a remarkable scholarly past, it would not have been possible to make such a rapid advancement. Moreover, although traditional Korea may seem backwards compared with the aggressive West, in this new age of sustainable development, I would suggest there is much that is laudable in the old Korea of the Joseon period that has been needlessly neglected, including organic farming and innovative governance. So how do we start to broaden the Korean Wave, and how do we make it more complete and more compelling? I believe that the translation of the Korean classics into high quality English, Chinese, Japanese, French, German, Italian, and Arabic renditions is the answer. Only then will the lovers of the Korean Wave start to see the true depth of the tradition. And only then will people around the world be inspired to think more deeply about the serious challenges of our age from a Korean perspective. Therefore turning to the Korean classics is an essential step for Korea

86 list_ Books from Korea

Vol.17 Autumn 2012

Bae No-pil is a reporter with the JoongAng Ilbo.

and adjunct professor at Dongguk University.

In 2007, she published Oedipus’ Forest. Currently, she teaches at Korea University and is a member of the editorial committee for the quarterly publication Segyeui Munhak.

Cha Woojin is a music critic and

Kim Dongshik is a literary critic and

Byun Jee-yeon is a literary critic

to play a more central role in the world. It was in this context that I decided to translate the novels of the Korean author Park Ji-won into English with the support of LTI Korea. Park Ji-won was one of the most insightful writers of the 18th century. His writings have an immediate relevance for our age in that he writes about how the individual can create for himself a space for selfexpression and relevance, regardless of the contradictions in his society and the imperfections of his understanding of the world. Park’s narratives focus on the contradictions of the late Joseon society, such as the diminished status of intellectuals, the yangban, in an increasingly monetized economy. Park’s short story the “Tale of the Yangban,” for example, relates to how a yangban scholar, a member of the ruling class of intellectuals, sells his status for cash to a wealthy businessman. The ironic tale of the corrupting power of money has direct relevance today as we see professors, lawyers, doctors, and other professionals in our society essentially being forced to sell their status for money in an economy that ruthlessly demands efficiency and conversion into monetary value. The marginalization of the intellectual in an increasingly commercial economy is a critical contemporary issue, and Park has much to say that is relevant to the current day. Moreover, his subtle, ironic style and humanistic approach to his subject also has universal appeal. I felt that translating Park Ji-won’s novels would have profound significance in that his writings suggested a new window into pre-modern Korea, and that in fact pre-modern Korea is more like early modern Korea, a distant mirror offering insights with direct relevance to young people in the United States, China, and the world. Therefore, translating Park’s novels makes the universality of the challenges more apparent and more visible. The introduction of Korean classical literature to the world can give us an understanding of the full complexity of the Korean tradition and make available aspects of Korea directly relevant to readers around the world. The classical tradition is in a sense, the next step for the Korean Wave. by Emanuel Pastreich

* Emanuel Pastreich is a professor of Humanitas College at Kyung Hee University where he teaches classical Korean literature. His major works include Life Is a Matter of Direction, Not of Speed: Records of a Robinson Crusoe in Korea and The Observable Mundane Vernacular Chinese and the Emergence of a Literary Discourse on Popular Narrative in Edo Japan. He is also the translator of the novels of Park Ji-won.

Kang Yu-jung is a literary critic.

editor of music webzine [WEIV]. Cha’s published works include Sound of Youth.

Cho Yeon-jung is a literary critic.

She made her debut in 2006 when she won the Seoul Shinmun New Critic’s Award.

Chun Wooyong is a historian and

a Cultural Properties Committee member of the Seoul City administration. Chun’s major works include The Depth of Seoul, The Birth of Modern Man in Korea, and The Birth of Korean Companies.

Chung Namsoo is the division head

of E-Korea Publishing Contents Co., Ltd., and an author of 60 E-Books Publishers Should Prepare.

Eom Hye-suk is a researcher in

children’s literature and a critic of illustrated books. She also works as a translator. Her most well-known work is Reading My Delightful Illustrated Books.

Han Mihwa writes on the subject of publishing. Her written works include Bestsellers of Our Time and This Is How Bestsellers Are Made, Vols. 1, 2.

Jang Dongseok is a book columnist

and critic in the publishing industry. He is the author of The Living Library.

Jang Sungkyu is a literary critic. He currently lectures at Kwangwoon University.

Joseph Lee is a literary agent and president of KL Management. His main interest lies in selling Korean literature to overseas markets. He is the author of A Man Selling Novels.

Jung Jongho is the head of the

electronic publishing committee at the Korea Publishers Society and CEO of Chungaram Media.

Jung Yeo-ul is a literary critic. Jung

lectures at Seoul National University and the Korean National University of Arts.

a professor of Korean language and literature at Inha University. He has published Cynicism and Fascination. He is on the editorial board of list_ Books from Korea.

Kim Ji-eun is a children’s book

writer and children’s literature critic. She currently lectures on theories of children's fiction writing in the Department of Creative Writing at Hanshin University.

Kim Su-yeong is president of Rhodus

Publishing Co., and a lecturer of philosophy. He is on the editorial board of list_Books from Korea.

Kim Yeran is a professor of media art at Kwangwoon University and is on the editorial board of list_Books from Korea.

Kim Yonghee is a literary critic

and professor of Korean Literature at Pyeongtaek University. Her works include Penelope’s Loom: Modern Women Poets and Going to Heaven. She is on the editorial board of list_Books from Korea.

Kim Young-burn is a reporter at the Culture Desk of the Munhwa Ilbo.

Larry Seo is senior manager of digital business at Changbi Publishers, Inc.

Lee Taekyong is a TV producer and

team manager at the KBS Broadcasting Culture Research Center.

Lee Yong-jun is a professor of

journalism and mass communication at Daejin University. His published works include The Return of Gutenberg and The Big Bang of E-Books.

Park Hyekyung is a literary critic. Her works include The Wound and the Gaze, The Mystery and Melancholy of Literature, and In the Eyes of Orpheus.

Pyo Jeonghun is a book reviewer,

columnist, translator, and freelance writer. He has translated 10 books into Korean and written Books Have Their Own Destiny, A Short Introduction to Chinese Philosophy, and An Interview with My Teacher: What Is Philosophy?

Richard Hong is a book columnist

and the head of BC Agency. He translated 13: The Story of the World’s Most Notorious Superstitions, has appeared on KBS 1 Radio’s “Global Today,” and writes columns for The Korea Economic Daily and Posco News.

Yang Yun-eui is a literary critic. She

won the literary criticism category of the 2006 Joongang New Writer’s Award.

Yi Myung-suk is a columnist. He has

published such books as Yi Myung-suk’s Japanese Comics, Manhwa: Finding the Critical Point, and A Cafe for Every Day.

Yoon So-hee is a children’s book writer. She has written such works as Prejudice, Aram’s Secret, and 7 Stories to Help You Study. She is the winner of the 13th MBC Children’s Writing Prize. She is on the editorial board of list_Books from Korea.

Translators Cho Yoonna is a freelance interpreter and translator.

Choi Inyoung is an artist and translator specializing in Korean literature and the arts. She has been translating for over 20 years.

Christopher Dykas studied German

studies and politics at Oberlin College. He is a graduate student at UCLA.

Dafna Zur is a professor of Korean

literature at Keimyung University in Daegu. Her interests lie broadly in children’s literature and the folk tales of North and South Korea. She has published both scholarly work and literary translation.

H. Jamie Chang is a Bostonian/ Busanian freelance translator.

Jung Yewon is currently working as a freelance interpreter and translator. Jung received the Daesan Foundation Translation Grant in 2009. She is currently working on No One Writes Back, a novel by Jang Eun-jin.

Kari Schenk was the co-recipient

critic and a teacher at Jaun Elementary School. He is the author of The Body’s Imagination and Fairy Tale.

of the commendation award in the 2006 Korea Times contest for new translators, and in 2010 she attended a special course in translation at LTI Korea. She lectures in English at Korea University.

Zhang Eujeong is a culture critic

Kim Hee-young is an editor and

Yu Youngjin is a children’s literature

and a professor of the Korea National Institute for General Education at Dankook University. Zhang published two books: My Brother Is a Street Musician—The Modern Era in Popular Songs and The Tea Room & Café, The Agit of the Modern Boy.

freelance translator.

Kim Soyoung is currently working

on translating fiction and nonfiction from Korean into English.

Kim Ungsan is a freelance translator.

He has worked as a lecture in English literature at Seoul National University as well as at Korea National Open University.

Marilyn Plumlee is currently an associate professor in the Department of English Linguistics at Hankuk University of Foreign Studies.

Park Sang-yon has translated a

number of books and papers on Korean studies including Suwon Hwaseong: The New City of the Joseon Dynasty Built on the Spirit of Practical Learning.

list_ Books from Korea

Vol.17 Autumn 2012

Afterword

Contributors

86 list_ Books from Korea

Vol.17 Autumn 2012

Bae No-pil is a reporter with the JoongAng Ilbo.

and adjunct professor at Dongguk University.

In 2007, she published Oedipus’ Forest. Currently, she teaches at Korea University and is a member of the editorial committee for the quarterly publication Segyeui Munhak.

Cha Woojin is a music critic and

Kim Dongshik is a literary critic and

Byun Jee-yeon is a literary critic

Kang Yu-jung is a literary critic.

editor of music webzine [WEIV]. Cha’s published works include Sound of Youth.

Cho Yeon-jung is a literary critic.

She made her debut in 2006 when she won the Seoul Shinmun New Critic’s Award.

Chun Wooyong is a historian and

a Cultural Properties Committee member of the Seoul City administration. Chun’s major works include The Depth of Seoul, The Birth of Modern Man in Korea, and The Birth of Korean Companies.

Chung Namsoo is the division head

of E-Korea Publishing Contents Co., Ltd., and an author of 60 E-Books Publishers Should Prepare.

Eom Hye-suk is a researcher in

children’s literature and a critic of illustrated books. She also works as a translator. Her most well-known work is Reading My Delightful Illustrated Books.

Han Mihwa writes on the subject of publishing. Her written works include Bestsellers of Our Time and This Is How Bestsellers Are Made, Vols. 1, 2.

Jang Dongseok is a book columnist

and critic in the publishing industry. He is the author of The Living Library.

Jang Sungkyu is a literary critic. He currently lectures at Kwangwoon University.

Joseph Lee is a literary agent and president of KL Management. His main interest lies in selling Korean literature to overseas markets. He is the author of A Man Selling Novels.

Jung Jongho is the head of the

electronic publishing committee at the Korea Publishers Society and CEO of Chungaram Media.

Jung Yeo-ul is a literary critic. Jung

lectures at Seoul National University and the Korean National University of Arts.

a professor of Korean language and literature at Inha University. He has published Cynicism and Fascination. He is on the editorial board of list_ Books from Korea.

Kim Ji-eun is a children’s book

writer and children’s literature critic. She currently lectures on theories of children's fiction writing in the Department of Creative Writing at Hanshin University.

Kim Su-yeong is president of Rhodus

Publishing Co., and a lecturer of philosophy. He is on the editorial board of list_Books from Korea.

Kim Yeran is a professor of media art at Kwangwoon University and is on the editorial board of list_Books from Korea.

Kim Yonghee is a literary critic

and professor of Korean Literature at Pyeongtaek University. Her works include Penelope’s Loom: Modern Women Poets and Going to Heaven. She is on the editorial board of list_Books from Korea.

Kim Young-burn is a reporter at the Culture Desk of the Munhwa Ilbo.

Larry Seo is senior manager of digital business at Changbi Publishers, Inc.

Lee Taekyong is a TV producer and

team manager at the KBS Broadcasting Culture Research Center.

Lee Yong-jun is a professor of

journalism and mass communication at Daejin University. His published works include The Return of Gutenberg and The Big Bang of E-Books.

Park Hyekyung is a literary critic. Her works include The Wound and the Gaze, The Mystery and Melancholy of Literature, and In the Eyes of Orpheus.

Pyo Jeonghun is a book reviewer,

Richard Hong is a book columnist

Yang Yun-eui is a literary critic. She

won the literary criticism category of the 2006 Joongang New Writer’s Award.

Yi Myung-suk is a columnist. He has

published such books as Yi Myung-suk’s Japanese Comics, Manhwa: Finding the Critical Point, and A Cafe for Every Day.

Translators Cho Yoonna is a freelance interpreter and translator.

Choi Inyoung is an artist and translator specializing in Korean literature and the arts. She has been translating for over 20 years.

Christopher Dykas studied German

studies and politics at Oberlin College. He is a graduate student at UCLA.

Dafna Zur is a professor of Korean

H. Jamie Chang is a Bostonian/ Busanian freelance translator.

Kari Schenk was the co-recipient

critic and a teacher at Jaun Elementary School. He is the author of The Body’s Imagination and Fairy Tale.

of the commendation award in the 2006 Korea Times contest for new translators, and in 2010 she attended a special course in translation at LTI Korea. She lectures in English at Korea University.

Zhang Eujeong is a culture critic

Kim Hee-young is an editor and

Yu Youngjin is a children’s literature

freelance translator.

Kim Soyoung is currently working

on translating fiction and nonfiction from Korean into English.

Kim Ungsan is a freelance translator.

He has worked as a lecture in English literature at Seoul National University as well as at Korea National Open University.

Marilyn Plumlee is currently an associate professor in the Department of English Linguistics at Hankuk University of Foreign Studies.

Park Sang-yon has translated a

number of books and papers on Korean studies including Suwon Hwaseong: The New City of the Joseon Dynasty Built on the Spirit of Practical Learning.

list_ Books from Korea

Vol.17 Autumn 2012

Contributors

Featured Authors

Peter J. Koh is a freelance translator and interpreter who completed LTI Korea's Special Workshop in 2009 and Intensive Workshop in 2010. He currently resides in Seoul.

Yang Sung-jin is a staff reporter and

editor at The Korea Herald. Yang wrote a Korean history book in English, Click into the Hermit Kingdom, and a newsbased English vocabulary book, News English Power Dictionary.

Yi Jeong-hyeon is a freelance

translator. She has translated several books and papers, including Korean Traditional Landscape Architecture and Atlas of Korean History.

Fiction pp. 44-48

Djuna is a film critic and science

f i c t i o n w r i t e r. Si n c e 1 9 9 4 , s h e has been active as an anonymous online writer, although none of her personal information such as her real name, gender, age, education, and other miscellaneous information is available. Her short story collections are Battle of the Butterflies and The Pacific Continental Express; and other published works of hers are the novel Jezebel and a collection of film reviews, Rambling in Front of the Screen.

Yun Yennie is a freelance translator

for KBS World Radio. She won the 7th Korean Literature Translation Contest for New Translators in 2008 and is working on the translation of Eun Hee-kyung’s Let Boys Cry with support from LTI Korea.

Kim Joo-young is a novelist who

began his career as a writer with the publication of “A Period of Dormancy” in 1971 in the monthly Literature magazine. His published novels are Tradesman, The Sound of Thunder, A Skate Fish and Goodbye, Mother; his short story collections are Winter Bird and In Search of a Bird. He is the recipient of the Korea Culture and Art Award and Yi Sang Literary Award as well as numerous other literary prizes. In 2007, he received the Eungwan Cultural medal.

Yun Humyong is a poet and novelist

who debuted as a poet in 1967 when his poem was published in the Kyunghyang Daily in 1967. His novel won the Korea Times New Writer’s Contest in 1979. His published works include a collection of poetry, An Expert Archer; anthologies of short works, The Love of Don Juan, The Fox Hunt, Listening to the Music of Flowers; and novels, Us to the Stars and A Generation Without a Promise. He is the recipient of the Hyundae Literary Award, Yi Sang Literary Award, and numerous other literary awards.

Nonfiction

Kim Hak-seon is a reporter who

has written articles on popular music for an Internet music broadcasting site, Ssamnet, since 2000. He has previously worked on the editorial board of the webzine, called Gaseum (Heart), and as a pop music reporter for The Hankyoreh newspaper. At present, he serves as the editor-inchief for the music webzine, Boda, and is on the editorial committee of 100 Beat, as well as being a member of the Korean Popular Music Award selection committee, and a judge for the EBS Space Gonggam program, “Hello Rookie.” He is the author of People Who Make K-Pop.

K i m Ye o l i s a t r a n s l a t o r w h o

specializes in self-help, philosophy, and memoir. He majored in electrical engineering at Yonsei University but belatedly decided to work as a translator after working at companies like Pentech and Motorola. He has translated The Secret, The Evolving Self: A Psychology for the Third Millennium. He is also the author of Should I, Too, Try Translation? and Green Temptation.

Lee Kang-young is a par ticle

physicist. He has thus far written 50 articles on various aspects of particle physics. LHC, the Forefront of Modern Physics and Invisible Worlds are his most prominent works. His book, LHC, the Forefront of Modern Physics, which is about the LHC accelerator and particle physics, is an introduction to one of the most significant scientific achievements of the 21st century and won the Korea Book Awards in 2011; it was also on the list of ten best science books of the year as chosen by the Asia-Pacific Centre for Theoretical Physics. He is currently professor of physics at Konkuk University.

pp. 62-70 Eun Hee-kyung is a novelist. In

Editors Kim Stoker is an editor and full-

time lecturer at Duksung Women’s University.

Krys Lee is an editor, translator, and fiction writer. Her short story collection Drifting House was published by Viking/Penguin in the U.S. and Faber and Faber in the U.K., in 2012.

1995, her novella A Duet won the Dong-A Daily New Writer’s Contest. Her short story collections include Talking to Strangers and Beauty Despises Me; her novels are A Gift from a Bird, Let Boys Cry, and Life Unperturbed. She is the winner of the Yi Sang and Korea Times Literary Awards, among others.

Cover Art The print artist Han Jung-sun has held five solo exhibits and taken part in several group exhibits. She was awarded the 25th Korean Contemporary Prints Public Subscription Exhibition ‘Grand Prize,’ was a 10th BELT 2006 Selection Artist and NArT 2007 Selection Artist, and was awarded the 2007-2008 Art Studio Residency by the Kumho Museum of Art. js-han0313@hanmail.net www.yesulhada.com

88 list_ Books from Korea

Vol.17 Autumn 2012

Jeong Yi-hyun is a novelist who

debuted when she won the New Writer’s Contest sponsored by the quarterly magazine, Literature and Society, with her short story, “Romantic Love and Society.” Her published works include Romantic Love and Society, a collection of short stories; and her novels include My Sweet Seoul, What You Never Know, and The Foundation of Love. She is the recipient of the Hyundae Literary Award.

Lee Choong-ryul was born in Seoul Song Sok-ze is a novelist whose

writing career took off with the publication of “A Man Wiping the Window” in Literature and Thought in 1986 and the short story “The Last 4.5 Seconds of My Life” in Munhakdongne in 1995. His published works include the short story collections The Last 4.5 Seconds of My Life, Possessed, Thus Spoke Hwang Man-geun; and his novels are Power of Man and Commanding. He is the recipient of the Korea Times and Dongin Literary Awards.

Kim Kyoung-jip is a humanities Ha Il-kwon is a cartoonist who

majored in cartoon and animation studies at Sejong University. His Sambong Barbershop, which was serialized on paran.com in 2006, drew enormous attention; in 2008, he was awarded the Korea Cartoon Grand Prize for Young Talent. Sambong Barbershop, which recorded around a total of 10 million hits, was viewed as a rare masterwork that demonstrates the purity of an amateur and the touch of a sophisticated artist. His other work includes God of Bath.

scholar who has spent one-third of his life studying, another third, teaching, and dreams of spending the last third of his life writing. He taught anthropology and religion at the Catholic University of Korea for 25 years, but at the age of 54, he made a decision to live a new life. He has since been living in a small town in Chungcheong Province for over 20 years, writing to his heart’s content, and dreams of making that place the most desirable town to live in Korea. He is the author of The Joy of Getting Old and The Things I’ve Come to Understand at Forty.

and moved to the U.S. in 1976. He debuted as a writer in 1994 with the publication of his work in Literature and Practice; since then, he has been actively contributing to diverse media such as newspapers, magazines, and publishing in various genres, such as fiction, articles, and newspaper columns. His published works include Korea’s Modern Era Through Paintings, Gansong Jeon Hyeong-pil, and Hyegok Choi Sunu: An Ambassador for the Beauty of Korean Arts.

Lim Won-ki is a reporter whose

expertise is IT. From early on in his career, he has taken an interest in individual lives, with a belief that a person’s life potentially contains all the stories of the world. Since 2007, he has operated a blog called “Internet: Inside Lim Won-ki.” His published works include Naver: the Secret of Its Success, Imagine Like Steve Jobs, and Abandon the Past: Cultural Icon Kim Bum-soo’s Endless Challenge.

Pennyway is a blogger who writes on

film, animation, comics, and diverse other cultural phenomena. Since establishing his blog “Pennyway’s In This Film,” he has won the Grand Prize, awarded by Daum Life On Awards in 2010 and the Korea Blog Award Top 100; he was also chosen as the best blogger by PC Love for three straight years and the T-story Outstanding Blogger for five years in a row. He is currently working as an online and off-line columnist for DVD Prime and others. He is the author of Korea’s Super Robots.

list_ Books from Korea

Vol.17 Autumn 2012

Contributors

Featured Authors

Peter J. Koh is a freelance translator and interpreter who completed LTI Korea's Special Workshop in 2009 and Intensive Workshop in 2010. He currently resides in Seoul.

Yang Sung-jin is a staff reporter and

editor at The Korea Herald. Yang wrote a Korean history book in English, Click into the Hermit Kingdom, and a newsbased English vocabulary book, News English Power Dictionary.

Yi Jeong-hyeon is a freelance

translator. She has translated several books and papers, including Korean Traditional Landscape Architecture and Atlas of Korean History.

Fiction pp. 44-48

Djuna is a film critic and science

Yun Yennie is a freelance translator

for KBS World Radio. She won the 7th Korean Literature Translation Contest for New Translators in 2008 and is working on the translation of Eun Hee-kyung’s Let Boys Cry with support from LTI Korea.

Kim Joo-young is a novelist who

Yun Humyong is a poet and novelist

Nonfiction

Kim Hak-seon is a reporter who

K i m Ye o l i s a t r a n s l a t o r w h o

Lee Kang-young is a par ticle

pp. 62-70 Eun Hee-kyung is a novelist. In

Editors Kim Stoker is an editor and full-

time lecturer at Duksung Women’s University.

Krys Lee is an editor, translator, and fiction writer. Her short story collection Drifting House was published by Viking/Penguin in the U.S. and Faber and Faber in the U.K., in 2012.

88 list_ Books from Korea

Vol.17 Autumn 2012

Jeong Yi-hyun is a novelist who

Lee Choong-ryul was born in Seoul Song Sok-ze is a novelist whose

Kim Kyoung-jip is a humanities Ha Il-kwon is a cartoonist who

Lim Won-ki is a reporter whose

Pennyway is a blogger who writes on

list_ Books from Korea

Vol.17 Autumn 2012

INDEX

Children’s Books pp. 72-75

Ryu Seongho is a professor in

the department of visual culture a t G a n g w o n Un i v e r s i t y a n d a t KAIST’s Graduate School of Cultural Technology. His published works include Sweet and Savage Tales of Culture, Cultural Contents of the Digital Age, and Are You Socially Inclined? He is active in the fields of the information technology industry and culture as a researcher and author.

Title Original Title Publishers/Agent Copyright Agent E-mail Phone Homepage

Lee Mi-jung is an illustrator. She

Choi Namee is a writer of children’s

books. She majored in children’s studies in college. After completing The Hankyoreh Writer’s School, she began actively writing. Her published works include The Wind Howls, The Sleeping Forest, 13-Year-Old Worrywart, and Is It Okay to Hate Angels?

studied communication design in college. Enthralled by the endless imagination that a picture book offers, she decided to be an illustrator. The Polar Bear is her first book of illustration.

4p The Investigation (Byeoreul Seuchineun Baram) EunHaeng NaMu Publishing Co. Lee Jinny H. ehbook@ehbook.co.kr 82-2-3143-0651 www.ehbook.co.kr

Leafie, a Hen into the Wild (Madangeul Naon Amtak) KL Management Joseph Lee josephlee705@gmail.com 82-10-6239-9154

6p EunGyo (EunGyo)

Lim Tae-hee writes children’s books.

Venerable Haemin is a Buddhist

monk and professor. After graduation from high school in Korea, he attended UC Berkeley where he majored in religious studies. It was during his studies at Harvard, where he was a graduate student in comparative religion, when he decided to become a Buddhist monk. In the spring of 2000, he became a member of Jogye Order by receiving the Buddhist full precepts at Haein Temple. He is currently a professor of religion studies at Hampshire College in Massachusetts. He is the author of The Things We Can See Only After We Stop.

Chung Seung-mo formerly worked

as a researcher at the Korea National Folk Museum, and as a civil servant at the Seoul Cultural Heritage Division. He has also served on the special committee of the Cultural Heritage Division in Gyeonggi Province, and at the Cultural Heritage Administration, as well as on the deliberating council for the Korean Ministry of Culture, Sports, and Tourism. Currently, he is a director at the Research Center of Regional Culture. He is the author of The Korean Seasonal Calendar, Study of the Regional Culture in Late Joseon Era, and Hanyang in 1770: The First City of the Joseon Kingdom.

She majored in children’s studies in college. Her published works include My Dream Is a Bunny, The Gift Store That Resolves Your Problems, The Secret of Story Island, and Catch the Rat.

Munhakdongne Publishing Corp. Kate Han rights@munhak.com 82-31-955-2635 www.munhak.com

My Wound Is a Stone, Your Wound Is a Flower (Naui Sangcheoneun Dol Neoui Sangcheoneun Kkot) Forest of Literature Kim Ji-hye bjbooks@naver.com 82-2-325-5676 (Ext. 5729) www.godswin.com

The Foundation of Love: A Couple's Story (Sarangui Gicho: Yeonindeul) TOLL Publishing. Kate Han rights@munhak.com 82-31-955-2635 www.munhak.com

Life Unperturbed (Taeyeonhan Insaeng) Changbi Publishers, Inc. Lee Soonhwa copyright@changbi.com 82-31-955-3369 www.changbi.com

Please Look After Mom (Eommareul Butakhae) KL Management Joseph Lee josephlee705@gmail.com 82-10-6239-9154

Goodbye, Mother (Jal Gayo Eomma) Munhakdongne Publishing Corp. Kate Han rights@munhak.com 82-31-955-2635 www.munhak.com

Yoon Sun-hyun is the president of

Very Good Organizing Consulting. He is known as Korea’s first organizing consultant and is credited for starting the organization trend in Korea. In countries like the U.S., Canada, and Japan, thousands of members are active in the already established organization consulting associations. He has published The Power of Organizing for 15 Minutes a Day.

90 list_ Books from Korea

Vol.17 Autumn 2012

Jung Sul-ah is a writer of children’s books. She formerly worked as a writer for the EBS children’s program, “With the Angels,” and is now working on a children’s tale called The Dreaming Kite Tail. Her published works include What Should I Write In My Diary? and The Golden Feather.

Lee Jung-ku (Ijeonggu: Beoljogui Mirae)

The Power of Organizing for 15 Minutes a Day (Haru 15Bun Jeongniui Him) Wisdomhouse Publishing Co., Ltd. Kwon Min-kyung ohappyday@wisdomhouse.co.kr 82-31-936-4199 www.wisdomhouse.co.kr

Wait, Papepopo (Papepopo Gidaryeo) Hongik Publishing Co. Joo So-eun editor@hongikbooks.com 82-2-333-6040 www.hongikbooks.com

The Things We Can See Only After We Stop (Meomchumyeon Biroso Boineun Geotdeul) Sam & Parkers Jeong Hyeri hrjeong@smpk.kr 82-31-960-4831 www.smpk.co.kr

7p Making the Right Economic Choice: Neoliberalism Versus Productive Welfare (Mueoseul Seontaekhal Geonninga)

Jaeum & Moeum Publishing Co., LTD Kim Young-lan kylan@jamobook.com 82-70-8656-9583 www.jamo21.net

8p Seven O’clock Morning Meeting for Jilted Lovers (Siryeondanghan Saramdeureul Wihan Ilgopsi Jochan Moim) Jaeum & Moeum Publishing Co., LTD Kim Young-lan kylan@jamobook.com 82-70-8656-9583 www.jamo21.net

1F/B1 (Ilcheung Jihailcheung) Munhakdongne Publishing Corp. Kate Han rights@munhak.com 82-31-955-2635 www.munhak.com

Decoy (Eunnik)

Bookie Publishing House Jeannie Hwang jeannie_hwang@bookie.co.kr 82-2-3142-0467 www.bookie.co.kr

Bookhouse Publishers Lee Eun-jung ej01@bookhouse.co.kr 82-2-3144-2706 www.bookhouse.co.kr

Dreamers Never Stop (Kkumkkuneun Janeun Meomchuji Anneunda)

Lemontu Jang’s Imagination Factory (Remongttu Jangui Sangsangbaljeonso)

IGMbooks Chang Ho-cheol hcchang@igm.or.kr 82-2-2036-8574 www.igmbooks.com

Let Your Dream Make You Dance (Kkumi Geudaereul Chumchuge Hara) Hainaim Publishing Co., Ltd. Lee Hey-jin drbrown@naver.com 82-10-3294-3923 www.hainaim.com

Leafie, a Hen into the Wild (Madangeul Naon Amtak) KL Management Joseph Lee josephlee705@gmail.com 82-10-6239-9154

The House Where Books Dwell (Chaekgwa Nonineun Jip) Munhakdongne Publishing Corp. Won Sun-hwa wjdtkdcpdhs@munhak.com 82-2-3144-3238 www.munhak.com

Puppy Poo (Gangaji Ttong) Gilbut Children Publishing Co., Ltd. Shin Sung-ae webmaster@gilbutkid.co.kr 82-31-955-3261 www.gilbutkid.co.kr

Bookworm (Chaengman Boneun Babo) Borim Press Jeong Keeyun jebi@borimpress.com 82-31-955-3456 (Ext. 153) www.borimpress.com

Stupid Letter (Meongcheonghan Pyeonjiga)

MSD Media Kim Sangho misodeul@naver.com 82-2-2047-0191 blog.naver.com/misodeul

Sigongsa Co., Ltd. Amelie Choi amelie@sigongsa.com 82-2-2046-2855 www.sigongjunior.com www.sigongsa.com

A Snail Can Never Be Late (Dalpaengiga Neuryeodo Neutji Anta)

What Should I Write in My Diary? (Na Oneul Ilgi Mwo Sseo?)

Gong Gam Kim Ki-baek kunnabooks@naver.com 82-10-9960-3750 www.kunna.co.kr

The Store That Sells Time (Siganeul Paneun Sangjeom)

Paranjeongwon Jeong Tae-seon eatingbooks@naver.com 82-2-6925-1628 cafe.daum.net/eatingbooks

Jaeum & Moeum Publishing Co., LTD Kim Young-lan kylan@jamobook.com 82-70-8656-9583 www.jamo21.net

Gone to the Forest in the West (Seojjok Supe Gatda)

Strange Tale: The Second Child Goes Missing (Goedam: Dubeonjjae Aineun Sarajinda) Munhakdongne Publishing Corp. Won Sun-hwa wjdtkdcpdhs@munhak.com 82-2-3144-3238 www.munhak.com

The Detective's Son (Myeongtamjeongui Adeul) BIR Publishing Co., Ltd. Sujin Lena Park sujinpark@bir.co.kr 82-2-515-2000 (Ext. 350) www.bir.co.kr

The Golden Feather (Hwanggeumgitteol) Moonji Publishing Co., Ltd. Lee Na-young lny@moonji.com 82-2-338-7224 (Ext. 7123) www.moonji.com

25p Science Concert (Gwahak Konseoteu) Across Publishing Company Lee Kyeongran acrossbook@gmail.com 82-70-8724-0876 www.acrossbook.com

26p The Blind Watchmaker (Nun Meon Sigyegong) Minumsa Publishing Group Michelle Nam michellenam@minumsa.com 82-2-515-2000 (Ext. 206) www.minumsa.com

Cross

KL Management Joseph Lee josephlee705@gmail.com 82-10-6239-9154

Woongjin Think Big Co., Ltd. Kim Chan-young rights@wjbooks.co.kr 82-2-3670-1168 www.wjbooks.co.kr

The Horn of Africa (Apeurikaui Ppul)

The Science of Apology (Kulhage Sagwahara)

Munhakdongne Publishing Corp. Kate Han rights@munhak.com 82-31-955-2635 www.munhak.com

Tom Sleeps with Tom (Tomeun Tomgwa Jatda) Moonji Publishing Co., Ltd. Choi ji-in jiin@moonji.com 82-2-338-7224 (Ext. 7111) www.moonji.com

Szervusz (Kokkirineun Annyeong) Munhakdongne Publishing Corp. Kate Han rights@munhak.com 82-31-955-2635 www.munhak.com

9p Paintings and the History of Joseon Women (Geurimeuro Ingneun Joseon Yeoseongui Yeoksa) Humanist Publishing Group Jun Doohyun jdh2001@humanistbooks.com 82-70-7842-9404 www.humanistbooks.com

Joseon Fights Boils (Joseon Jonggiwa Satureul Beorida) Window of Times Choi Insoo sidaebooks@daum.net 82-2-335-6125

Pygmalion Children (Pigeumallion Aideul) Changbi Publishers, Inc. Choi Ko-eun copyright2@changbi.com 82-31-955-4359 www.changbi.com

Across Publishing Company Lee Kyeongran acrossbook@gmail.com 82-70-8724-0876 www.acrossbook.com

27p Challenge Yourself to Infinite Knowledge (Dojeon Muhanjisik) Dal Publishing Kate Han rights@munhak.com 82-31-955-2635 www.munhak.com

The Great Adventure Through Japanese Science (Ilbon Gwahak Daetamheom) Kungree Press Kim Hyun-sook kungree@kungree.com 82-2-734-6591 www.kungree.com

33p Penguin News (Penggwinnyuseu) Moonji Publishing Co., Ltd. Choi Ji-in jiin@moonji.com 82-2-338-7224 (Ext. 7111) www.moonji.com

MR. Monorail Munhakdongne Publishing Corp. Kate Han rights@munhak.com 82-31-955-2635 www.munhak.com

Zombies (Jombideul) Changbi Publishers, Inc. Lee Soonhwa copyright@changbi.com 82-31-955-3369 www.changbi.com/english