The 1960s: Aftermath of a Revolution Denied
Korean literature of the 1960s can be summed up in the themes of “aftermath of the 4.19 Revolution” and “introspective fighting back.” The popular revolution that came to a head on April 19th, 1960 was the result of a stirring from a society that was trapped in a victim mentality following the postwar years of the 1950s. People were awakening to freedom and democracy, criticizing the excessive powers of those in control, and seeking historical recognition of the development of the nation. However, the aspirations of the 4.19 Revolution were trashed by a military coup d’état, which took place on May 16th the very next year. In the wake of the coup, the failed aspirations of the 4.19 Revolution were internalized and came to play out as a literary fight back.
First, as an existential search within the context of despair over the 4.19 Revolution, Kim Seungok’s “Journey to Mujin” (1964) used the theme of the prodigal son to portray the protagonist’s efforts to relieve himself of a string of past memories and embarrassments, but in the end fails to escape from the reality of experience. Rather than providing a path out of the maze of conscience, the protagonist’s hometown of Mujin traps him again in the rhythms of everyday life. As a space where things defy any set order, Mujin is inseparable from the symbolic fog it is known for, emphasizing the absence of hope in 1960s Korea.
In this same vein, using intelligent and ideologically aware language, Yi Chong-Jun conveyed his observations and reflections on the bleak realities of the time in works such as “The Wounded” (1967). Here, Yi described the deep-rooted collective psychic scarring that lingers long after the psychological experiences of war.
Secondly, the so-called division literature of the 1960s reflects the ways in which awareness of national division and its consequences grew in the moments of freedom opened out by the 4.19 Revolution. Writers went beyond the trends of unconditionally anti-communist or anti-war polemics and instead examined the causes from a more balanced perspective, searching for ways to overcome the rift. Choi In-hun pioneered this category of literature with The Square (1960), in which he called for more objective soul-searching with regard to the ruling ideologies of both North and South. Similarly in Lee Ho-cheol’s Panmunjeom (1961), the emptiness of the structures of oppression in both North and South are put into harsh perspective. Whereas Pak Kyongni took a slightly different approach in Market and Battlefield (1964), taking a step back and using the examples, respectively, of a socialist, a staunch nationalist, and an opportunist to explore the way ideologies affected the lives of individuals.
Turning to poetry, Kim Soo-young and Shin Dongyup are two major f igures known for compositions that perfectly captured and gave form to the spirit of the 1960s. As the revolutionary awareness of the 4.19 Revolution crouched beneath the new military government, poems by Kim Soo-young such as “The Joke of Star Country,” “Blue Sky,” and “Grass,” captured the deeply felt skepticism and despair of the era with biting observations and satire aimed as Kim's own strata of society, the petit bourgeoise. Taking a very different approach, Shin Dongyup sang about how traditional values, including Eastern learning, could be the basis for recovering a communal way of life in his poetry collections Asanyeo (1963) and Geum River (1969).