Experimenting with the Imagination: Hwang Jung-eun, Kim Tae-yong, Pyun Hye-Young, Yun Ko-eun, and Han Yujoo
- onNovember 1, 2014
- Vol.12 Summer 2011
- byHwang Jungeun
Prologue: Young Writers Examine Korean Society After the Democratization Movement
Young Korean writers who have emerged in the 21st century charm readers through their imagination and literary experimentation. Hwang Jung-eun, Pyun Hye-young, Kim Tae-yong, and Han Yujoo represent the group of young writers who have overturned the unwavering tradition of realism in Korean literature. These writers experiment with narrative in unusual ways and create works that are unconventional compared to a traditional Korean narrative. Depicting a multifaceted portrait of Korean society where “structural democracy” is permitted but “democracy in practice” is still miles away, the writers render characters fighting against the “desire to consume,” which takes hold of the masses with a powerful influence no match for democracy.
1. Hwang Jung-eun: Chased to the Periphery of the City
For Hwang Jung-eun’s wretched characters, survival is such a pressing issue that democracy is the least of their problems. With real estate prices through the roof and the cost of living changing daily in a metropolis, especially in Seoul, one has to first and foremost survive in the struggle to secure a living space. The winds of redevelopment tear through the city under the guise of “designing a stylish city.” The laws of capitalism continue to push for something newer and more efficient, and the majority who cannot stay on top of these trends must suffer under the high cost of living and housing. In “One Hundred Shadows,” Hwang Jung-eun gives us shrewd commentary on a ruthless society that defines someone’s neighborhood as a trivializing “slum:” “Don’t they simply label the area “slum” because it’s an area to be leveled at some point, and things get too complicated if you think of it in terms of someone’s livelihood or living space?” Can we violently label a space where someone eats, sleeps, and raises children with the term, “slum?” Society has too easily integrated the term into its vocabulary and “othered” the space referred to as such, because the slums are nothing more than future sites for fancy apartment complexes, where even the memories of the so-called slums will disappear without a trace.
1. One Hundred Shadows
Minumsa Publishing Group
2010, 196p, ISBN 9788937483059
2. The Seven Thirty-two Elephant Train
Munhakdongne Publishing Corp.
2008, 293p, ISBN 9788954606080
Hwang perceptively portrays the pain of those living in a space that cannot possibly be represented by the word “slum,” a space always in danger of falling into ruin. She illustrates the fiery trace of lives that cannot be compensated for, and life’s suffering that cannot be converted into money. The stories from her collection The Seven Thirty-two Elephant Train also depict the marginalized pushed out to the edge of the city lines. Her stories lend voice to the small, frail voices drowned out by the extravagant noise of the city and the groaning of the masses barely audible under the sound of cell phones and TVs—voices so painful to hear that one is tempted to cover the ears. Her stories contain these disappearing voices. Hwang Jung-eun’s novels are an open-mic rally for the homeless and the abandoned children.
2. Kim Tae-yong: Pushed Out to the Margins of “Family” and “Us”
The world Kim Tae-yong paints is a wasteland where the expectation of closeness or drive for common emotions such as love or friendship has disappeared, Kim Tae-yong’s works take a critical look at the demise of all human relationships through characters that are already free from the pressures of having to search for meaning in life. The lives of Kim Tae-yong’s characters do not progress in chronological order. They appear to be living without purpose or meaning, and sometimes enjoy schizophrenic delusions like the main character of Dostoevsky’s Notes from the Underground. What does it mean to live with “your wits about you” in a society where depression and mental illnesses spread like diseases? Kim Tae-yong’s characters makes the very effort of normal vs. abnormal meaningless. Through characters that cannot communicate with others or escape from pain and anxiety no matter how hard they try, Kim shows us the extremes of modern man’s isolation and disconnectedness. In Pig on the Grass, a father who cannot communicate with his son ironically feels he can talk to his pig by oinking at it. The dejection of a father who cannot communicate at all with his closest kin but feels he has formed a connection with an animal satirizes the impossibility of the modern man’s inability to communicate in a strangely comic way.