[_list: Books from Korea] Vol.3 Spring 2009 by LTI Korea Library

Vol.3 Spring 2009 A Quarterly Magazine for Publishers Vol.2 SpecialWinter Section2008 Korean Picture Books: Features and Trends Special Section Traditional Korean-Style Picture Books The Established Writers Ecological Picture Booksof Korea Examined through Non-fiction Picture Books Keywords:

War and Memory Picture Books with Unique Points of View Industrialization and Democratization A Talk With Alienation and Introspection The Director of KLTI, Kim Joo-youn In the Spotlight Interview The Selected Poems of Ko Un Hwang Seon-mi Lee Chulsoo Feature Kim Hoon:Angle Overseas A Writer Who Writes His Entire Body Kim Young-ha’s Black with Flower by Louisa Ermelino of Publishers Weekly Kang Woon-gu: Park Wansuh in China “The Photograph Accepts the Subject”

by Guan Shu Ning of Shanghai Translation Publishing House

Bestsellers, Steady Sellers and Reviews Bestsellers, Steady Sellers, and Reviews Publishing Publishing Trends Trends of 2008 The Place Jeju Village Olle that Formed The the Backdrop of Twelve Novels Theme Lounge Korean Theme Buddhism Lounge Reading SEOUL

ISSN 2005-2790

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FOREWORD

Food for the Soul The focus of this issue is children's picture books, a genre that requires the least amount of translating. Beginning a few years ago, Korean picture books started charming foreign readers at international book fairs. This is due to the innovation of talented writers and illustrators who are driving the industry and producing picture books more experimental and full of life than those in any other country. Many people, young and old, wish to travel abroad. Some save up money and have the time to travel, while others live vicariously through books about other people's excursions to foreign lands. Those who travel by plane and other means of transportation, however, do not always experience the unfamiliar as intimately as those who travel across pages. Tourists visiting Seoul do not often see how the metropolis is different from Tokyo, Shanghai, or Singapore. What they see, rather, is the façade of Seoul, which does not speak for the lives and spirit of the city, the losses and hopes of its people, or their relationship to nature, past, present, and future. Well-made children’s books make this possible. Korean adults often read children’s books in order to marvel at, and learn from the world of things they missed or never had the opportunity to experience. Children’s books in Korea are thus well loved and hailed by readers of all ages. Both cover and content are packed with a kind of soul food that writers and artists have concocted for young readers. Just as Korean food has begun to gain a reputation overseas as something similar to, yet different from Chinese or Japanese food, I have no doubt you will discover the charms of Korean picture books. If it is true that you are what you eat, then I believe that your culture is what your children read. Picture books are the cheapest, most accessible, yet very serious and sumptuous portals to other worlds, and a delectable feast for the soul. We would like to share this joy with as many readers as possible. Once you get to know the charms of our world of pictures, you will want to settle in and hang around for a while. By Park Suk-kyoung (Editorial Board Member)

list_ Books from Korea Vol.3 Spring 2009 1

Contributors Alvin Pang is a poet, writer, and editor based in Singapore. His

recent publications include City of Rain and the bilateral anthology, Over There: Poems from Singapore and Australia. His work has been featured in major festivals, publications, and performances around the world. He was named National Arts Council Young Artist of the Year (Literature) in 2005, and was awarded the Singapore Youth Award (Arts and Culture) in 2007 and the JCCI Education Award in 2008.

Choi Yoonjung is a critic of children’s literature and director

of Windchild, a publishing company specializing in children’s and young adult’s books. She graduated from Yonsei University in French literature, and earned her M.A. at the University of Strasbourg II and postgraduate DEA degree at the University of Paris III. Her written works include The Sad Giant; she has translated over 100 works including L’oeil du Loup.

Guan Shu Ning graduated from Shanghai Jiao Tong University.

She is currently editor in chief of the Shanghai Translation Publishing Company, and has translated Selections from Modern Korean Literature.

Jeoung Byung-kyu is currently director of the specialist children’s

book store Heyri Donghwanara, and is also senior researcher of the Art Center for Children's Books at Pajubookcity. His most noted work is The History of Children’s Books as Seen Through Visual Images.

Jung Yeo-ul

is a literary critic. As of 2008, Jung lectures at Seoul National University and the Korean National University of Arts, while also appearing as a guest speaker on radio programs such as Sisa Plus. Jung’s written works include Young Lady, Find Hope in the Forest of Pop Culture, Political Imagination of the Nation-State (co-authored), and Small Antenna in My Study. She has also translated Korea Between Empires: 1896-1919.

Kang Seongmin is a freelance writer. His principal works include Looking for Academic Taboos and Discourses of Two Thousand Years – Analyzing the Thought of Sima Qian.

Kim Ji-eun is a writer of children’s stories and a critic of children’s

literature. She currently lectures on theories of fiction writing for children in the Department of Creative Writing at Hanshin University. She has written a children’s book, Kong-du Hates Kimchi, and a critical work titled Glasses of a Philosopher, The Eyes of Child.

list_ Books from Korea Vol.3 Spring 2009

Kim Jinwoo

previously worked on the Sports, Society, Politics, and Economy Section teams, and now serves as a reporter at the Culture Desk of The Kyunghyang Daily News.

Kim Young-wook

works as an editor for the monthly publication Children and Literature. Kim contributes to a column on picture books in various media forms. She has also published a guide to picture books, Picture Books, Meet Music, which combines memory and music in order to encourage adult readers to enjoy picture books while reflecting on their own childhoods.

Lee Ji-young is a reporter at the Culture Desk of the JoongAng Ilbo. She joined the JoongAng Ilbo in 1994, and after working on the Life Science team, the Nationwide Network, and the Social Policy Section, she became a reporter for the Culture Desk in 2004, taking charge of the children’s books section.

Lee Moonjae is a poet and a guest professor at Kyung Hee Cyber

University. He is currently a member of the editorial committee for the quarterly Munhakdongne and for the bimonthly magazine Green Review. His principal works include an anthology of poetry, When I Take My Wet Shoes Off and Show Them to the Sun, a collection of essays on poets titled Poetry and Poets I Have Met, and an anthology of prose, Collected Writings of Lee Moonjae.

Lee Seungwon is a literary critic and a HK Research Fellow at the

Research Institute of Comparative History and Culture, Hanyang University. His works include The Birth of School and The Sonic Landscape of Modernity.

Lee Hakyoung is a literary critic and researcher at the Seoul Na-

tional University Center for Teaching and Learning. He is also currently lecturing at SungKongHoe University. He received the 2008 JoongAng Ilbo Literary Award for New Writers. His most noted work is Epiphany of Water, a Self-portrait in the Abyss – a Critique of Writer Han Kang.

Louisa Ermelino

is the author of the novels Joey Dee Gets Wise (St. Martin's Press), The Black Madonna, and The Sisters Mallone, both published by Simon & Schuster. She has published articles, reviews, and stories in many magazines and newspapers and taught creative writing at Columbia University in New York City. Currently she is the Reviews Director at Publishers Weekly magazine.

Moon Seung-yeoun is a picture book writer. She has produced

children’s books for 20 years as head of Chondungbooks, a company specializing in children’s books. She wrote the text for the picture book The Naked Painters and wrote and illustrated Rainbow, Yum Yum Yum! Slurp Slurp Slurp!, and Found It! She has also published informational picture books for children, including Pictures that Sound: Kim Hwan-gi's Dot Paintings and It’s Like My Pictures with paintings by Chang Ucchin.

Park Suk-kyoung works as a translator and children’s literature critic. Park is a member of the editorial committee for the Changbi Review of Children’s Literature.

Pyo Jeonghun is a book reviewer, columnist, translator, and free-

lance writer. He has translated ten books into Korean and has written A Bibliophile’s Book, My History: A Thousand Years; Books Have Their Own Destiny, A Short Introduction to Chinese Philosophy, and An Interview with My Teacher: What is Philosophy?

Suh Myungsook is a journalist, and is currently the Director of

Jejuolle Inc. From 1983 she worked as a reporter for the monthly magazine, Madang and Hangukin, and after working as a reporter for the political section of Sisa Journal, she became the editor-in-chief. She then served as managing editor for OhmyNews. Her published works include The Brutal History of Women and Smoking and Walk Merrily, Leisurely: A Walking Tour of Jeju.

Yeo Eulhwan is a picture book editor. As a member of The Korean

Association of Studies in Children's Books, she evaluates children’s books published in Korea and compiles a yearly promotional book list.

Jung Yewon studied interpretation and translation at GSIT, Hankuk University of Foreign Studies. Jung has interpreted and translated for Bain & Company, Korea and various other organizations, and is currently working as a freelance interpreter/translator.

Kim Hee-young is a freelance translator. She is currently working on the translation of a collection of the experiences of comfort womens titled Histories Behind History.

Sora Kim-Russell works as a consulting editor for the Korea Jour-

nal and as a freelance translator. She was the recipient of the 2005 Korea Times Literature Translation Contest’s Grand Prize in Poetry and the 2007 Korea Literature Translation Institute's New Translator Award for her translation of Kim Jung-hyuk’s “Eskimo, This Is the End.”

Son Sumin has translated many books from English to Korean

and from Korean to English for Schweitzer Korea. In 2004, she was awarded the Commendation Prize in the Korea Times Literature Translation Contest for her co-translation of Go Eunju’s “Cocktail Sugar.”

Suzanne Burrows majored in theater at University of WisconsinStevens Point. She is a freelance editor who currently resides in Seoul.

Yang Sung-jin is currently a staff reporter at the Culture Desk of The Korea Herald, covering Korean movies and books. Yang wrote a Korean history book in English titled Click into the Hermit Kingdom and a news-based English vocabulary book, News English Power Dictionary.

Translators Ann Isaac is a British citizen with a BA in Classics and English Lit-

erature from Cambridge University in the UK. After moving to Korea in 2001, she studied Korean at various institutions and currently translates from Korean to English, with a special interest in literary translation.

H. Jamie Chang studied at Northfield Mount Hermon and Tufts University. She is a freelance translator and writer who currently resides in Seoul.

list_ Books from Korea Vol.3 Spring 2009 3

Contents Spring 2009 01

Foreword

Contributors

Trade Report

Bestsellers

Publishing Trends

A Talk With the Director of KLTI, Kim Joo-youn

14 16 18 20 22

Special Section Korean Picture Books: Features and Trends of Korean Picture Books Traditional Korean-Style Picture Books Ecological Picture Books Delve into Our Lives with Nature Non-fiction Picture Books Picture Books with Unique Points of View

Interview Hwang Seon-mi: “Childen’s Books Should Provide Comfort and Hope”

Excerpt Lessons from an Ordinary Hen by Hwang Seon-mi

Interview Lee Chulsoo: Visual Poetry Written through Woodcut Prints

March 23, 2009, 3:00 - 4:30 p.m. Melodia Room (service center – wing B)

Excerpt On a Night When Pear Flowers Have Fallen All White by Lee Chulsoo

Program

36 38

Overseas Angle Kim Young-ha’s Black Flower Park Wansuh in China

Theme Lounge Korean Buddhism: A Colorful Panorama

The Place Jeju Olle

48 54 70

Reviews Fiction Nonfiction Children’s Books

53 63 69

Steady Sellers The Square Faraway Nations and Neighboring Nations in the 21st Century Puppy Poo

74 76

Meet the Publishers Munhakdongne Sakyejul Publishing

Index

Afterword

A KLTI-hosted event for the Bologna Children’s Book Fair

An Open Invitation to Korean Children’s Books

ㆍ Introduction to the Korea Literature Translation Institute By Kim Joo-youn,

Director of KLTI

ㆍ Introduction of the Korean Books Publishing Project ㆍ Narration of A Wife Who Doesn’t Eat by Vincenza D’urso ㆍ Audio-visual presentation of My Hometown ㆍ Meeting with Han S. Oki, author of My Hometown

A Wife Who Doesn’t Eat

My Hometown

Vol.3 Spring 2009 A Quarterly Magazine for Publishers Special Section Korean Picture Books: Features and Trends Traditional Korean-Style Picture Books Ecological Picture Books Non-fiction Picture Books Picture Books with Unique Points of View

PUBLISHER_ Kim Joo-youn EDITORIAL DIRECTOR_ Kim Yoonjin

A Talk With The Director of KLTI, Kim Joo-youn

MANAGING DIRECTOR_ Park Kyunghee

Interview Hwang Seon-mi Lee Chulsoo

EDITORIAL BOARD Kim Jinwoo Park Wansuh in China Park Suk-kyoung by Guan Shu Ning of Shanghai Translation Publishing House Bestsellers, Steady Sellers, and Reviews Jung Yeo-ul Publishing Trends Pyo Jeonghun Overseas Angle Kim Young-ha’s Black Flower

by Louisa Ermelino of Publishers Weekly

The Place Jeju Olle

OVERSEAS PUBLICATION COMMITTEE Paek Eunyoung Joseph Lee Rosa Han

Theme Lounge Korean Buddhism

EDITOR-IN-CHIEF_ Kim Heaseung MANAGING EDITOR_ Choi Hye-in EDITOR Kim Stoker Krys Lee

ISSN 2005-2790

EDITORIAL ASSISTANT Kang Sunyoung ART DIRECTOR Choi Woonglim DESIGNER Kim Mijin Lee Jaehyun Jang Hyeju PHOTOGRAPHER_ Lee Kwa-yong PRINTED IN Dong-A Printing Ing Process

list_ Books from Korea is a quarterly magazine published by the Korea Literature Translation Institute. All correspondences should be addressed to the Korea Literature Translation Institute at Mudongmaeul-gil 26, Gangnam-gu, Seoul, Republic of Korea 135-879 Telephone: 82-2-6919-7700 Fax: 82-2-3448-4247 E-mail: list_korea@klti.or.kr www.klti.or.kr www.list.or.kr Copyright©2009 by the Korea Literature Translation Institute ISSN 2005-2790

Cover Illustration: Illustration from My Almighty Rubber-Powered Airplane by Kim Dongsoo & Park Hyejun

TRADE REPORT

Kim Young-ha’s Empire of Light to be Published in Five Languages Kim Young-ha has attracted the attention of foreign publishers since the appearance of his novel I Have the Right to Destroy Myself in the late 1990s. His works are set to be readily accessible to a world-wide audience in 2009. Empire of Light has already been published in German (Verlagsgruppe Random House GmbH, 2008), then in Japanese (Futami Shobo Publishers Co., Ltd., 2008), and in French (Philippe Picquier, 2009). It is currently awaiting publication in Dutch and English. In January 2009, a special event was held by the Korean Cultural Center in Paris to celebrate the publication of the French edition of Empire of Light. The Managing Editor of the Philippe Picquier publishing house, which has published various works by Kim Young-ha apart from Empire of Light, expressed his sense of anticipation regarding Kim Young-ha’s work with the words, “Korean authors inhabit a unique literary world distinct from that of Chinese or Japanese writers. This is just the right moment for Korean literature to be properly introduced into France and brought to the attention of French readers.” He explained that through I Have the Right to Destroy Myself, it has been possible to break with stereotypes of Korean literature, and revealed that a French version of Quiz Show is also scheduled for publication in 2010. (Coverage by Kim Hyeonju, KLTI overseas correspondent in France)

Korea’s Strength in Books, Language Teaching Materials, and Children’s Books The Cakewalk Series – English Grammar for Kids, The Native Speaks Easily, and If You Get to Know About New York, You Become Friends with English are all books that have been exported to China by the Korean agency EntersKorea during the second half of 2008. Language teaching materials from Korea, a country that places great emphasis on education in comparison to other countries, are proving very popular with Chinese parents as well. During 2008, PK agency continued this trend by also exporting titles such as Happy Games for English Learning and Children's Dictionary for Beginners – Words' Dance in the Stories to Taiwan. Children’s books too are receiving a favorable response overseas. Yeowon Media exported children’s books to a total of seven different countries in the second half of 2008 alone. Exported works include Do They Talk? to Denmark, How Do I Look? to France, and Let’s Play, and Busy Ducks, Busy Fingers to Brazil. In addition, books like Aladdin and the Magic Lamp and Pinocchio were exported to India. It is of special note that stories which originated elsewhere have been exported by way of Korea. Shinwon Agency has exported books such as Shikkaek Yori – Spring, Summer, Fall, Winter and Origami Collection to China and Japan, demonstrating that Korean practical books are also popular. Moreover, in just the second half of 2008, they exported nearly 100 different Korean books to various countries including China, the Czech Republic, Denmark, Germany, France, Italy, and Spain.

The Overseas Korean Literature Market Today Alongside children’s books and language materials, Korean works of literature are also steadily making headway abroad. The German publishing house Edition Peperkorn, which published the work of novelist Jeon Sang-guk earlier this year, plans to publish Kim Sung-ok’s anthology of stories, Journey to Mujin, in May 2009. It also plans to publish the work of novelist Sung Sukje next year. Bloomsbury USA will publish Tongue (2007) by Jo Kyung-ran in June 2009. Buddhist Monk Beop Jeong’s books are maintaining popularity in various countries including China, Japan, and Taiwan. Without Possession was published in Japan in 2001 (The Eastern Publishing Group) and in China in 2005 (Tianxiazhi Publishers), while Flowers Blossom in the Mountain and May All Beings Be Happy were published at the same time in December 2008 by 21st Century Publishing House, China. In addition, May All Beings Be Happy has been published not only in Taiwan (Yuan-Liou Publishing Co., Ltd., 2008) and Japan (Reitaku University Press, 2007), but preparations are underway for its entry into English-speaking countries as well. By Choi Hye-in

list_ Books from Korea Vol.3 Spring 2009

BESTSELLERS

What We’re Reading These list-totals are based on sales records from eight major bookstores and three on-line bookstores from December 2008 to January 2009, provided by the Korean Publishers Association. The books are introduced in no particular order.

My Wife Got Married

Books by Korean Authors

Translated Books

My Wife Got Married

Barack Obama

Park Hyun-wook, Munidang, 2008, 357p ISBN 89-7456-330-4 03810

Heather Lehr Wagner, Myung Jin Publications, 2008 288p, ISBN 978-89-7677-607-5

What if one’s wife wanted to marry another man? This novel paints an interesting portrait of polygamy where a woman has more than one husband, sharply breaking moral perceptions of the institution of marriage.

In Korea too, there is great interest in, and hope for Obama’s leadership. Among various books about Obama, this is the one receiving the most attention in Korea.

I Will Support You No Matter What Kind of Life You Choose

Blindness

Gong Ji-young, Openhouse, 2008, 256p ISBN 978-89-960476-3-6 03800

A collection of essays in the form of letters sent from the writer to her daughter who has just reached adulthood. This work includes frank confessions and advice from a mother to her daughter. I Will Support You No Matter What Kind of Life You Choose

Beautiful Finish Beop Jeong, The Forest of Literature, 2005, 244p ISBN 978-89-959049-6-1 03810

The author, one of the most revered Buddhist monks in Korea, tells us how to find genuine freedom and true happiness in life.

Take Care of Mother

Shin Kyong-suk, Changbi Publishers, Inc., 2008, 299p ISBN 978-89-364-3367-3 03810

One day a mother disappears. Five brothers and sisters set out to look for her, but will they manage to find their mother in the end? This novel makes us think about the meaning of motherhood and family.

José Saramago, Hainaim Publishing Co., Ltd., 2002 472p, ISBN 89-7337-493-1

After the release of the film based on this novel, the book has become enormously popular in Korea. Interest in José Saramago has also grown.

The Curious Case of Benjamin Button and Other Jazz Age Stories F. Scott Fitzgerald, Penguin Classics Korea, 2009, 412p ISBN 978-89-546-0750-6

With the release of the film based on the original short story, this collection of short stories has been growing in popularity in Korea. It is a translated version of the Penguin Classic.

What I Talk About When I Talk About Running Haruki Murakami, Munhaksasang, Inc., 2009, 277p ISBN 978-89-701283-3-7

Japanese novelist Haruki Murakami discusses writing life, and how running changed his perspective.

Pieces of You Tablo, Dal, 2008, 250p ISBN 978-89-546-0690-5 Beautiful Finish

An anthology of stories by the popular Korean musician, Tablo. Tablo majored in English Literature at Stanford University.

All Who Do Not Love Now Are Guilty Noh Heekyung, Hermes Media, 2008, 200p ISBN 978-89-9581676-9

A collection of essays by one of Korea’s most popular television drama writers.

Take Care of Mother

The Curious Case of Benjamin Button and Other Jazz Age Stories What I Talk About When I Talk About Running

list_ Books from Korea Vol.3 Spring 2009 7

PUBLISHING TRENDS

However Long the Road The publishing world has not been spared from the sense of unease generated by the global economic crisis. Here, we take a look at trends in the publishing industry, from strategies for aggressive countermeasures, to an emphasis on books that can soothe the minds of readers, and the sluggish sales of books on business and economics.

Fumbling out of the Economic Recession The Korean publishing industry has been preoccupied with finding solutions to the ongoing economic recession that began last year. But many publishers are relying on the time-tested method of reducing investments in marketing or cutting down on publishing new titles. Last November, the Korean Publishing Research Institute conducted a survey of 183 publishing companies, asking how they planned to address the drop in sales. Most (51.9percent) of the companies surveyed responded that they would “reduce the types and number of books printed.” In addition, 42.1percent said they would “reduce marketing expenses” and “reduce new investment plans,” while 39.1percent said they would “reduce the number of employees.” Medium and large-size publishing companies have also been making efforts to overcome the recession by focusing on sales and marketing of “salable books.” Their projects have included diverse sales events for readers, such as “Meet the Author,” in cooperation with large on and offline bookstores. Bookstores, as well, have made an effort to 8

list_ Books from Korea Vol.3 Spring 2009

If There Were No Army, Would the Nation Be Ruined? Think Upside-down! The World Might Look Different

draw in customers by offering free gifts with purchases. One online bookseller resorted to freebie marketing by offering things like free calendars to customers who purchased from their list of 100 bestsellers, and another bookseller offered cybermoney, which could be used to purchase movie tickets, books, or other items, to customers purchasing books online. A trend towards reducing the cost of producing books has also emerged. Last October, one medium-size publisher decided to eliminate the paper sleeves used to wrap books and change to a lower quality of paper. By resorting to such methods, a book that ordinarily costs 15,000 won can be reduced to 13,000 won, and production costs can be reduced by 200,000,000 won annually. Still another publishing company put together a task force team to promote bulk sales of books to businesses and government and public offices. By Kim Jinwoo

Teens Turn to Social Science Texts There was increased interest in social issues in 2008 as a result of the economic recession and candlelight demonstrations sparked by the importing of American beef. This led to an avalanche of books on such topics as food safety issues, democracy, and neo-liberalism; books targeting teen readers were no exception. There was a marked increase in books written specifically for teens about the problems facing Korean society and the modern world. The purpose of these books was to fulfill the intellectual demands of teenagers whose political and social interests grew while participating in the candlelight demonstrations, whose opinions expressed online were not met in the classroom. In addition, the added emphasis on essay questions the university entrance exam is also said to have strongly influenced this trend.

The Painter of Wind, My Wife Got Married, My Sweet Seoul

Last October, the Danielstone Co. began publishing the “What If ” series of educational books on various social problems, with the message, “Life is what you make of it.” This series included the titles What if America Isn't the Strongest in the World?, which disclosed the truth behind American hegemony, If There Were No Army, Would the Nation Be Ruined?, which is about conscientious objectors, and What If My Parents Had Shopped for My Genes When They Had Me?, which addresses ethics in the era of genetic engineering. Last October, the Window of Times published the series, Politics, Sorry I Couldn’t Stand Up for You, subtitled “Non-Academic Textbooks on Politics for 17-Year-Olds.” In July of 2007, the same company published I Have Something to Say, on youth issues from the points of view of young people. The company since noted that sales of that title surged during the candlelight demonstrations. Other examples of progressive thinkers writing about various problems in Korean society are Think Upside-down! The World Might Look Different and To the Children of the Republic of Korea. By Kim Jinwoo

One Source Multi-Use “One Source Multi-Use” (OSMU) is a content strategy for increasing profit returns by recreating the same content across diverse media. For example, the same story can be made into a book, movie, TV show, game, character products, and so forth. This strategy owes much to the development of IT, the diversification of media forms, and the growth of the content industry. In Korea as well, there are increasing numbers of cases of OSMU being used with books. Even in the past, it was not uncommon to base movies or TV shows on novels. But most of those were limited to classics. In contrast, there are now many cases of recently published works being made into movies or TV shows. This includes comic books as well as novels. Examples of this are Hur Youngman’s comic books Le Grand Chef and The Tricksters. Le Grand Chef, whose theme is Korean cuisine, was made into a popular movie in 2007 and a TV show in 2008. The Tricksters, which depicts the world of gambling, was also made into a movie and TV show. Among novels, Jung Yi-hyun's My Sweet Seoul

My Wife Got Married The Painter of Wind My Sweet Seoul

and Lee Jungmyung’s The Painter of Wind were made into TV shows, and Park Hyun-wook's My Wife Got Married was made into a movie. This OSMU trend will likely become stronger in the future. Many Korean publishers are showing an interest in this strategy, and movie and television producers are looking to books for quality content. By Pyo Jeonghun

list_ Books from Korea Vol.3 Spring 2009 9

PUBLISHING TRENDS

Publishing Keywords in 2008 Online booksellers and organizations related to domestic publishing selected “healing” and “consolation” as the keywords for the publishing market in 2008. In 2008, people were deeply hurt by such problems as anxiety over what the future would bring due to the economic crisis that began in the United States, the deepening polarization of the gap between rich and poor, and the unsolved problem of youth unemployment. As a result, books that embrace and heal people's hearts began to take center stage. Some examples of this trend that have been well received by readers are novelist Gong Ji-young's essay collection, I Will Support You No Matter What Kind of Life You Choose, which was a message of encouragement to her high school-aged daughter, and novelist Lee Oisoo's essay collection, Oisoo Lee's Survival Skills, which encouraged readers to live life to the fullest. The fact that coming of age novels, like Hwang Sokyong's Hesperus and Kim Ryeo-reong's Wandeuki, made it to the top of the bestseller list can be explained by the fact that people tend to look back to the past when times are hard. Readers’ high interest in healing and consolation are also evident in the ongoing popularity of psychology books that seek to provide comfort to readers, and the popularity of books that address death, like The Last Lecture, a book whose message is about the importance of life, written by an engineering professor in his forties while he was dying of pancreatic cancer. Likewise, the ongoing success of The Secret, which tells readers that they can achieve wealth and success if they want it badly enough, can be explained in the same context. Likewise, even though self-help books are no longer leading the publishing market annually due to economic stagnation, self-help books that emphasize the power of faith and positive thinking still climb to the top of the bestseller list. By Kim Jinwoo

list_ Books from Korea Vol.3 Spring 2009

Forming Imprints For a long time, many Korean publishers have relied on establishing subsidiaries and forming new editing teams to advance into new areas in publishing. Recently however, an increasing number of imprints have been appearing. There are some significant differences between the subsidiaries of the past and these recent imprints. Subsidiaries are made up of editors currently working at a publishing house, but imprints are actually separate publishers made up of senior editors who are scouted from other companies. The former are like new brands, while the latter are like new companies. Also, editors who work for a subsidiary earn the same annual salary as editors in the parent company, whereas salaries can vary with each imprint within a publishing group. This is because publishing groups and their imprints divide profits by a set scale according to the contract. One such company is Woongjin Think Big Co., Ltd. It established over 20 imprints, mostly in the past few years, including Flaneur, Literature Edition Ppul, Leader's Book, Phronesis, Woongjin Jisikhouse, Woongjin Junior, and Galleon. Woongjin Think Big's strategy of aggressively expanding imprints captured a lot of attention in the Korean publishing world. Munhak dongne, a major literary publisher, also established several imprints, such as Henamu, Geulhangari, Long Tail Books, and Booknomad. By increasing sales, this imprint strategy has been a success to a certain extent. However, there is still controversy over whether it is a positive change in the development of Korean publishing. By Pyo Jeonghun

Famous Poets Pen Children's Poetry In Korea, children's poetry is traditionally separated from mainstream poetry and has been written by poets who specialize in children's literature. But lately,

the boundary between these two genres has crumbled as famous mainstream poets began publishing books of poetry for children. Korea is unusual for having a high number of readers of poetry, with serious books of poetry selling over 10,000 copies. During the last few years as well, poets who have been publishing collections of children's poetry to great success are the star poets who have been well-received by both the literary world and the general public. Since 2005, Choi Seung-ho's series, titled A Collection of Word Playing Children's

A Collection of Word Playing Children's Verse

Verse (BIR Publishing Co., Ltd.), has sold over 10,000 copies, and collections by Do Jong-hwan, Kim Yong-taek, and Ahn Dohyun have also generated a strong response from readers. Leading publishers, like BIR Publishing Co., Ltd. and Munhakdongne Publishing Corp., are preparing a line-up of poetry series written by mainstream poets rather than children's poets. At the same time, many poets are showing a personal interest in writing children's poetry without regard to plans for publishing them.

Historically, there have been many examples of famous poets writing outstanding poetry for children, including the Korean War-era poets Jung Jiyong, Yun Dongju, and Pak Mokwol, so it could be said that to some extent, the famous poets of today are just following in their footsteps. But recent collections of children's poetry include more than just words. Packed with illustrations by up-and-coming comic book artists and illustrators who are popular among young readers, the poetry collections are more akin to picture books. Parents, too, will enjoy the sense of shared interest that arises from buying books of poetry written by their favorite poets for their children. Nevertheless, young readers will probably be less concerned with the poets' fame than with whether or not the poems and illustrations in the books capture their interest. Children can be unsentimental in that way. But perhaps that will inspire poets to rise to the challenge all the more. By Park Suk-kyoung

Religious Books Surging Religion has become the next blue ocean in Korean publishing. Middle and largesize houses that publish religious books, as well as self-development books based on religious teachings, are increasing. Since last year, Woongjin Think Big has been managing the Catholic imprint, Thomas' Way Books, and the Buddhist imprint, Tteul. In 2006, Yolimwon Publishing Co. also published A Tree Planted by a Stream, a Christian

book for general readers. In addition, last year, Gimm-Young Publishers, Inc. created the Christian brand "Poiema," and Nexus Press created "Nexus Cross." Chungrim Publishing also increased the types of religious books they publish. It is not uncommon for publishers to create separate subsidiaries by genre, such as literature, children's books, and economics, in order to increase brand recognition, but the expansion of the religious market has happened only within the last couple of years. This increased interest in the market for religious books is perceived to be related to the spiritual needs of people living in a modern industrial society as well as the growing number of people engaging in meditation and spiritual practice. Part of it, too, is the publishing industry's recognition that religious books guarantee profits. Though books like Your Best Life Now in 2005 and continuing with Dinner with a Perfect Stranger, Surrender, and the recent Blessing of the Rainbow, are all based on religion, their favorable comparison with self-help books also help them climb the bestseller lists, leading the boom in the publication of religious books. This trend is also related to the search for a new evolution, following the decline in self-help books that focused on success in the workplace, leadership, and financial technology, as a result of the recent economic stagnation. After the great success of the New Age-influenced self-help book, The Secret, selfhelp books with a religious slant that explore the meaning of true happiness are breaking new ground. By Kim Jinwoo

Economics and Business Books Sales Slumping Books on economics and business enjoyed a boom in the Korean publishing market at the start of the new millennium. Especially popular were books on financial and real estate investment know-how and the leadership skills of businessmen. Accordingly, many publishers established subsidiary companies or imprints specifically for those books. Blessing of the Rainbow

A Country Doctor's Guide to Stock Investment

But in 2008, particularly starting in the latter half of the year, there was a noticeable change in this trend. Sales of economics and business books decreased and were seen far less frequently on bestseller lists. This stood in sharp contrast to 2007. Just one year earlier, business and economics books were rising to the top of bestseller lists. So why did this change? Many Korean publishers point to the worldwide financial crisis and economic slowdown. Even until 2007, the Korean stock market had been heating up. As a result, books on investment know-how had been filling the shelves and growing in popularity. But, as is well known, the worldwide financial crisis and economic slowdown that began with the sub-prime mortgage crisis in the United States threw this process into reverse. The only title that attracted attention in 2008 was Park Kyungchol's A Country Doctor's Guide to Stock Investment. Based on that, some Korean publishers even said that the bubble has burst for business and economics books. In other words, there was a real connection between the bursting of the economic bubble and the reduction in sales of business and economics books. So will this pattern continue in 2009, when the economic slowdown is predicted to worsen? Many Korean publishers believe that this will be the case. By Pyo Jeonghun

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A TALK WITH

The Director of KLTI

Kim Joo-youn

Introducing Children’s Books Abroad and Cultivating Translators with Expertise The Korea Literature Translation Institute is an institution established by the Korean government with the aim of introducing Korean culture and books abroad. The following is a discussion regarding the overseas publication of children’s books held between Kim Joo-youn, a literary critic who took office in January 2009 as the fourth director of KLTI, and Choi Yoonjung, Director of Windchild, a publishing company, and a children’s literature critic. Choi Yoonjung: First of all, congratulations on your appointment as director of KLTI (LTI Korea). I would guess that with your background in working with literary circles in Europe, this must be a very meaningful experience for you, one that fills you with hope and ambition. Kim Joo-youn: It’s been a month since I’ve taken office, and I’ve been able to see how much progress has been made here. With top-class staff, and with great effort expended by my predecessors, much has been accomplished. In the end, however, the most important thing for KLTI is to bring forth good translations; our purpose is to find, secure, and retain good translators through whom we can introduce Korean literature abroad. Since Korean is a lesser-known language, the government has taken upon itself to establish this institution, along with various other efforts. CY: You’re right. The greatest obstacle in exporting Korean literature, no matter how great the work is, is the language barrier. I met some editors in France, and it was frustrating because they couldn’t read Korean, and we couldn’t present them with translated works. KJ: In the current system, translators submit translated works of Korean literature, which literary experts evaluate and make selections from for grants. Despite positive outcomes, the system shows fundamental limitations. The key is to produce good translations that will be widely accepted in the target nation. We also need to work on expanding genres; as of yet, we are mostly focused on the three major genres of poetry, fiction, and drama. KLTI plans to place as much focus on children’s literature, for instance, as on those other three genres. 12

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This issue of list carries a special feature on children’s picture books, and Korea is the guest of honor at the Bologna International Children’s Book Fair, to be held from March 23 this year. I will be attending the book fair with some of the KLTI staff, and the Minister of Culture, Sports and Tourism will be attending as well. I believe this will be a good opportunity for us to examine together the importance of the children’s picture books of Korea. CY: I’m curious as to what kind of policies will result from your ideas. It seems to me that if we aim at going beyond the broad step of introducing Korean culture, and on to the next step, of translating individual works of literature and publishing them overseas so that foreign readers can read them, that there needs to be more exchange centered on the scene of action. KJ: Well, since we are a public institution, and as such, are faced with various limitations, we tend to place a lot of importance on the issue of impartiality, and particularly on the points of selection and focus. The advancement of literary translation in Korea depends on how, in the future, we navigate the balance between these two points. In the end, many issues depend on the quality of translation. We plan to invite competent translators — recipients of translation awards, translators whose abilities have been proven in the past, and reputed translators residing overseas — so that the title, “KLTI translator,” will inspire public trust. CY: Your words are both very realistic and encouraging, but I would like to bring up just one point regarding children’s literature. This is something I heard from an editor in France who told me that the editorial department went through a lot of difficulty in the process of translation and publication of Korean children’s literature. The problem was that the translator knew the languages, but not the nature of children’s literature. The translation didn’t have “the right kind of spirit” for translating children’s literature. This is a critical point. And this is why writers of children’s literature have a hard time finding success. You mentioned placing focus on cultivating translators — I think a particular focus should be placed on cultivating translators of children’s literature. KJ: Yes, and as I have mentioned, I consider children’s literature very important, so much so that I wish I could make this year the year of children’s literature, as far as KLTI projects are concerned. If you take a look at the publication grants presented by the KLTI, children’s books for which grants were given accounted for 54 percent of publication proposal grants, with 245 children’s books out of a total of 454; 66 percent of translation and publication grants, with 78 children’s books, out of a total of 119; and 42 percent of incentives for overseas publishers relations, with 255 children’s books out of a total of 610 books. The numbers alone tell us that we need to take a good look at the benefits that can be reaped from children’s literature. Children’s literature, especially picture books, has the qualities of visual art, or performing art. The same goes for drama. Recently, I met with an American who said that works such as “The King and the Clown” would bring forth great results if staged on Broadway. In the Western world, literary works are adapted into plays or films, and people find out who the original writer is. I would like to add that since we have good

The Director of KLTI Kim Joo-youn and literary critic Choi Yoonjung

printing skills in Korea, we could place at the forefront genres such as picture books. Just as gunners go before foot soldiers in a war, dramas or picture books can precede novels and poetry. Television dramas and movies have been exported in this way. The problem is that we don’t have adequate translators, both in terms of quality and quantity, who can translate Korean into a foreign language. We have been securing competent translators, as well as cultivating next-generation translators, through the translation academy at KLTI. CY: It might be better to find translators from among those who reside abroad. What we need is to find and cultivate translators who possess insight in both languages, as well as passion for the work to be translated. It seems to me that KLTI needs coordinators who can be actively engaged in this effort. KJ: I agree. Just as curators play an important role in art, someone with absolute authority in this effort would make things much more efficient, but such a system does not yet exist in the literary world. I seek to pursue a direction in which efficiency can be maximized, through an advisory committee, for instance. CY: Whether it’s exporting or importing, it needs to contribute to the advancement of Korean literature. If we facilitate exchanges centered on the scene of action, going beyond a bureaucratic way of thinking and adopting efficiency-oriented policies, the publishing world will be able to see the current, deficient method of importing literature in a more objective manner. In addition, the publishing world overseas will come to see us in a different light, and accept us as equals, which will allow exchange in a true sense. Thank you for your inspiring words today. By Choi Yoonjung

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SPECIAL SECTION

Korean Picture Books

Features and Trends of Korean Picture Books

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Korea is one of the most active countries in the field of picture books. For the last 20 years, nearly all of the world’s famous picture books have been translated into Korean. In addition, many Korean picture books have been translated into foreign languages. The subjects and styles of Korean picture books are the result of conflict and passion, and, while in the middle of endless changes, they get better and better.

Affection for the Nation and for the Weak

Korea has a sad history of colonization, war, division, and military dictatorship. Since Koreans have fought against imperialism and dictatorship, they often regard national culture seriously and have compassion for the weak. Liu Jaesoo, who defined himself as Korea’s first picture book author, demonstrated his affection for Korea and Koreans in his book, The Story of Mt. Baekdu, which was a best-selling picture book in 1988. Puppy Poo, another beloved tale, is the story of a puppy’s poo, which with its love and devotion, helps dandelions to blossom. Many other books such as The Seven Friends in a Lady's Chamber and Big-hand Grandma's Dumpling Making, whose themes include traditional Korean culture or emotions, have also earned readers’ consistent admiration. Korean illustrators have tried to develop national yet unique styles. They have studied and experimented with folktales, frescos in old tombs, Buddhist paintings, and Asian paintings, seen in Haechi and the Four Monster Brothers, A Shower of Poop, There Dangles a Spider, and Waiting for Mom. 14

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Puppy Poo Kwon Jeong-saeng; Illustrator: Jeong Seung-gak Gilbut Children Publishing Co., Ltd., 2008, 30p ISBN 978-89-86621-13-6 77810

Waiting for Mom Lee Tae-joon; Illustrator: Kim Dong-sung Hangilsa Publishing Co., Ltd., 2008, 38p ISBN 89-356-5712-3 74810

12 The Black Bird Suzy Lee, Chondungbooks, 2008, 29p ISBN 978-89-90025-30-2 77810

A Shower of Poop Kim Hoekyoung; Illustrator: Cho Hye-ran Sakyejul Publishing Ltd., 2008, 36p ISBN 89-7196775-7

Haechi and the Four Monster Brothers Jung Ha-seop; Illustrator: Han Byoung-ho Gilbut Children Publishing Co., Ltd., 2008, 32p ISBN 978-89-86621-42-6 77810

The Seven Friends in a Lady's Chamber Lee Young-kyung, BIR Publishing Co., Ltd., 2007 32p, ISBN 978-89-491-0020-3 77810

There Dangles a Spider Kwon Yoon-duck, Changbi Publishers, Inc. 2003, 36p, ISBN 89-364-5403-X

Big-hand Grandma's Dumpling Making Chae Insun; Illustrator: Lee Ukbae Jaimimage Publishing Co., 2008, 37p ISBN 978-89-86565-06-5 73810

In the Old Days Foxes Caught Quails Oh Ho-seon; Illustrator: Park Jae-chol Chondungbooks, 2007, 36p ISBN 978-89-90025-36-4 77810

The Name Jar Choi Yangsook, Marubol Publications, 2008 40p, ISBN 978-89-5663-226-1

10 Laika Said Lee Minhui, Nurimbo Publishing Co. 2007, 32p, ISBN 978-89-5879-043-6 77810

Bucktoothed Elephant Kim Jung-cheol; Illustrator: Yoon Mi-sook Woongjin Think Big Co., Ltd., 2007, 32p ISBN 978-89-01-06884-8 74810

13 Cloud Bread Back Heena, Hansol Education, 2008, 32p ISBN 978-89-535-2705-8 74800 14 How I Caught a Cold Kim Dongsoo, Borim Press, 2008, 29p ISBN 978-89-433-0479-9 77810 15 My Hometown Kim Inae; Illustrator: Han S. Oki, Borim Press 2003, 38p, ISBN 978-89-433-0509-3 16

Flap Flap Kwon Jeong-saeng; Illustrator: Kim Yong-cheol Kookminbooks Co., Ltd., 2003, 31p ISBN 978-89-11-02140-6 77810

17 Rainbow Moon Seung-yeoun, Chondungbooks, 2008, 26p ISBN 978-89-90025-21 0 77810 18

The Holes in My Body Heo Eunmi; Illustrator: Lee Haery Chondungbooks, 2008, 26p ISBN 978-89-90025-54-8

Too Busy to Rest Yoon Gu-byung; Illustrator: Lee Tae-soo Bori Publishing Co., Ltd., 2008, 26p ISBN 978-89-8428-057-1 77810

20 Tigers Tied Up in One Rope Kwon Moon-hee, Sakyejul Publishing Ltd., 2005 32p, ISBN 978-89-5828-104-7 21

Jeng Ah Cheon Jungchul; Illustrator: Lee Kwang-ick Changbi Publishers, Inc., 2008, 38p ISBN 978-89-364-5420-3 77810

Assimilation to Nature and People’s Optimism

While we live in a world of consumption where nature is being destroyed for the sake of human beings, and materialism overwhelms people, Koreans still consider themselves to be a part of nature and wish to return to it. Many Koreans believe that to live according to nature and to live simply without material greed is the best way to live happily, which affects their attitude towards life and death. Therefore, for Korean authors, death is not the end of a life that should be grieved for, but that life is something that transmigrates endlessly while giving life to other entities (Jeng Ah). Colors are not conceptual words in terms of optical science or the fine arts, but mysterious things that are born and grow from the light and darkness of nature (Rainbow). Ingenuous people living among nature can protect happiness without intending to (Flap Flap). And even lazy people can manage to live well (Tigers Tied Up in On Rope). Children instinctively sympathize with such basic ideas. Interest in nature and optimistic temperaments have been preferred not just in fiction, but also in non-fiction. Korean readers love picture books about nature such as Too Busy to Rest, which tells the heartwarming story of a neighborhood, and science picture books such as The Holes in My Body which humorously explains the body by systematically connecting the body’s inside with the outside.

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Changing Attitudes

In the beginning when picture books were vigorously published, the authors’ historical attitudes were the source of creation and a heavy burden at the same time. Many authors thought that Korean picture books were often too serious, though they contained important values that adults wanted to pass down to children. The realization that they have to make books that children want to read, not books that adults want to give to them, made authors reconsider their attitude; this realization became the foundation for developing various subjects and styles. New authors with new ideas were wanted. Fresh books by young authors flooded in, such as How I Caught a Cold, Cloud Bread, Bucktoothed Elephant, In the Old Days Foxes Caught Quails and Laika Said. Also, books by authors who had studied in foreign countries, such as My Hometown, The Name Jar and The Black Bird, helped diversify Korean picture books. At the same time, there is criticism that parents’ overenthusiastic interest in their kids’ education and the sheer number and variety of children books, pressure children to read and take away the pure fun of reading. Even so, the expanded Korean children’s book market will challenge Korean authors and illustrators to experiment. Even with different goals, children’s books will work past current conflicts and continue to improve and grow. By Moon Seung-yeoun

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SPECIAL SECTION

Korean Picture Books

Traditional Korean-Style Picture Books Stories based on folktales and children’s play, and stories depicted in simple, deliberately coarse, Korean-style woodcut prints.

Around the world, folktales make up a large portion of the picture book genre. Tigers frequently appear in Korean folktales. Though tigers, one of the totemic creature in ancient East Asia, are described as majestic figures, they were also enemies that fought against humans. In Tigers Tied Up in One Rope, a lazy boy sows sesame seeds and the resulting huge tree produces many containers of sesame oil that the boy feeds to his dog, which then catches all of the tigers living in the mountain. The boy becomes rich. The dog is not a pawn, but a conspirator who shares in the boy’s luck. The exaggerated, simplified illustrations also contribute to the depiction of the characters in this comical tale. In most folktales, the greedy are punished while the lazy characters are blessed. In A Wife Who Doesn't Eat, the main character, the husband, loves to watch grain pile up high in his storeroom. Though he married a woman who doesn’t eat, grain disappears from his storeroom every day because his wife has an invisible mouth. This mysterious story entertains children with the ridiculous attitude of the man and the story's an unexpected conclusion.

Tigers Tied Up in One Rope Kwon Moon-hee, Sakyejul Publishing Ltd., 2005, 32p ISBN 978-89-5828-104-7

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To achieve soft, clear colors, the illustrator applied colors several times to water-sensitive paper. Children love small animals, as in the book A Pot of Rice with the Frog Family where a frog goes to borrow food because he has nothing to eat. On the way, the poor but kindhearted frog tries to help other small animals in trouble. On the way back, those same animals help him whenever he encounters trouble. The tale ends happily as they all gather for a festival and share the food they cooked together. The rhythmical text displays the poet’s extraordinary talent. The illustrator chose a Korean-style woodcut print to create simple but lively animal silhouettes. Many picture books deal with children playing. In Four Strokes and a Half, a little girl is sent on an errand to find out what time it is. She tries not to forget the time by repeating, “Four strokes and a half, four strokes and a half…” However, she doesn’t go home directly because she first spends time looking at ants and dragonflies. While the readers know what is going to go wrong, the heroine has no clue, which gives the book a comical touch. Children also love to imitate things. An example of this is The Cats, where three children pretend to be cats. They wait for mice and run after a chicken. Though they play and do exactly what adults tell them not to do, they manage to avoid punishment, because they are merely imitating the behavior of the cats around them. The quick drawings (croquis) successfully describe the children’s actions as they try to imitate cats. By Yeo Eul-hwan

A Wife Who Doesn't Eat Kim Hyo-sook; Illustrator: Kwon Sa-woo Chondungbooks, 2008, 34p ISBN 978-89-90025-29-6 77810

Four Strokes and a Half Yun Seok-jung; Illustrator: Lee Young-kyoung Changbi Publishers, Inc., 2004, 30p ISBN 89-364-5405-6

A Pot of Rice with the Frog Family Baik Suk; Illustrator: Kang Woo-gun Gilbut Children Publishing Co., Ltd., 2006, 40p ISBN 978-89-5582-059-1

The Cats Hyeon Deok; Illustrator: Lee Hyoung-jin Gilbut Children Publishing Co., Ltd., 2008, 27p ISBN 978-89-86621-73-0

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Korean Picture Books

Ecological Picture Books Delve into Our Lives with Nature These picture books describe nature for those children raised in high-rise apartments as well as tell stories about the animals in peopleâ&#x20AC;&#x2122;s lives. Korea is a naturally blessed country with four distinctive seasons, fertile soil, an abundance of green trees and water, and a mild climate. The result of rapid industrialization and urbanization, however, is that people no longer appreciate nature or enjoy it in their everyday lives. Instead, they only think about nature as a target for development. In Korea, where half the population lives in the capital and satellite cities, which in total, take up only ten percent of the countryâ&#x20AC;&#x2122;s terrain, everything changes quickly. In other words, many things, including important things, are lost quickly. Artists, noticing this loss, have become desperate to riase

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awareness about what is being lost. After the 1990s when living in high-rise apartments in cities became widespread, nature became an important subject for Korean picture book authors. For city kids who were born and raised without a concept of nature as part of their lives, quality ecological picture books are something they desperately need, though not a replacement for nature itself. I Was Too Bored is a miniature picture book that has been popular for over ten years. A boy who was home alone felt bored and tried to play with the animals his parents were raising. On opening the door to the cages, however, the goats, rabbits, chickens, pigs, and calves ran around and damaged the fields. Readers are attracted to the energy of the young boy and the animals, as well as the comforting green and earth colors. The scenes around the country house depict the kind of hometown that Koreans have long lost. On the contrary, another book Kestrel, Take Your Time by the same illustrator, shows how creatures other than human beings live their lives in the city. The author, who is also the illustrator, Lee Tae-soo, keeps track of a family of small Kestrels who built

their nest in the veranda of a high-rise apartment. He especially focuses on the growth of one of the young birds. As an illustrator, he has published a flora and fauna illustration guide full of miniature paintings; this, combined with an interesting story, makes this book teem with strong images. Badger's Garden was rewritten as a picture book based on a famous children’s story by Kwon Jeong-saeng, one of Korea’s most respected children’s book authors. This book is full of praise for the wildflowers that bloom splendidly around mountains and streams in Korea. Though the heroine, Mrs. Badger, briefly envies the artificial flower gardens humans have made, she eventually realizes that her own house in the mountain, where beautiful flowers bloom and fall each season, is the most beautiful garden of all. The theme, that nature is most beautiful when it is kept the way it is, is illustrated on every page. A mysterious atmosphere surrounds The Children of the River by Kim Jaehong. A young brother and sister spend time at the riverside, with its flowing water and cliffs of fantastically shaped rocks, waiting for their mother who has gone to the market. At first glance, the young children seem pathetic. Looking closer, however, readers discover a wonderful world. Nature is a reflection of their feelings: the yearning for their late father, the fear that there are only the two of them with no adults around, and the concern the brother has about taking care of his younger sister. Through the realistic paintings, the rocks, the water, and the grass seem to speak to the readers. The book’s author, who is also the illustrator, amazingly interprets nature through his paintings. By Park Suk-kyoung

1 Kestrel, Take Your Time Lee Tae-soo, Urikyoyuk Co., Ltd., 2007, 35p ISBN 978-89-8040-413-1 77810 2

I Was Too Bored Yoon Gu-byung; Illustrator: Lee Tae-soo Bori Publishing Co., Ltd., 2008, 26p ISBN 978-89-85494-65-6 77810

3 Badger's Garden Kwon Jeong-saeng, Gilbut Children Publishing Co., Ltd. 2008, 32p, ISBN 978-89-86621-33-4 77810 4 The Children of the River Kim Jae-hong, Gilbut Children Publishing Co., Ltd. 2008, 38p, ISBN 978-89-86621-72-3 77810 4

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SPECIAL SECTION

Korean Picture Books

Non-fiction Picture Books Picture books can satisfy children’s curiosity by finding subject matter from kids’ lives, utilizing famous painters’ works, observing and experimenting with nature, and describing traditional lifestyles. Non-fiction requires the author’s creativity to make facts fun and interesting for kids. Authors who write books for toddlers or two to three-year-olds look for familiar material from youngsters’ lives to write about. I Love My Mommy's Milk shows all of the mammals whose babies live on their mother’s milk. Where are pigs’, cows’, and kangaroos’ breasts located on their bodies? All of the mother animals smile with their baby animals suckling at their breasts. Like the milk they drink, the mothers are large and white. The book is designed to draw readers’ attention by its outstanding color contrast. Many picture book authors in Korea write books based on famous painters’ works. Among such books, the children’s book It's Like My Picture is one of the best. Chang Uchin, a famous Korean modern art painter, expressed the harmony of the universe using trees and birds as motifs. The author helped readers naturally lose themselves in the painter’s motifs. What has two circles within one

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circle? What has a triangle in a square? Young readers will find these riddles easy yet interesting. Authors believe that there is a close relationship between knowing about nature and loving nature. The Entire Life of a Butterfly describes the short life of a butterfly that is common to Korea, China, and Japan. After a larva goes through metamorphosis, this attractive butterfly looks even more amazing. The author patiently observed various insects for over ten years so that he could depict them realistically. This dedicated painter describes the swallowtail so vividly, we feel like we can hear its breathing. Where Does Water Come From? satisfactorily meets non-fiction requirements for children. It casts questions that children might be curious about, and finds the answers in amusing ways. It includes various observations and experiments that children can try. The quality of the illustrations is also superb. The characters, which have interesting features, represent water, vapor, and ice. The

amusing book easily explains to children how water flows around the earth. Folk customs are another common subject for many non-fiction books for children. The illustrations depicting Straw have a video-like feel, using techniques usually employed in filmmaking, such as close-ups. In the past, people made many useful tools with straw, a by-product from harvested rice and other grains. Among others, traditional straw shoes are one of the things that draw children’s attention in this book. The grandfather, the narrator of the story, explains the cultural meaning of straw to his granddaughter, while the illustration closely shows the grandfather’s hands making the shoes. The movement of the grandfather’s bulging hands symbolically shows the human labor that transforms something from nature into a tangible part of the culture. Acacia Perm introduces an amusing pastime from the 1950s when girls tore leaves off stems and used them to wind up their tied hair. Afterwards, when they removed the stems, their hair became curly. This is called an acacia tree perm and many girls who enjoy make-believe in a beauty salon actually try this, with exciting results. The illustrations are rendered in a delicate poetic style.

By Yeo Eul-hwan

I Love My Mommy's Milk Heo Eunmi; Illustrator: Yoon Mi-sook Woongjin Think Big Co., Ltd., 2007, 32p ISBN 978-89-01-05999-0-73810

2 It's Like My Picture: Chang Ucchin Moon Seung-yeoun, Chondungbooks, 2007, 29p ISBN 978-89-90025-40-1 77650 3 The Entire Life of a Butterfly Kwon Hyok-do, Gilbut Children Publishing Co., Ltd. 2007, 45p, ISBN 978-89-5582-051-5 77490 4

Where Does Water Come From? Shin Dong-kyoung; Illustrator: Nam Ju-hyun Chondungbooks, 2008, 32p ISBN 978-89-90025-60-9 77400

5 Straw Baek Namwon, Sakyejul Publishing Ltd., 2008, 32p ISBN 978-89-5828-290-7 6 Acacia Perm Lee Chunhee, E*Public, 2008, 34p ISBN 978-89-5585-944-7 6

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SPECIAL SECTION

Korean Picture Books

Picture Books with Unique Points of View These unique picture books intrigue readers with visual images, children’s unexpected ideas, extraordinary imagination, cute characters, and outstanding painting styles. Our Village, published in 1946, created the look that modern Korean picture books are now based on. This book described traditional Korean life with a poetically rhythmic text and folk-style illustrations. At that time, the concept of a picture book was unheard of; the profession of illustrator did not exist. However, prominent painters and cartoonists of that time participated in this project. In the 1970s, illustrators started working for children’s books. However, most of their works were limited to book covers or a few inserted illustrations to accompany the text. By the early 1980s, picture books with balanced sections of pictures and text appeared. The number of picture books as we know them today rapidly increased around the 1980s, with the creation of full-time picture book illustrators. Since then, the number of illustrators who draw for picture books has reached as many as 700, and the number of published titles is over 2,500. Though the numbers seem high, each illustrator has a distinctive style. Many of them are dedicated to their own specific way of drawing. Imagining a picture book as a container that can contain anything means that limitless experimentation is possible. In order to understand the status of Korean picture books, it is helpful to search for illustrators who have their own particular visions. Here we have five outstanding illustrators worth noting: Kim Dongsoo, Lee Minhui, Yoon Bongsun, Suzy Lee, and Back Heena. Due to the success of their previous works, the way they write and think have attracted public attention. The subject of How I Caught a Cold is about childhood behavior. The author, Kim Dongsoo, began the story from his interest in children’s startling ways of thinking about reasons and consequences. Therefore, the visual expressions are simple and naïve as if drawn by a child. In his second book, My Almighty Rubber-Powered Airplane, Kim pushed the conventions of the way children think, making readers anticipate what he would do with his next book. Lee Minhui has a unique view of the world, which she

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1 How I Caught a Cold Kim Dongsoo, Borim Press, 2008, 29p ISBN 978-89-433-0479-9 77810

5 Taegeuk Chapter 1 Yoon Bongsun, Yeougogae, 2007, 23p ISBN 978-89-92855-00-6 77810

2 My Almighty Rubber-Powered Airplane Kim Dongsoo and Park Hyejun, Borim Press 2007, 33p, ISBN 978-89-433-0556-7 77810

6 The Zoo Suzy Lee, BIR Publishing Co., Ltd., 2007 30p, ISBN 978-89-491-0047-0 77810

3 Once Upon a Time, Piggies Were Very Smart Lee Minhui, Nurimbo Publishing Co., 2008, 32p ISBN 978-89-5876-062-7 77810

7 Cloud Bread Back Heena, Hansol Education, 2008 32p, ISBN 978-89-535-2705-8 74800

4 Laika Said Lee Minhui, Nurimbo Publishing Co. 2007, 32p, ISBN 978-89-5879-043-6 77810

8 The Black Bird Suzy Lee, Chondungbooks, 2008 29p, ISBN 978-89-90025-30-2 77810

expresses in her interesting picture books. Laika Said and Once Upon a Time Piggies Were Very Smart, observe human beings from an objective point of view. The narrators watch human beings from outside human society, with a simultaneous cruelty and compassion. Yoon Bongsun is dedicated to the subject of nature, as we can see from the ecological miniature paintings that he has drawn over an extended period of time. Recently, however, his work has changed. One of his recent books, Taegeuk Chapter 1, deals with the physical movement of taekwondo, the Korean martial arts of empty-handed self-defense, which shows that Yoon has expanded his boundary from precise descriptions of nature to include humans and other creatures. He has expressed his confidence by drawing clear and humorous images for the yet to be developed field of toddler’s picture books. Suzy Lee, who was selected as the Illustrator of the Year 2005 at the Bologna International Children’s Book Fair, draws our attention as an ever-growing artist. A look at her previous ten titles shows that she has successfully utilized different drawing techniques. The Black Bird and The Zoo also show that illustrated books can be properly balanced with philosophical text. Back Heena, the author of Cloud Bread, has created a sense of space within her book by energetically tackling object d’art without difficulty, proving the success of her efforts. All five of these authors’ worlds have a similar feel and yet are different. They offer readers the chance to think with the help of illustrations. Though the texts can be philosophical and complicated, they are also easy and interesting at the same time; that’s why we pay attention to these five authors. We expect more and more illustrators, whose work differs from these five, to appear in Korea. By Jung Byoung-gyu

INTERVIEW

“Children’s Books Should Provide Comfort and Hope” Hwang Seon-mi, Children’s Book Writer

Hwang Seon-mi, a renowned author of bestselling children’s books, writes about everyday issues in the lives of children. Why do children get so absorbed in stories that could easily have happened to anyone and everyone? Journalist Lee Ji-young met with Hwang Seon-mi for this interview. Hwang Seon-mi is a children’s book writer with a warm, tender heart. She identifies problems children experience in their everyday lives, and brings them comfort. The conflicts that occur in her works are of an ordinary nature. She does not write about dramatic issues such as death, accidents, divorce, or violence. Instead, she pens down problems of life that anyone could be faced with. Furthermore, she takes those wounds to a loftier level in a sophisticated manner. In reading her works, one is imbued with the courage and confidence to overcome those wounds. This is why children today, and those of the past who have grown into adults, become engrossed in her books. Last winter, when a chill was still in the air, I met with Hwang Seon-mi in Jeongdong, Seoul. The interview began with the following words from Hwang: “Children’s books should provide comfort and hope. They shouldn’t just expose the pain suffered by children.” Her conviction is clearly expressed in her title work, The Bad Boy Stickers. Geon-wu, the main character of this book, keeps getting bad boy stickers from his teacher. (A bad boy sticker is a yellow card of sorts, given out to students who have broken rules.) Geon-wu has had many moments in which he felt upset, embarrassed, and wrongly accused. Whenever his teacher does something wrong, Geon-wu quietly gives him a bad teacher sticker in secret. In 1999, when The Bad Boy Stickers was first published, bad boy stickers were prevalent in elementary school classrooms of Korea. Young readers could wholly sympathize with how Geon-wu felt in the book. Geon-wu’s story, in fact, was based on the true-life experience of the author’s oldest son. Hwang said, “It happened when he was in the fourth grade. He was upset, and I, as his mother, was upset as well. That’s why I wrote the book, to appease our hearts and minds.”

In real life, things remained the same without being resolved. In the book, however, they undergo a dramatic reversal. One day, Geon-wu stays behind in the classroom during gym because of a cold. He sees bad boy stickers on the teacher’s desk, and throws them all away in the bathroom. Later on, the teacher finds out that Geon-wu has been giving him bad teacher stickers. Geon-wu is sick with worry that he will be punished. However, his teacher suggests to him that they keep quiet about Geon-wu throwing the bad boy stickers away, and giving him the bad teacher stickers. The climactic moment is one of reconciliation and communication. The book does not stop at giving children secondhand satisfaction. It goes on to show them that adults, too, are imperfect, alleviating the pain inflicted upon children through unjust dealings by adults. The book has also contributed to a considerable decrease in the handing out of bad boy stickers in elementary school classrooms. Hwang has thus written books through the eyes of a mother. It was while she was raising her sons, too, that she became a children’s book writer. Her finely detailed description of the world of children, through books about everyday life such as Invited Friends, The Secret I’m Proud of, and The Day of Hiding My Diary, has been made possible because of her sensitivity as a mother through which she discerns the worries and anxieties of children. “My children are all grown up now, so it isn’t easy to find concrete material from them any longer,” Hwang said. “So when I’m looking for episodes to include in my works, I look through the old diaries of my children. I haven’t thrown any of them away. Reading them, I’m often surprised to see what I was like back in those days — the diaries are full of snapshots of the past.”

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INTERVIEW

The writer Hwang Seon-mi and journalist Lee Ji-young

By depicting the intensity of an ordinary hen's life, I wanted to show how people, whether blessed or unlucky, are essentially equal. If the material for her books came from her children, their roots came from her father. “He should have been a poet,” said Hwang. “When it rained, he wouldn’t just say, ‘It’s raining.’ He would say something poetic, like, ‘It’s raining hard to feed us well,’ or ‘The raindrops make the rice pop up.’” The motif of her work, Lessons from an Ordinary Hen, also had its root in something her father said. “He was in the terminal stage of cancer, when one day, he said, ‘I wish I could see spring come around one last time.’ When I heard him say that, I thought, ‘Human hope never ceases. What is it that makes an ordinary person go on living?’ So I decided to write the story of an ordinary person’s life.” That is why she decided to have a hen be the main character. It was a device to represent an ordinary person with little power and no great weapons to speak of. Hwang said, “I wanted to show the intensity of the hen’s life, and convey a message that the worth of a human being, whether he’s great or not, is the same for each and every one.” Lessons from an Ordinary Hen is a bestselling work. Nearly a million copies have been sold. It is also being produced as a play, a musical, and as an animated feature. There was a huge response from readers, some of them unexpected. A reader said that she was “strongly impressed by the maternal love of Ipsak, the hen.” The author said, “Perhaps she felt that way because the main character was a hen...though her response was somewhat removed from what I had intended, it is entirely on the part of the reader to find what she will find in a work.” Hwang mentions how happy she was while writing

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Lessons from an Ordinary Hen, so much so that she almost detested herself. “Here I was, with my father on his deathbed, and I was finding such joy in writing... It is true, however, that I enjoyed myself. I could forget the harsh reality around me in the joy of writing.” To Hwang, writing is an old habit. During her childhood, her family was so poor that they didn’t have a single book in the house. She would go to a comic book rental shop, borrow three books for ten won and placate her hunger for reading. “I couldn’t bear to let a story go forgotten, so I began to write down in a notebook what those comic books were about,” said Hwang. “I would write down the parts I remembered, and make up stories for those I couldn’t remember...I tried changing the endings as I wished, and that’s how I came to create my own stories. I discovered the pleasure of creating a world of your own through writing.” Hwang was unable to go on to middle school, for lack of financial means. Not being in school, she had no friends. She filled up her time with writing. “I wrote anything and everything,” said Hwang. “I imitated poetry; I cut out pretty pictures from magazines, pasted them in a notebook, and wrote words to go with them... And every year in November, I would go out to the field and burn everything I had written that year. I loved the cold weather that made the tips of my fingers tingle, the harvested field, and the smell of paper burning.” This long history of writing must have provided her with literary food for her later works. Even now, she can write anytime, anywhere, for writing was a habit, a part of life. She is a flexible writer, indeed — she doesn’t have to be in quiet surroundings in order to write. Her creativity continues to unfold. Her interests are moving towards deeper, more philosophical concerns in life. Recently, her thoughts have been full of the meaning and weight of the word, responsibility. She brings up the issue of whether “all problems can be resolved, as long as a wrongdoing is regretted and admitted, despite the fact that the milk has already been spilt.” It’s not an easy topic, but one looks forward to a story that will present itself through her delectable words. In a calm, subtle tone, she will create a story that will make readers ponder topics in a serious manner. She has the power to persuade readers in a logical way, neither criticizing nor scolding them. Readers highly anticipate the explosive power of her stories. By Lee Ji-young

She made her debut in 1995. That same year, she received the Children’s Literature New Writer Award with her short story, “Marble, Marble,” and Nongmin Literary Award with her novella, “A Flower to Plant in Your Heart.” In 1997, she was awarded the 1st Tamra Literary Award in the children’s book category, and in 2003, the Sejung Children’s Literary Award with Capture the Orchard. Her works thus far consist of some 20 children’s books, including The Bad Boy Stickers (1999), Lessons from an Ordinary Hen (2000), Capture the Orchard (2003), and a book of theories on children’s book writing titled The Joy of Writing Children’s Books (2006). Among these, Lessons from an Ordinary Hen has been translated into Japanese, and The Bad Boy Stickers and Invited Friends have been translated and published in Taiwan and Indonesia. By Lee Ji-young

About Hwang Seon-mi Hwang Seon-mi was born in 1963 in Hongseong, Chungcheongnam-do (province), and spent most of her childhood in Pyeongtaek, Gyeonggi-do. She was unable to go on to middle school due to poverty, but thanks to a teacher who gave her a key to a classroom, she could go to the school and read books whenever she wanted, and was able to continue finding pleasure in reading. Since then, she went on to high school by taking a certificate examination, and graduated from the creative writing departments at Seoul Institute of the Arts, Gwangju University, and the Graduate School of Chung-ang Universtiy. Her literary debut was somewhat belated. She majored in creative writing because she wanted to write for the rest of her life, but having no interest in a literary debut, she graduated from college without entering a single writing contest. It was when she was raising her two sons that she became a children’s book writer. She was studying to be a reading guide, in order to help her children with their reading. While studying thus at a private organization, she chanced to attend a class called “Children’s Book Academy,” which opened up for her the world of children’s book writing.

The Bad Boy Stickers Hwang Seon-mi, Woongjin Think Big Co., Ltd., 2007, 98p ISBN 978-89-010-6859-6

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EXCERPT

Lessons from an Ordinary Hen Hwang Seon-mi; Illustrator: Kim Hwan-young Sakyejul Publishing Ltd., 2008, 200p ISBN 978-89-7196-871-0 73810

In the following excerpt from Lessons from an Ordinary Hen, as a hen named Ipsak (leaf) becomes ill and ends up with other discarded chickens, she reflects back on her life.

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Ipsak was thrown onto the wheelbarrow. She wasn’t sickly but was too drained to fight back or flap about. She pulled herself together to lift her head, but was soon pinned under sickly hens that were thrown onto the wheelbarrow with her. Elderly hens were herded out of the coop and confined in a cage, for they were healthy, apart from their inability to produce more eggs. The old hens were loaded onto a truck that drove away from the chicken farm, but Ipsak remained in the wheelbarrow, squashed under a mass of hens that seemed about to die. The last hen to be thrown on the pile toppled on Ipsak’s head, the one part that had been free to move. Trapped underneath, Ipsak clung to her consciousness. What’s going to happen to us? she thought. I’m

nervous. The noise of the hens’ clucking began to thin out until it was reduced to silence. It was difficult to breathe. She wondered, Is this what they call barren chicken? She could feel herself suffocating. She couldn’t stop her eyelids from closing. She thought, I won’t die like this, will I? Try as she may, she could not ward off her fear. Sadness gushed from the bottom of her heart.

Not yet, she thought. I can’t die like this now. I must get to the yard! She had to get out of the wheelbarrow somehow, but there were too many hens piled on top of her that it felt as though her bones were being crushed. Ipsak thought of the acacia tree in full bloom. She thought of its green leaves, its fragrant flowers, and the happy faces of the family. I have something to live for, she thought. I will brood an egg and see it hatch! It’s a wish I should have already had as I am a hen, but I suppose it won’t come true before I die! As she began to lose consciousness, she fell deeper into her imagination. She saw herself brooding an egg in a cozy nest. Rooster stood by her as acacia petals snowed from the sky.

Ah, I had no inkling of this! she thought. Wanting to fly – that was yet another wish! It was more than just a wish. It was something my body wanted dearly! Ipsak felt awfully lonely as she looked up at the empty sky. The weasel’s eyes were fixed on Ipsak, but her eyes were growing thinner and thinner, as though she was trying to see the end of the sky. Snowflakes fell dizzily from above. A smile appeared at the corners of her beak as she watched the snow. Ah, she thought, the acacia flowers are falling! To Ipsak, the snowflakes looked like acacia petals. Wanting to feel the petals all over her body, Ipsak stretched her wings. She wanted to take in the scent. She felt wonderful. She was not cold. She was not lonely. (pp.189-190)

I have always wanted to brood an egg, she thought. Just once. I’ve wanted my own egg, a baby who can listen to my whispers. I will never desert you. Hatch, my child. I want to see you. Don’t be afraid... Under the illusion that she was indeed brooding an egg, Ipsak slipped away with a sliver of smile on her face. (pp.21-23)

Suddenly, the world fell very quiet. It seemed one corner of the sky had sucked up all living things around, leaving behind their empty shells. Ispak could hardly breathe. Whenever she took a breath, it was as if her heart was being tugged at. She thought, I want to leave! I want to fly away with them! Ipsak’s wish was as dire as her need to breathe. She so disliked and feared loneliness. Before she realized, there was a weasel standing next to her. She wasn’t as afraid of the weasel as she was of being alone. Ipsak closed her eyes and crooned, I had one wish.

I wished to brood and hatch an egg. I got my wish. I had a difficult life, but I was happy. The wish kept me alive to this day. Now, I want to fly away. Like Chorokmurri, I want to fly far, far away. Ipsak flapped her wings. Why did I never practice flying? she wondered. Chorokmurri was shaky when he began teaching himself to fly, but he did it in the end, didn’t he?

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INTERVIEW

Visual Poetry Written through Woodcut Prints Woodcut Artist Lee Chulsoo Poet Lee Moonjae interviewed master woodcut artist Lee Chulsoo, who lives on a small rice farm in a mountain village in Jaechun, Chungcheong-do (province). After keeping a low profile for the last three years, Lee Chulsoo took up his knife again this winter; he tills the soil from spring to autumn and resumes his career as a printmaker in winter. “I want to speak to people, rather than just be an artist,” he said. It’s Beautiful as It Is, his most recent book, is a selection of the postcards he wrote every evening to speak to his website members. He dove into the ocean of the Internet, and believes that his website is a small but meaningful one-man media. Lee Moonjae: I enjoyed reading your latest book, It’s Beautiful as It Is: Letters Written on Leaves. I noticed that there is much more text than in any of your other books. Lee Chulsoo: It’s because the book is a selection of postcards I wrote everyday for my website (www.mokpan.com) members. It was the year 2002 when I accepted the proposal from the webmaster and began sending e-postcards to my members. The number of members is currently over 45,000. LM: I assumed you wouldn’t be familiar with the Internet. LC: At first, I had many concerns; I was afraid that I, too, would end up surrendering myself to the Internet. However, I wanted to create a pure online meeting room, a kind of well around where people could convene in this coarse territory of the Internet. My website is quiet, but that doesn’t mean I avoid social and political issues. In 2007, when the Sisa Journal case* happened, we dealt with this issue intensively for a month. I felt sorry that intellectuals kept silent about the case. I believe my website plays a great role as a small, but meaningful, form of personal media.

*Note: The reporters of Sisa Journal, a weekly socio-political magazine, went on strike due to the management’s decision not to publish an article about Samsung, a major conglomerate of South Korea, without the prior agreement of the editors. All Sisa Journal reporters resigned and founded the new periodical Sisa IN.

LM: Your prints have stories told through poems and calligraphy. Though it’s a form of art to have poems and paintings together according to Asian tradition, isn’t it incompatible to have both in modern art? LC: Form or perfection is not my goal. I am an artist who is not like an artist. I want to communicate with people rather than just make prints. For me, prints are a way to communicate with others. Among all artists, I admire poets the most. Poets are those who have a compass in one hand and a heart in the other. They know which road to take and they have souls, morals, and divinities. With my prints, I hope to tell my stories like a poet. LM: Though it was a long time ago, you were an activist until the late 1980s. You committed yourself to art pieces, such as banners held during demonstrations, which used art as a tool to bring about change in the world, not just to hang in an art gallery. LC: When I held an exhibition tour in Germany in 1989, I was shocked to hear from a German that my artwork has the whiff of totalitarianism to it. As I had been reflecting on the reform movements and my life at that time, his remark gave me more to think about. Then, I realized that artists should pursue fundamental things rather than speak about contemporary issues. I wanted to be honest with myself. Therefore, I became interested in the essence of life, living, and nature. Still, I haven’t given up being involved in society. Real artists cannot be indifferent to the world around them. LM: Since the new millennium, you have held exhibitions in the U.S. and the U.K. I wonder how foreiners have responded to your prints, which are full of Korean images. LC: I decided to hold overseas exhibitions because I have wanted to let foreigners know that though we might look like ordinary people of color, we also think, and our stories are worth listening to. When I had my first exhibition at the Davidson Galleries in Seattle, an America city, in 2003, I said in the opening speech that I paint for those who understand my mother tongue. Then the director of the gallery said, “You are already world-renowned. I understand your paintings

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INTERVIEW

The woodcut artist Lee Chulsoo and poet Lee Moonjae

pretty well.” And he suggested that I make a contract with his gallery. Since then, I have held exhibitions every other year as a contract artist at the Davidson Galleries. This year’s exhibition will be in August. As long as the art pieces have their own strength, meeting with foreigners is not a big problem. The pieces foreigners like and the pieces Koreans like are the same. Even with prints that have strong Buddhist themes, foreigners have similar feelings to Koreans. LM: You have been living and farming in the country for 23 years. I was told that you were once the head of a village and recently you have participated in a community movement against the construction of a huge resort facility. LC: Yes, that’s right. It was announced that a spa resort that can accommodate 1,200 guests and 400 private condominiums was to be built in the mountain behind our village. The area is approximately 160,000 square meters. People in the village have organized a committee in opposition to the construction and I am one of the co-directors. If the resort is built there, 500 meters above sea level, our village will be flooded. For many other reasons, the villagers have been against the construction plan. Together with them, I have spent the last three years fighting the construction company and the local government. Consequently, I have barely spent any time painting. The construction site once belonged to the village union but it was taken away during Japan's colonization of Korea. We filed a lawsuit to reclaim the land, thinking that getting it back would be the key to solving the problem once and for all, but we recently lost. While continuing the opposition movement against the resort construction plan, I plan to remodel our village into an art and culture village because we cannot resist the construction with only an opposition movement. If our village is reborn, it could become a model as a way to revive country villages. LM: A serious economic crisis has hit the world. As an 32

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artist and farmer, what do you think about the current situation? LC: I believe that now is our chance. Modern people have become self-centered consumers. As I have written in the preface of my new book, the world has become a brutal out-of-control marketplace. I haven’t mentioned agriculture, even though I’ve been farming for the last 20 years, because it was a very depressing subject. I want to ask people to think about agriculture, using this economic crisis as a turning point. Agriculture is an alternative way of consuming. Doing farm work means independence from the market. If we have a farm approximately 150~300 square meters in size, we can grow almost all our own food, except for rice. The more we change, the more we win against the market economy. By Lee Moonjae

It's Beautiful as It Is Lee Chulsoo, Samin Books, 2008, 159p ISBN 978-89-91097-89-6 03810

Artist, Farmer, Poet, Activist... Lee Chulsoo, one of Korea’s most renowned printmakers, gained fame as a popular artist throughout the 1980s. Instead of art pieces displayed in galleries, he believes that real art is art that leads to change in society, such as the kind of banners used in demonstrations. Lee Chulsoo, whose artistic career began with his first exhibition in 1981, was hugely influenced by established printmaker Oh Yoon. The representative images of Lee’s prints in the 1980s were things that were energetic and strong like knives, drums, and mountain ridges. Not only with frescos, painted banners, but also with publications, he led the popular art movement of that time. He also introduced the concept of illustration to the Korean children’s book field. However, Lee’s popular art, with the catch phrase, “Dawn is breaking. Beat your drums,” took a turn in the late 1980s. Around 1988, his introspections led him to focus on the essence of life. When he came back from his tour of Germany in 1989, he contemplated the relationship between art and contemporary issues and thus developed his unique language to naturally express daily life and its essence as it is. His woodcut prints are composed of harmonious lines, colors, poems, and calligraphy. The lines carved on the wood blocks express Seon (Zen) philosophy. The short text, written in fonts he created himself, reminds people of a Seon text or haiku. A curator at the Davidson Galleries in Seattle, referred to Lee’s simple but long-lasting art world as “visual poetry written through prints.” As mentioned in the interview, Lee has

not given up his understanding of social reality; in other words, he has not forgone his political imagination of the 1980s. If politics are people’s effort to live better lives, then they are also an expression of the human essence and ability. Lee Chulsoo says that a true artist cannot be indifferent to the world around them. He has not given up populism as an art form and replaced it with his reflections on life; but he pursues both populist art and his reflections on life, which have expanded the horizons of his art. For example, in Lee’s prints, the size of the humans is very small – smaller than the trees and even the birds. In particular, the size of a farmer is the same as that of a butterfly or of grass. In his prints, human beings are not modern people, that is, consumers of a mass consuming society, nor are they the gods of creation, the humancentered entities who lead industrialized civilization. But the humans in his prints are humans of an old future, that is, ecological human beings. Ecological human beings are born of Lee’s imagination and his basic but essential realization that all things are interconnected. Lee Chulsoo is not satisfied with displaying his prints only in galleries. He wishes to communicate with everyday people; he meets them by publishing his prints. From the late 1990s, his means of communication expanded from a collection of prints, to a collection of prints and essays, to calendars, postcards, and diaries. In 2002, he started his website to further communicate with netizens. The title of his print collection published in 2004 was A Little Gift. His exhibition held at Gana Art Gal-

lery the following year was “Little Things.” The adjective ‘little’ is used ironically. Lee’s strong message is that though consumers and people living in cities regard those little things as small, we will have no future if we cannot appreciate these little things again. Therefore, little things are actually big gifts for us. Since he moved to a rural mountain village 200 kilometers southeast of Seoul in the late 1980s, Lee has maintained a balanced life of art and labor as a farmer, a printmaker, a poet, a member of a rural community, an intellectual, and an activist. From spring to autumn he farms, and during winter, he makes prints based on drafts he has made. He works during the day and reads books or contemplates at night. Though he likes to be alone, he also likes to relax with neighbors. He has endless guests at his farmhouse year round. When asked what the most important thing in his life is, he answers that it is family and neighbors. His warning message is that the era of individual consumers should be replaced by an era of communities based on trust and friendship. By Lee Moonjae

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EXCERPT

The Moon in Six Panes

On a Night When Pear Flowers Have Fallen All White Lee Cheolsoo, Munhakdongne Publishing Corp., 2003, 143p ISBN 89-8281-756-5

On a Night When Pear Flowers Have Fallen All White was published in 1996. Through this collection of pictures and poems, the artist reveals a passionate sensibility towards nature and the essence of existence. Combined with wit and the wisdom of Buddhism and Seon (Zen), Lee muses on the meaning of life purpose.

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Stepping out into the yard, after working deep into the night, I see the crescent moon and gleaming stars contemplating me from the sky above the ridge of the lone dark mountain. They, too, have been contemplating my weary life. As I gaze into the dark, others unveil their existence quietly in the pale moonlight. They are clods imprinted with shovels, low rooftops and faraway pines. Suddenly, because of them, the spring night seems beautiful. Though the sunlight of day is brilliant, with all its warmth, the life force of the world, the pale moonlight alone is fulfilling me so, in this darkness without warmth. Just as much relief should be enough to help me subsist... The waxing and waning moon is no different from an illuminating, and darkening mind.

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OVERSEAS ANGLE

History and Longing Black Flower Kim Young-ha, Munhakdongne Publishing Corp., 2004, 356p ISBN 89-8281-714-X 03810

Kim Young-ha has built a reputation as a novelist who has captured the experience of the youth of Korea, the Internet generation, accomplished but disillusioned, living life in the fast track in Seoul. Accomplished and talented, published successfully in Europe, he has, in his novel Black Flower, come to fruition as a mature novelist. He has claimed in an interview that marriage has changed him by calming him down so that he can concentrate on narrative and story. If marriage gets the credit for producing a novel as magnificent as Black Flower, it should be a required state for all writers. In Black Flower, Kim Young-ha takes a small moment of Korean history, when 1,033 Koreans embarked as contracted laborers in Mexico on April 4, 1905, and transforms this moment into a powerful, sweeping epic that resonates across continents and oceans, bridging East and West. At this time, Japan controlled Korea, and protected immigration to California and Hawaii for the Japanese. For others seeking an opportunity, to immigrate Mexico was offered, specifically the plantations of the Yucatan peninsula. The imperial government of Korea prohibited contract labor but East Asia was in turmoil and “…people flocked to Jemulpo Harbor. It was a crowd that included everyone from beggars to short-haired men, women in skirts and Korean jackets, and even runny-nosed children.” The excitement of those who thought themselves lucky to get a place on the ship soon turned to the most abject misery. The journey is followed through the eyes of a collection of characters: Kim Ijeong, an orphan boy raised by a street peddler, Yi Jongdo of the imperial family with his wife, son and beautiful young daughter of marriageable age, Yi Yeonsu, Father Paul, a Korean priest abandoning the church, Choe Seongil, a ruthless and heartless thief, and Gwon Yongjun, the interpreter for the Continental Colonization Company who arranges the transportation of the laborers. When Yi Jongdo’s efforts to establish his privilege early on (anyone who has ever worked another man knows that not all human beings are the same) are rebuffed by John Meyers, the company representative, it is a clear indication of what is to come for the aristocrats of the group forced to share quarters with vagrants, soldiers, shamans and eunuchs. With great skill and empathy, Kim depicts the conditions aboard ship: the deprivation, the machinations,

the inner thoughts of the characters, and especially the love story of Ijeong, who makes his way into the good graces of the kitchen staff, attracting the romantic attentions of a Japanese cook, and Yeonsu, a young passionate girl who understands, unlike her parents, that things are changing and that the old world is gone forever. The group arrives in Mexico to more travails, once selected for work on the haciendas that produce hemp from the henequen plant, the Koreans soon realize they have been duped and “anxiety gradually began to wander about between the tents.” They are underpaid, overworked, badly fed, whipped and beholden to cruel masters for the extent of their four year contract. In despair they realize they can never earn enough to leave this country of heat and dust. They work alongside the enslaved Mayans whose revolts led to massacres which decimated the population, necessitating the importation of labor. Kim seamlessly weaves the history and the social structure of Mexico into the story of the Koreans, a story of exploitation and greed, while he also shows the resiliency and dignity of the Korean characters who adapt to the harsh conditions and cope as best they can. He pays special attention to the plight of the women, who must eventually work alongside the men in the fields and then perform all the domestic chores as well. He tells the story of our Lady of Guadaloupe and the Catholic religion in Mexico, the devastation of forced conversions, and fanatical religious fervor. His prose brings the story alive; the atmosphere from the bowels of the ship to the steaming plantations is palpable. The back stories of the characters are revealed as though peeling the skin of an onion as their lives intersect and happily the evil are punished although the just also suffer. There are mystical and poetic elements amid the facts of history, adding a layer of wonder to the narrative arc. The scope and breadth of Kim Young-ha’s talent is evident on every page of this breathtaking novel, which through the lives of people of all walks of life thrown together without distinction, he tackles the themes of democracy, war, nation building, power, religion, relationships, and love.This novel engages, informs, and in a paraphrase of Kafka, breaks the frozen sea within us. The Koreans become involved in revolution and with Ijeong as a leader, a small band of fighters, for a brief time form a nation which they call New Korea, in Guatemala, in Tikal, among the jungle-obscured Mayan temples. The story culminates here. The young lovers at the center of the story have come together and been torn apart, life has gone on, and ultimately, Kim concludes the narrative, observing that the Mayan temples have been restored, tourists travel to see them and the Yucatan peninsula, some haciendas have become museums, but “…no traces were unearthed of the group of mercenaries who had passed through that place or the small miserable country they had founded.” By Louisa Ermelino (Reviews Director, Publishers Weekly)

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The Loneliness of You (Chinese Edition) The Naked Tree (Chinese Edition)

OVERSEAS ANGLE

Park Wansuh in China The Naked Tree Park Wansuh, Segyesa Co., Ltd., 2002, 318p ISBN 89-338-0069-7

The Loneliness of You Park Wansuh, Changbi Publishers, Inc., 1998, 303p ISBN 89-364-3652-X

On a mission to translate, introduce, and disseminate exceptional cultures from all over the world, Shanghai Translation Publishing House, China’s greatest publishing company specializing in translated works, publishes over 300 titles each year, over half of which are Chinese translations of foreign literature. The published books have garnered an outstanding reputation in China for their carefully selected subjects and superior translations. As Korea becomes increasingly distinguished on the international political and cultural stages, Chinese readers have shown great curiosity and interest in the literature and arts of their neighboring country. Shanghai Translation Publishing House not only began to introduce translations of Korean literature relatively early, but is also one of the few Chinese publishers to have long maintained friendly cooperative relations with the Korea Literature Translation Institute. In 1997, the house began publishing translations of modern Korean literature and in the past ten years has presented over 30 titles in a variety of genres including literary fiction, political novels, historical biography, detective novels, poetry, and picture books. Park Wansuh (1931- ), whose works have recently been translated in China, is one of the writers receiving the most attention. One of Korea’s famous female writers, Park gained increasing recognition among Chinese readers after her most well-known works translated into Chinese left an indelible impression. Shanghai Translation Publishing House introduced The Loneliness of You and The Naked Tree in 2006 and 2007, respectively. In 2009, A Very Old Joke, another famous work, will be published. A short story collection that embodies the “joy, anger, sorrow, and pleasure” of old age, The Loneliness of You contains ten stories including “Unbearable Secret,” “That Woman’s House,” and “The Woman and Her Ball Games.” Park has remarked that although one of the most toilsome aspects of putting together a work of fiction is reading the proofs carefully, for some reason she enjoyed proofreading this collection without getting bored. In the preface, the author, pushing 70 at the time of publication, writes as follows: “The short stories in this collection are mostly stories that – from young people’s perspective – lead them to wonder what they [old people] live for. Don’t pity old folks too much – there’s still plenty to savor in old age.

Of course not everything I suggest you savor is sweet. The wisdom of age is to know bitter and dolorous tastes, and I want to proudly affirm my age, which I couldn’t hide if I tried anyway.” Even if a person is unable to move forward or even takes a few steps back as she ages, she can transcend herself with dignity, as long as she does not give up and instead, chooses to confront. Any reader who possesses this kind of spirit and faith would appreciate the beauty of Park’s collection of short stories. Such is the beauty that arises from being in harmony with one’s age, rarely found in other fiction. This collection includes both the unbearably passionate love stories of youth and the enthralling, heartwarming love stories of old people. In other words, they are stories with which not just aged readers but young readers can also identify. Through this collection, readers can at once experience the life of the elderly as well as understand the reality of Korean society and the sensibility of Koreans. The Naked Tree is Park’s debut as well as one of her most important works. By describing the distorted life, destiny, and inner world of ordinary people of the war generation, this novel set during the Korean War, conveys the loneliness and the desire for love and happiness of those who experienced the upheaval of war. The naked tree in the novel is a symbolic object drawn by the painter Ok Hui-do who, as a result of the war’s turmoil, ekes out a living by painting portraits for American soldiers in Seoul. Although Ok’s painting depicts a dead tree in the eyes of the protagonist, the naked tree, which has firmly endured the bitter cold, expresses the painter’s yearning for spring. At the same time, it is also a vivid depiction of the countless masses that suffered through the cruel war like the painter Ok, the college dropout Hwang Tae-su, and the protagonist, who carries the responsibility for the livelihood of her family on her frail shoulders. Thirty years after its publication, this work, which has been loved by several generations of Korean readers, continues to radiate a timeless charm. One Chinese daily has commented that Park, a born storyteller, reflects on the fundamental issue of life in many of her works. In a male-centered society, she expresses modern women’s friendships, emotional bonds, and tender maternal love from a woman’s perspective. The moralist of our times, Park depicts stories, all the more beautiful because of their ordinariness, in a calm tone and with pointed admonitions. By Guan Shu Ning (Editor, Shanghai Translation Publishing House)

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THEME LOUNGE

Korean B

A Colorful Panorama Is Korean Buddhism different from Chinese and Japanese Buddhism? The answer can be found in books on Korean Buddhist thought, Buddhist art and architecture, Buddhist temple food, respected monks in Korean society, and books written by monks.

1 Chinul: The Founder of the Korean Seon Tradition Keel Hee-sung, Sonamoo Publishing Co., 2001, 250p ISBN 89-7139-314-9 93220

2 Temple Decorations, the Shining World of Symbols Heo Gyun, Dolbegae Publishers, 2008, 272p ISBN 89-7199-120-8 03630 3 The Story and Architecture of the Korean Buddhist Temple Kim Bong-ryol; Photographer: Kwan Jo, Ahn Graphics, 2003, 234p ISBN 89-7059-169-9

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Buddhism The culture of Korean Buddhism is so colorful! Lately, the number of foreign visitors to Korea who are becoming captivated by the culture of Korean Buddhism has been on the increase. Buddhism has helped form the roots of East Asian culture and thought. Yet many Westerners know very little about Korean Buddhism. Most of the time, they just assume that maybe it’s more or less the same as Chinese or Japanese Buddhism, which is unfortunate. The unique art and thought of Korean Buddhism has blossomed over the years, and many Buddhist scholars and practitioners around the world are now deeply interested in learning about it. The first book is about Buddhist

thought. Written by Keel Hee-sung, Korea’s foremost scholar on comparative religion, Chinul: The Founder of the Korean Seon Tradition sheds light on the work of the Buddhist monk, Chinul, who was an influential figure during the Goryeo period (918-1392). According to the author, Chinul acknowledged multiple paths to achieving nirvana – purifying the heart through constant effort, getting there through sudden realization, reaching enlightenment by absorbing oneself intently in a

single subject, or through intensive study of Buddhist scriptures. Chinul believed that such diverse paths had to be pursued in combination with each other. This suggests that both Chinul and Korean Buddhism are characterized by inclusiveness and synthesis. In addition, Buddhist art and architecture are inseparable from traditional Korean art. The large number of Buddhist cultural assets found among Korean cultural assets attests to this fact.

The Story and Architecture of the Korean

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THEME LOUNGE

Buddhist Temple, written by Kim Bongryol, an expert in traditional Korean architecture, with photographs by the Buddhist monk, Kwan Jo, is both an essay and a travel account of the beauty of Korean Buddhist architecture. The buildings, gardens, and overall spatial arrangement of existing Korean temples guide the way around these aesthetically accomplished places. In general, Korean Buddhist architecture is characterized by harmony with nature. This is different from Chinese and Japanese Buddhist architecture, which has an artificial aesthetic. With wonderful photographs by Kwan Jo, a photographer who has won recognition in both Korea and other countries, the book itself a beautiful work of art. Temple Decorations, the Shining World of Symbols , by Heo Gyun, analyzes the diverse symbolic decorations found in Buddhist temples from 42

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religious, historical, and artistic angles. The book explains what kind of deep meanings can be found in the decorative motifs used in Buddhist architecture, such as lotus flowers, lions, fish, dragons, shellfish, rabbits, and turtles. In addition, the book describes and compares Korean, Indian, and Chinese Buddhist thought and stories. With up to 300 photographs, the book is a joy to view as well as read. The colorfulness of Korean Buddhist culture is also evident in its temple food. Temples have cultivated their own unique food culture, and lately, many people have been taking an interest in it. Sunjae’s Temple Food, written by the Buddhist monk Sunjae, introduces 229 different foods served in temples. All of it is made from fresh, natural ingredients without any artificial seasonings. Grouped according to the seasons in which they are best for eating, the dishes

are also very aesthetically pleasing. In fact, the number of foreign visitors to Korea who are becoming captivated by the culture of Korean Buddhism has been on the rise. Modern Korean Buddhism has produced many outstanding monks. Many monks have gone beyond the Buddhist world to receive widespread respect as grand masters in Korean society. Huh Munmyung’s Life’s Compass: The

Laughter, Life, and Teachings of Grand Master Sungsan is a biography of one such monk, Sungsan (1927-2004), who opened Buddhist temples in over 30 different countries, including Japan, the U.S., Canada, the U.K., Brazil, and France, to promote Korean Buddhism. His foreign students alone totaled as many as 60,000. Even while sticking to teachings that are native to Korean Buddhism, his methodology for realizing those teachings is open-minded in

that he acknowledges that each country can achieve the same ends differently. If Sungsan was mostly active outside of Korea, then within Korea, the monk Seongcheol (1912-1993) had a definitive impact both inside and outside the Buddhist world. Seongcheol is famous for having devoted himself wholly to Buddhist meditation and training for eight years without rest. He is revered in Korean Buddhist circles for his great charisma, due to his devotion to attaining Buddhist enlightenment. Weontaek’s Filial Piety of Monk Seongcheol describes Seongcheol’s life, practice, and teachings. Weontaek spent 20 years by Seongcheol’s side as his student. Finally, there is Monk Beop Jeong’s collection of aphorisms, May All Beings Be Happy. Beop Jeong is well-known for his ability to communicate widely with the general public in Korea. Of course, he is a devoted Buddhist practitioner, but he also excels at couching Buddhist teachings in a modern context in his writing. Accordingly, he is also a best-selling writer. It is difficult to thoroughly explore the colorful, panoramic world of Korean Buddhism in just a handful of books. But if readers from all over the world were to encounter even one of the books introduced above, many would be able to experience the thrills of discovering a new world. By Pyo Jeonghun

4 Sunjae's Temple Food Sunjae, Design House, 2005, 239p ISBN 89-7041-917-9 5 Weontaek’s Filial Piety of Monk Seongcheol Won Taek, Gimm-Young Publishers, Inc., 2008, 279p ISBN 978-89-349-0848-7 03810 6 May All Beings Be Happy Beop Jeong, Wisdomhouse Publishing Co., Ltd., 2008, 247p ISBN 89-957577-0-1 03810

7 Life’s Compass: The Laughter, Life, and

Teachings of Grand Master Sungsan 7

Huh Munmyung, Yolimwon Publishing Co., 2006, 209p ISBN 89-7063-496-7 03810

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THE PLACE

Jeju Olle

In Jeju-do, there is a road filled with “herstories” Among all the beautiful residents of Jeju, I encountered while clearing and developing a road around the island, the most captivating were Jeju’s haenyeo (women divers), who are virtually the only group in the world that dive into the deep waters without air tanks to collect the fruits of the sea.

THE PLACE

The time each trail takes to walk was made to vary from five to seven hours in length. Currently, there are 12 different walking trails. The blue arrows will take you past both ocean and mountain views.

I was a journalist who had long lived the life of a warrior in the battlefield of news. As the Republic of Korea, where the Internet has developed rapidly, began to attain economic growth at an unprecedented rate, its people have lived a faster-paced life than in any other country; and a press journalist is one of the country’s most rapid-paced professions. While serving in this profession for 23 years, my life was controlled by speed and buried under so-called success. At some point, an alarm began to sound in my mind. My mind was like the arid plains during a drought, and my body became exhausted to the point of immobility. If I continued this way, I thought I would collapse and die of exhaustion on my desk, or become seriously ill. News reporting, which had once thrilled my heart, now felt like a painful punishment, a tedious homework. As I entered the latter half of my forties, I had to declare an end to this kind of lifestyle. Instead of torturing my brain cells, I began to take slow walks. The act of walking led me to heal my body and mind and to look deep into myself. Walking is a bodily prayer as well as meditation on foot. The more I walked, the longer I wanted to walk. To be able to walk freely, to my heart’s content, to the point of exhaustion, to ponder how I ultimately wanted to live the second half of my life, I ended my many years of life as a journalist and set off. That is, I set out on a pilgrimage to the Camino de Santiago, the aspiration of countless foot travelers. It was September 2006. Sometimes alongside other pilgrims and other times by myself, I walked the 800 kilometers that span from St. Jean Pied de Port, just across the French border, to Santiago de Compostela. During my 36-day pilgrimage, I learned how Chongro _ Books from Korea Vol.3 Spring 2009 46 listIntersection

to be freer, more fulfilled, and happier in harmony with nature. Above all, taking a break from my success-driven hectic life, I was able to replenish my body and mind and find new energy. Of all things, learning to believe in my strength and to love myself just as I am was the greatest gift from the Santiago trip.

I decided to build my own road in my hometown. On the road there, I met an English woman. When I told her that I hoped to revisit Santiago, she told me that we had to share the happiness we experienced on this road with others, that we had to return our respective countries and build our own caminos (roads). I had set out to tread only on roads already built, until her suggestion gave me an unexpected inspiration. Oh, how often I pictured the scenery of my beautiful native Jeju as I walked this road. A volcanic island at the southernmost tip of Korea, Jeju is a place of nostalgia where I spent my childhood and youth. I would return to build a trekking course that would provide solace and peace to so many people! This was the moment when the wasteland, where my ambitious aspirations as a journalist had disintegrated, was showered with new seeds of hope. After returning from my trip, I ended 30 years of living in the metropolis of Seoul and returned to my native Jeju-do (island) for good. Then, after convincing my younger brothers and several friends, I started building a walking road. Throughout the process I dreamed of a road rarely used by cars, where one could maintain a dignity befitting humans and escape the pollution, noise, and neon signs to enjoy freedom.

Recognized by UNESCO as a World Natural Heritage Site in 2008, Jeju is a volcanic island that boasts a unique beauty. The unpolluted air, the clear water, the cliffs and coastline formed by volcanic activity, the low-lying mountains and the old forest Gojawal have all been preserved. No wonder the main road, too, is beautiful. There were parts of the road that were cut-off by cliffs, parts that had disappeared with the development of automobiles, and parts that could not be passed because they now belonged to private livestock farms or country homes. Thus, my colleagues and I cut stairs into the soil, persuaded local soldiers to bring flat rocks from the coast for our use, and just managed to convince private land owners to grant access. Within the past year or so, the road we cleared this way now included 12 trails totaling 200 kilometers. As many as three to four million travelers have visited this road. Visitors invariably tell me, as if they had agreed in advance, “We are happy to have walked on such a beautiful road.” The scenery is not the only beautiful aspect of this road. As I developed it, I met countless honest, good-hearted people of Jeju. Among them, those who captivated me the most were Jeju’s haenyeo, who are virtually the only group in the world that dive into the deep waters without air tanks to collect the fruits of the sea. They possess not only an astonishingly persistent vitality but also an unbelievably outstanding sense of humor, despite their sometimes lifethreatening, dangerous work. I came to truly love them, along with the road. From time to time, I tell people, “If the road in Santiago embodies the history of having been trodden by Saint Jacobo to spread Christianity, then on Jeju’s Olle road lie

the 'herstories’ of Jeju divers fighting the rough seas to raise life out of the waters.” My book Walk Merrily, Leisurely: A Walking Tour of Jeju is a record of my entire journey, a report on the people of Jeju, and a new travel guide to the island. Unfortunately, you most likely will not have an opportunity to read it, since it has not been translated into other languages. However, there are still plenty of opportunities for you. Even if you don’t know Korean, you can still come to walk and enjoy yourselves on the road that a woman, a former journalist, built with sweat, passion and hope, along with colleagues, local residents and soldiers. Everywhere, bluecolored arrows and ribbons will guide you along. By Suh Myungsook The website for Jeju Olle: www.jejuolle.org

Walk Merrily, Leisurely: A Walking Tour of Jeju Suh Myungsook Bookhouse Publishing, 2008, 436p ISBN 978-89-5605-292-2 03810

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REVIEWS Fiction

In Search of a Lost Mother Take Care of Mother Shin Kyong-suk, Changbi Publishers, Inc., 2008, 299p ISBN 978-89-364-3367-3 03810

A journey of the heart that frees you from the arrogant thought that your mother can never understand you. A journey of the consciousness that leads you face to face with the cold truth that you didn’t know anything about your mother. “I don’t know anything about her, except that we lost her...”

The world is rife with all kinds of fabulous praises for mothers. Trite praises were created to emphasize the absoluteness of motherhood such as, “If you placed the world on one side of a scale, and my mother on the other, the side of the world will be much lighter.” Nevertheless, all of this praise combined would not be sufficient to describe each of our mothers perfectly. Take Care of Mother by Shin Kyong-suk is the story of “my mother,” who cannot be replaced by any other mother. Korean readers are wildly excited about this story of an ordinary mother. What sustains this novel is the power of imagination that becomes possible only when our mothers who have been with us all our lives are eliminated from our lives. Take Care of Mother is the story of a family in search of their mother who has disappeared. When the mother, who has devoted her entire life to housekeeping and farming, disappears, the family realizes that they had known so little about her. They discover that she was illiterate, and that she had suffered from a stroke, only after she is gone. Take Care of Mother is a story about the life of a mother who is found only after she becomes lost. In

addition, the story is told not from the first person point of view, but from the second point of view. The “you” not only represents the protagonist of the novel, but the children of the world who think, “My mother doesn’t really know me.” The journey in search of a mother is a journey of the heart that dispels the arrogant thought that your mother can never understand you. Further, it is a journey of the consciousness that leads you face to face with the cold truth that you didn’t know anything about your mother. The journey in search of a mother is not simply a journey to find the physical body of the mother who has disappeared, but to find the lost time she sacrificed for everyone. The journey is also one in search of oneself, who thought that he or she knew everything, but didn’t, in reality. Acknowledging the fact that she has disappeared is also acknowledging the selfish delusion that one’s mother will always be there where one wants her. What is more painful than the fact that no one knew of the mother’s stroke is that no one realized how great and beautiful was the life of the mother no one remembered. The family didn’t

know that she, who sacrificed everything for the family like the giving tree, had all her life needed a mother as well. The family hadn’t known that their mother had needed another mother; that she, too, had needed true love, not the cold back that her husband turned on her. The family, desperately searching for any trace of her, finally comes to admit, “We don’t know anything about her, except that we lost her.” Yet this isn’t simply the story of a mother. This is also a story revealing the sense of guilt felt by countless children and husbands who made their mothers ceaselessly sacrifice themselves, for their own benefit. However, what readers feel upon closing the book will not be fear or guilt, but infinite wonder for the mother who is beside them, here and now. Isn’t it time now that we traded places for once? What would it be like if we became our mother’s mother from time to time, if only for the little time that is left? By Jung Yeo-ul

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REVIEWS Fiction

The Parade of a Surreal Imagination The Zero G Syndrome Yun Ko-eun, Hankyoreh Publishing Company, 2008, 296p ISBN 978-89-8431-276-0 03810

In the 21st century, Korean society has been roaring with praise for the imagination –brilliant ideas that do away with the tedium of everyday life, keen insight in predicting the future, and the boldness to change reality through imagination. Imagination is considered the panacea for the lethargy of society at 50

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large, as well as the key for the education of gifted children. The Zero G Syndrome by Yun Ko-eun feels like the parade of a surreal imagination, perfect for such a society. Nosibo, a 25-year old man who works for a real estate company, is a newsaholic, always thirsting for more news. He is a modern man,

addicted to the momentary sensation of pleasure brought by new events. One day, the most dramatic news of his life is reported on: a new moon has emerged. With two moons in the sky, society goes into an uproar, and all kinds of unsettling rumors hover in the air. A unique imagination that poses the question, “What will happen to mankind in the process of the two moons diverging into six?” ignites the plot of The Zero G Syndrome. In the book, mankind dreams of a new life, even up to the point where there are three moons. People who want to migrate to the moon call themselves non-gravitational, and jump off buildings or leave their homes unannounced in order to leave earth. The society is inundated with violence and runaways, suicide, and disease. Soon, there are four moons. People now begin to see the moons as resources or real estate. When the moons are put on sale, they sell out in no time. The president of the company where Nosibo works steps forward to sell the moon in order to overcome the recession. Nosibo thinks, “No one made thoughtless remarks, and no one made terror attacks. No animal seized the streets, and no larva was found in the sweets. The only news making the headlines was that of the political or of the entertainment world, moving in a mechanical manner. Campaign pledges still ended up as empty promises, and the National Assembly building still bred all kinds of 'gates', large and small. But everything seemed to move according to a fixed scenario. When there was nothing happening in the world, I felt like a nobody and became depressed.” The reader now realizes that the imagination of Yun Ko-eun, a newcomer, is not about the unknown future, but the here and now. In a humorous way, she depicts the greed and ennui of mankind that will never change, even with six moons. Her imagination is not a means to escape reality, but a healthy struggle to become more deeply rooted in it. By Jung Yeo-ul

REVIEWS Fiction

The Last Novel by Yi Chong-jun The Age of Myths Yi Chong-jun, Spinning-wheel Publishing Co. 2008, 356p, ISBN 978-89-8865-326-5

well as the history of the collective whole. By myth, however, the author does not mean simply a mirror reflecting history, or a fair and just world transcending reality and history. Neither does he mean an age of myths in which an Apollonian order and a Dionysian chaos coexist, as they do in the myths of the West. To Yi Chong-jun, the age of myths is a symbolic space in the everyday world, in which the hardships of an individual get tangled up in the bounda r y b e t w e e n r e a l i t y a n d h i s t o r y. Furthermore, myths, as the author has stated, are “a dimension of the soul in which resides inherent sentimentalities, in the form of genetic residues of reality and history.” In that sense, The Age of Myths is a sort of soul-cleansing ritual, for the solace of those living in modern times who had to live as historic beings. By Lee Seungwon

even when we do realize it, however, we feign ignorance. And when we do realize, too late, that we have unconsciously committed a sin, the time for atonement has past. Lee delves sharply into such human psychology. The collection of short stories, titled Journals from Days Past, is similar in that respect. Most of the stories compiled in the collection are records of sins committed unconsciously, and the struggles regarding the ethics of those people trying to write off their debts. Lee, exposing the fatal substance hidden in the layers of accumulated memories, speaks to us of inconvenient truths. Institutional violence is not the only form of violence. We must come face to face with the violence we have or may have unconsciously inflicted upon others. We must, however, become oblivious to, or ignore, such sin, for our own survival. Journals from Days Past is the confession by the author of a reality that makes one incapable of realizing that what is absurd, is, in fact, just absurd. By Lee Seungwon

On July 31, 2008, a major figure in the Korean literary world passed away. His name was Yi Chong-jun, the author of This Paradise of Yours, which has been published into English and Spanish. Throughout his life, he worked not only to embody the essential nature of human beings living in the midst of absurdities and irrational circumstances of the real world, but also, to sublimate the traditions of Korea in an aesthetic manner. The Age of Myths is his last fulllength novel, and an unfinished work. In the novel, “the age of myths” refers to the period between 1910 and 1930 when Joseon was under colonization. The novel begins with the appearance of a mysterious woman called Jaduri. Through the strange birth and growth of Taesan, Jaduri’s son whose father is unknown, the novel reconstructs the history of colonial Joseon and the lives of ordinary people through mythological imagination. In this way, the novel reflects the history of an individual, as

Concerning Unconsciously Committed Sin Journals from Days Past Lee Seung-u, Changbi Publishers, Inc., 2008, 279p ISBN 978-89-364-3708-4 03810

Two Sides of Life by Lee Seung-u has been published to great acclaim in France. This is probably because the novel depicts a Kafkaesque world familiar to Europeans. The absurd world rendered by Kafka brings us ethical discomfort; so does the world of Lee. For those used to seeing reality through a dichotomous perspective, Lee’s novel still feels uncomfortable for it deals with the sense of guilt lying at the root of the human heart. We can sin against someone without realizing it;

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REVIEWS Fiction

Who Dun It: Korean Style The Best of Korean Mysteries & Thrillers: 10 Short Stories Choi Hyuck-gon et al. GoldenBough Publishing Co., Ltd., 2008, 470p ISBN 978-89-6017-154-1 03810

the stage. Even though the murderer is revealed at the beginning of this next story, the plot twist in “The Seventh Bus Stop” centers around the way the victim dies. In this case, the victim ironically hires a killer to kill him in order to take revenge on an old man who used to stalk him. “Sinkhole” and “Blood May Appear from the Earth” have different backgrounds and motives for why their heroes are on the run, but both are tension-filled thrillers that follow fugitives as they escape their fast-approaching antagonists. A transgendered person in “Lies” is killed and discarded near the sea by a man who had once saved her life. In “The Life of Foucault,” we follow a contract killer through the tense process of setting up a murder. But in the end, in an unexpected plot twist, we find out the contract was a trap set up by a middleman. “The Treasure of Istanbul” is a spy thriller set in Turkey where a secret agent’s moral skepticism unfolds amidst bloody fights over diamonds. By Lee Hak-young

Korean mysteries and thrillers have a hundred-year-old history that has produced a few prominent authors and some successful books. However, it is hard to say that these genres have enjoyed a huge following or have passed down a lasting tradition. And so, this collection of thrillers from ten young mystery authors is a collection of narrow tributary streams running over barren soil rather than a single serene, overflowing stream. Just like all mysteries and thrillers, each story in this book raises tension by carefully constructing a murder or by delaying a character’s death. Both “Ali Baba’s Alibi and the Mysterious Starfish” and “Hello, My Star” offer mysteries in which the murderer disappears in a locked room, and the victim uses a piece of fruit to leave a dying message. “Assassination” and “Lethal Fire” are both historical mysteries. The former is set during the 1948 Jeju-do (island) assassination, while the latter uses an act of arson in the year 558 in Hanseong, ancient Seoul, to set 52

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Romance with a Twist of Intrigue Modern Boy Lee Ji-min, Munhakdongne Publishing Corp. 2008, 237p, ISBN 978-89-546-0672-1 03810

Lee Ji-min’s Modern Boy, which has been made into a movie starring Kim Hye-su and Pak Hae-il, is set in the city of Gyeongseong (formerly Seoul) in the 1930s during the Japanese colonization of Korea. This era is remembered as the darkest and most unfortunate period in Korea’s history. This novel, however, is replete with an outrageous, raw imagination, rather than a dark and dreary atmosphere. In novels, films, and dramatic series, Gyeongseong has always been portrayed through serious, somber

images of Korea’s struggle for independence. In this novel, however, it becomes a place of amusement, full of conventional love affairs, which seem to have nothing to do with that dark collective memory. Lee Hae-myeong, the male protagonist of the novel, is depicted as a man with no inner life, let alone a sad past. A self-professed god of romance, he works for the government-general, courtesy of his father, but lives without the slightest sense of guilt about working for the occupying government. His only interest is in romance with Jo Nansil, who seduces the men of Gyeongseong with the air of a beauty without brains. Haemyeong says, “Getting one’s unfaithful lover back is more difficult than getting one’s country back.” Then one day, something happens to shatter Hae-myeong’s fantasy, who up until then was enjoying a sweet romance with Nansil. Nansil runs away, taking all of Hae-myeong’s belongings. His sole interest becomes focused on getting her back rather than bearing a grudge against her. He looks for her everywhere throughout Gyeongseong. But what he encounters in the process of locating his changed lover is not just “her traces.” Instead he encounters people of all different backgrounds in Gyeongseong. When he finally finds her, it is revealed that she is the head of an underground terrorist group seeking independence. An entirely different life now unfolds before Lee Hae-Myeong. What awaits him is not a sweet romance, but a dark, complicated view of the history we thought we knew. By Jung Yeo-ul

STEADY SELLERS

Conflicted Souls within a Divided Korea The Square Choi In-hoon, Moonji Publishing Co., Ltd., 2008 355p, ISBN 89-320-0848-5

After the first printing in 1961, this book has sold over ten-thousand copies each year, reaching up to sixty printings. When we talk about Korean history, one horrific event that can never be left out is the Korean War. And the

first thing that comes to mind when we think about that terrible war is Choi In-hoon’s work, The Square. The open square is not just a symbol of division but an ideological symbol that compresses the discussion of modern Korean history. The crux of The Square, which contrasts North and South Korea through the metaphor of open squares versus secret rooms, is that Korean history is not just a topic to be discussed but a compression of the universal conflicts of modern people. “Back when individuals’ secret rooms and open squares were permeable,” thought the protagonist Lee Myong-jun, “people were at ease. When kings and commoners had only open spaces without secret rooms, the world was at peace. But trouble began when the division opened up between secret rooms and open squares. When people can no longer find open squares to inquire into life, what will they do?" Lee is a university student studying

philosophy when he becomes a victim of history without regard for his own will. His father appears in North Korean messages broadcast towards the South, and as a result, Myong-jun is arrested and beaten. Because of his father’s political choices, he is driven to the left-wing of Korean society, and in the end, he decides to cross over into North Korea. South Korea, which was rapidly transformed into a capitalist society, comes to feel like a “giant secret room” that pushes people to indulge in personal desires. Lee Myong-jun, who went off in search of a giant community symbolized by the “open square,” is confronted by a reality in North Korea that is completely different from his expectations. To his eyes, North Korea is not an “open square” filled with the energy of a free community, but an oppressive society maintained by orders and obedience. Though he falls in love with Un-hye, he is dismayed when she leaves for Moscow, following the Party’s orders. Lee Myongjun dreams of finding the freedom that he couldn’t experience in the South, but he is unable to find fulfillment on the other side as well. At length, he joins in the war and experiences the clash between the “giant secret room” (South Korea) and the “giant open square” (North Korea). But even in the war, he is unable to find his new life purpose. In the end, he is captured as a prisoner of war and must make one final choice. Ordered to choose between North and South Korea, he declares woodenly that he chooses a “neutral state.” But the state he refers to is not one that can be found on a map, but the neutral state of his dreams that he can never reach (one in which individuals’ lives are not determined by ideology). It seems nowadays that the age of ideology so hated by Lee Myong-jun has come to an end in Korea. But because the “giant secret room” (hotbed of individualism) has gone unchecked, it is possible that it has nearly become a society that could be mistaken for a “giant open square.” In this light, Lee Myongjun’s tragic criticism of Korean society in the 1960s continues without end. By Jung Yeo-ul

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REVIEWS Nonfiction

Mirror, Mirror On the Wall Where’s the Most Scenic Spot of All? Fairy Tale Travels in Europe Lee Hyoungjun, Happy Dream Publishing Co., 2008, 351p ISBN 978-89-92109-31-4

Fairy tales bring people around the world to the same magical place of imagination. But what if those magical worlds really exist?

“Little Mermaid,” “Winnie the Pooh,” and “Peter Pan” are some of the most familiar fairy tales for children across the world. This book’s author is a photographer, albeit an unconventional one. His topic of interest has been travel and fairy tales, especially the European kind. He took pictures and wrote articles about European children’s stories, visiting what is called the home of fairy tales. What are these places? The answer is that these are the places featured by fairy tales and the places that inspired fairy tale writers. The author offers a glimpse into the scattered regions intertwined with fairy tales from Switzerland, Germany, the U.K., Italy, Spain, Belgium, France, Sweden, Finland, and Denmark. For instance, the author offers the location and background of Germany’s Hameln, the setting for “The Pied Piper of Hamelin,” before explaining the historical source that inspired the fairy tale. The city’s economy used to rely on flour mills, but the problem was that the city had to fight off countless rats. Villagers even made it a daily routine to catch the rats. Naturally, there were some professionals who got paid for killing rats; they also happened to play the flute or other musical instruments on the street. Against this historical and geographical backdrop, the story of the Pied Piper was born. The book introduces an outdoor performance of “The Pied Piper of

Hamelin,” which takes place in the Hameln Square at noon every Sunday between May and September. Other related events based on the legend are also described in detail. In addition, exhibition items at Leisthaus, also known as the Pied Piper Museum, are also described. Of course, Hameln’s famous restaurants are included in the chapter. Lastly, it covers other information including a map, must-see locations, lodgings, nearby tourist attractions, and historical background. Using the same format, the book introduces various fairy tale spots involving “Heidi, Girl of the Alps,” “The Animal Musicians of Bremen,” “ The Adventures of Baron Munchausen,” “Rapunzel,” “Peter Rabbit,” “Pinocchio,” “A Dog of Flanders,” “The Wonderful Adventures of Nils,” and “Pippi Longstocking.” Plenty of photographs taken by the author are displayed alongside the articles. At the end of the book, the writer suggests three different travel route options (8-day, 15-day and 30-day travel routes) with accompanying maps. This book is not a mere travel guide, however, nor is it just a collection of photographs about the fairy tale villages. The natural question is about the identity of the book. But readers need not worry about its identity because it has an irresistible appeal: its temptation is that which drives readers to set out on a journey to the land of imagination.

This book brings back the memories of fairy tales, a world that has been long forgotten by adults. Even though you may not go on a trip after reading this unique book, you will be able to nurture childhood fantasies and related memories. In a way, the book helps us rediscover the tender childhood dreams that are still alive in our hearts. By Pyo Jeonghun

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REVIEWS Nonfiction

Living Tradition Noreummachi: The Masters of Korean Performance Art Jin Ok-sub, Thinking Tree Publishing Co., 2008, 447p ISBN 978-89-8498-823-1 03600

This book is on the noreummachi of Korea who were legends in the fields of traditional music and dance.

The title of this book, “Noreummachi” is a pure Korean term. Noreum is the noun form of “nolda” – to play – and “machi” is a variation of “machida” – to finish. Literally translated, it means “finish playing.” Why finish playing? There is a performance made up of a series of acts. One performer comes out on the stage and begins to dance. The crowd goes wild. The next performer is reluctant to perform next because the previous act was a tough one to follow. An artist so brilliant no one wants to follow his or her act is called a noreummachi, a person who “finishes” the “playing.” This book is on the noreummachi of Korea who were legends in the fields of traditional music and dance. As a dance critic and a broadcasting producer, the author Jin Ok-sub produced, directed, and even wrote the brochures for these performances while introducing the traditional arts of Korea to audiences. This book could not have been written by anyone with any less experience. On pansori, the traditional Korean narrative song, the author says the following: “Pansori was cultivated over several generations, and bears the handprint of time. In the grooves of these handprints are the terribly lonely paths a person takes to master the art. A pupil spends his or her entire life learning the master’s art, but also adds a little of him or her self to the songs. Pansori thus is the culmination of precise, rigorous processes.” By Pyo Jeonghun

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REVIEWS Nonfiction

The Westerns Who Stayed Behind Westerners’ Life in Joseon 1882-1910 Robert Neff and Cheong Sunghwa, Prunyoksa 2008, 367p, ISBN 978-89-91510-83-8 03900

Korea to work for a railway construction project practiced shooting by setting a Korean head decoration as a target. When Western missionaries set up orphanages here, a malicious rumor circulated, which claimed that Westerners were selling Korean children as slaves or feeding them for cannibalistic purposes. In 1903, the U.S.-based Boston Sunday Post reported that Korea’s last ruling royal, Emperor Gojong, had married a Western woman named Emily Brown. There were accompanying photographs, but it was apparently untrue. Nonetheless, the Korean court was deluged with job-seeking applications from Americans. There are several books about Joseon written by Westerners who had stayed in the late 19th and early 20th centuries, but there has been no major publication vividly illustrating the life of Westerners who lived in Korea during that time. Given the dearth of such books, this one is a welcome addition. By Pyo Jeonghun

series began with Hooked on Stray Cats, and has built up to the 17th and latest volume, Hooked on Con-venience Stores. Hooked on Idea Items introduces slippers that light the way, a robot bag that follows its owner around, a glass bottle that tells the weather, a portable latrine attached to a car, and other objects that were discovered and adopted early by an enthusiast. Hooked on Toys goes through the treasury of one toy collector who has been expanding his collection for 30-odd years. Hooked on Floors is an architect’s entrancing study of foundations that support magnificent cities. In the series, professionals of each area discuss the beginnings of their fascination with objects, the uses of these objects, and things to beware of. Hooked on Tea Time offers readers engaging tea stories, and instructs readers on how to steep tea and store tea bags, while Hooked on Needles explains how wool felt and linen accessories are made using three-centimeter needles. The authors are all bloggers who invite readers into a world of their own subculture. By Kim Jinwoo

In 1882, Korea (then Joseon) signed documents that created diplomatic ties with the United States. But in 1910, Japan colonized Korea. This book offers a glimpse into the life of Westerners who stayed in Korea between 1882 and 1910, along with many photographs and related documents. It features a wide range of Westerners including diplomats from various countries, missionaries, educators, travelers, miners, and businesspeople. It is both intriguing and shocking to see the clashes between two different cultures. According to the book, it was the American diplomats who tried iceskating for the first time in Korea. In January 1886, a host of U.S. diplomats glided on a frozen pond in Seoul, with about 2,000 Koreans watching the peculiar activity. There was also a rumor that a Californian cowboy who came to

I’m Hooked, Therefore I Am Small Addiction Series Ko Kyoung-won et al., Woongjin Think Big Co., Ltd. 2008, ISBN 978-89-01-06560-6 04810 (set)

Alley cats, innovative yet practical objects, wine, Africa, kitchen, toys, city foundations, parties, afternoon tea, needles, pop-up books, owls, herbs, speed, and convenience stores... What do these seemingly unrelated things have in common? Each of these things can be the object of someone’s small fancy. A typical volume from the Small Fancy series contains the small pleasures one feels from various everyday objects in a palm-size book. The

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REVIEWS Culture

Seeing Nothing Kim Hong-hee’s Wandering in Mongolia Kim Hong-hee, Wisdomhouse Publishing Co., Ltd. 2008, 276p, ISBN 978-89-5913-330-7 03660

look like paintings. Notably, the book’s subtitle is “I Didn’t See Anything.” What is it he didn’t see? The mystery is explained in the following paragraph: “We take pictures of what we see, but we actually take pictures of what we do not see. And we revive the images on prints as if we had seen them in person. People believe that the photographs represent what the photographer has seen. But photography is essentially a wandering. I depart from me, and I also meet with myself. Photography is a way to rediscover myself. When I saw a milestone marker in the plains of Mongolia, I realized that I’m the only milestone in a place where there is neither a man nor a road.” By Pyo Jeonghun

contains kimchi’s history, culture, customs, and science. The human tongue can taste salt, sweet, bitter, sour, and spicy. According to this book, however, Koreans can feel another taste – the taste of an optimally fermented kimchi. This is hard to describe for non-Koreans. A number of Koreans find it difficult to live in a foreign country largely because of their lifestyle closely associated with kimchi. What’s interesting is the addition of fermented shrimp into kimchi. Even a thousand years ago, a Silla Dynasty king sent fermented shrimps to his bride as a gift, showing the importance of the ingredient for making kimchi. Another interesting fact about kimchi involves oysters. Korean women who make a living by collecting oysters used to hide the healthy seafood under their skirts. Their shy behavior came from the widely circulated rumor that oysters are a natural aphrodisiac for men. This book covers kimchi in a way that introduces Korea’s customs, legends, history, and culture. Its creative description about the kimchi-making process as compared to the aging process from infancy to adulthood, is also highly entertaining. By Pyo Jeonghun

When Kim Hong-hee was studying photojournalism at Tokyo Visual Arts in Japan, he had a rare chance to hold solo exhibitions at the Nikon Salon and Olympus Hall. Since then, Kim has gained wide recognition as a leading photographer. In 2008, Nikon included Kim in its list of the world’s top 20 photographers. Kim is not only a world-renowned photographer but also a fine w r i t e r. He p u r s u e s t h e h a r m o n y between image and text with a camera and a pen, a combination of tools that best describes his style. He is, therefore, not so much a photographer as a photo essayist. This book fully illustrates Kim’s capabilities. In 2003, Kim went on a 20-day trip to Mongolia. He pulled off another trip that lasted for a month in 2005. Set in an expansive prairie, Kim’s pictures capture the varied life of Mongolians. The color of cobalt graces his refined photographs, some of which 58

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Tasty Tales of Kimchi Kimchi Odyssey Kim Man-jo and Lee Kyou-tae, Design House, 2008 383p, ISBN 978-89-7041-987-9

Kimchi is a famous Korean dish made of various vegetables, such as cabbage or radish. This famous food has a long history tracing back 3,000 years. In the earlier period, kimchi was made up of simple vegetables and fermented with salt. Koreans eat this vegetable-oriented dish almost every day, taking kimchi’s trademark spiciness as the taste of the homeland. Kimchi, however, is no longer a special dish for Koreans only. It is getting rave reviews from both food critics and ordinary people around the world. Against this backdrop, this book

KLTI Grants for Prospective Publishers 2009 KLTI Overseas Marketing Grants

2009 KLTI Overseas Publication Grants

Areas of Funding Publication marketing events and advertisements

Applicant Qualifications Any publisher who has signed a contract for the publishing rights of a Korean book.

Applicant Qualifications Publishers who have published Korean books in translation and are planning to hold promotional events Grant Amount - Roundtrip airfare and accommodation expenses for the author, expenses for events and advertisements, etc. - The amount will be determined by KLTI after due consideration of the marketing plan and scale. * Grant will be provided directly to the author or to the overseas publisher in two payments, before and after an event. How to Apply Register as a member on the website (www.koreanbooks. or.kr) and complete the on-line application form. Application Documents All documents should be scanned and uploaded on the application page of the website. 1. Introduction of the publisher, along with its history and past publications, including any previous books related to Korea 2. A copy of the contract between the publisher and the translators 3. A copy of the contract between the publisher and the copyright holders 4. The translatorâ&#x20AC;&#x2122;s resume Other information to Include 1. Detailed event plan 2. Publication cost 3. Total cost of event (marketing or promotion) 4. Requested grant amount Application Schedule Submission period: any time throughout the year Grant notification: April, July, October, and January Contact Name: Park Mill Email: grants@klti.or.kr

Grant Amount - Part of the total publication expenses - The amount varies depending on the publication cost and the genre of the book. - The grant will be awarded after publication. How to Apply Register as a member on the website (www.koreanbooks. or.kr) and complete the on-line application form. Application Documents All documents should be scanned and uploaded on the application page of the website. 1. Introduction of the publisher, along with its history and past publications, including any previous books related to Korea 2. Publication plan including the dates and budget for translation and publication in detail 3. A copy of the contract between the publisher and the translator 4. A copy of the contract between the publisher and the copyright holders 5. The translator's resume Application Schedule Submission period: any time throughout the year Grant notification: April, July, October, and January Contact Name: Park Mill Email: grants@klti.or.kr

REVIEWS Psychology

Stories of Talk Therapy Live Broadcasting Psychology Radio Kwon Munsu, Munhakdongne Publishing Corp., 2008, 319p ISBN 978-89-546-0704-9 03180

Funnier than a novel and warmer than an essay: this book goes beyond the idea of healing mental illness to one of intense psychological compassion.

Based on the dramatizations of a Washington based Korean psychotherapistâ&#x20AC;&#x2122;s sessions with his patients, this book stands out for it's thorough field-centered discussions. Talks with patients in the therapy room are arranged like the chapters of a novel, depicting the internal process of recovery and the search for ways to heal while listening to the patientsâ&#x20AC;&#x2122; life stories. The therapist uses these talks as material to freely comment on aspects of psychological theory that don't align with reality. The book also addresses the topics of universal emotions and common life conflicts that are experienced by all people, regardless of cultural differences. The detailed descriptions of patients' lives enable readers to recognize themselves in each story. Finally, the therapist-author does not fail to include his own personal story. Indeed, the theme of this book goes beyond the idea of healing mental illness to one of intense psychological compassion. Part 1, "Questions about Love," contains the love stories of people undergoing therapy. Josh is in love with Helen, a schizophrenic patient, and Helen is in love with Timothy. The subject is love's amazing power to heal. The chapter reveals how love can blossom and grow amidst the complicated emotions of these three young people,

acquiring the strength to overcome the shackles of illness. Then there are the stories of Tony, who suffers from borderline personality disorder and gender identity disorder, and Tom, who has a drug addiction, impulse control disorder, and borderline personality disorder. Tom is an egotist who blames everything on other people. Because of this, he continuously dates and dumps large numbers of women, while ultimately wasting away. The therapist is working on healing Tom through psychotherapy, going all the way back to his childhood in the process. Part 2, "The Unlimited Splitting of the Mind," addresses schizophrenia. "Genius from Leningrad" is the story of a female scientistâ&#x20AC;&#x2122;s son who was exiled to the U.S. after the collapse of the Soviet Union. Richard excelled in his studies, but he had begun to show signs of schizophrenia amidst the intense orderliness of Leningrad. After moving to the U.S., his symptoms became more severe following a traffic accident and being mugged in broad daylight. "All the World's Devils" is the story of Adrienne, who hallucinates that the world is swarming with demons ready to attack her. She imagines that she is Homer Simpson, a character from a popular cartoon. "The Former Broadcaster's Fourth Man" is the story of

Elizabeth, a beautiful former television announcer suffering from schizophrenia due to problems with men. Her condition worsened with each new failure at love. She found out that a man she had been dating was gay, and witnessed her boss, with whom she had once lived in a common law marriage, being murdered by his wife. She met Ryan and married him, but he turned out to be living with another woman named Nancy. She couldn't stand sharing him with Nancy, but because it was what he wanted, the three of them began living together in this strange arrangement. From that point on, she began her sessions with the therapist. In Part 3, "The Heart's Flame Flickering Out," four chapters are devoted to Dennis, a teenager suffering from identity disorder and anxiety disorder. His story focuses on the psychological problems experienced by children who are raised in the unique institution of the American foster care system. By Kang Seongmin

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REVIEWS Science

By Thinkers Talk Big Darwinâ&#x20AC;&#x2122;s Table Jang Dayk, Gimm-Young Publishers, Inc., 2008, 316p ISBN 978-89-349-3266-6 03470

A memorial service for William D. Hamilton was held at the Chapel of New College, Oxford on May 20, 2002. Richard Dawkins, Stephen Jay Gould, Edward Wilson, and other evolutionary theorists gathered together to honor Hamilton. They came up with a novel

proposal on the spot: since they happened to be together, they would hold a make-or-break forum about evolution. They agreed to eat dinner together at 5 p.m. from Monday through Friday and join a two-hour discussion on key issues surrounding evolution until 7 p.m. This

book is a collection of the discussions that developed between these authorities on evolutionary theory. (Take note: this forum is entirely fictional and the author assumes the role of a clerk writing down what was discussed in detail.) One of the contentious issues is the conflict between adaptationism and anti-adaptationism. Adaptation theorist Richard Dawkins, argues that biological diversity is a result of natural selection; anti-adaptationism, spearheaded by Stephen Jay Gould, argues that evolutionary theory over-emphasizes the effect of natural selection. In addition, other key issues including cooperative evolution, the speed and type of evolutionary processes, and religion from an evolutionary perspective are presented. The topic for the first day of the fictional forum is adaptation. Gould claims that adaptation theory is as misguided as the notion that the nose has adapted itself to bolster up a pair of glasses. On the other hand, the Dawkins-led team argues that it is illogical to presume the emergence of language as a by-product rather than adaptation, adding that if an alien scientist applied the same anti-adaptationist rule, human language would diminish into one similar to the chirping of birds. The two sides are also at loggerheads over the issue of religion. Dawkins points out that religion is a redundant mental virus. In contrast, Gould claims that religion and science do not overlap. The only agreement between the two camps is their criticism of creationism. This book delivers a concise and understandable roadmap of modern evolutionary biology. Readers in their teens will be able to grasp key ideas, thanks to the simple writing style. Moreover, the authorâ&#x20AC;&#x2122;s writing framework about the fictional forum is clever and effective. As if broadcasting a conference in real time, the book describes key theories in a lively manner. The author, who earned a doctorate degree in the field of science history and science philosophy, is widely regarded as an authority who can explain evolutionary theory better than other experts. By Pyo Jeonghun

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STEADY SELLERS

Cultural Comic Books Delight All Audiences Faraway Nations and Neighboring Nations in the 21st Century Lee Won-bok, Gimm-Young Publishers, Inc., 2005 ISBN 978-89-349-2949-9

Faraway Nations and Neighboring Nations is a series of widely read cultural comic books in Korea. It has established itself as a steady seller since its publication in 1987, with over ten million copies sold, one for every household. Based on extensive research, the books introduce the history and culture of the world in an easy-to-understand, detailed manner. The works dispel negative preconceptions about comic books by proudly standing as cultural comic books for youth and adults alike. The series was first published in 1987 with six volumes on six European nations: Germany, France, Switzerland,

the U.K., the Netherlands, and Italy. Revised editions were published by Gimm-Young Publishers in 1998 under the title, The New Faraway Nations and Neighboring Nations. In 2000, two volumes on Japan (Volume 1 on the people of Japan, and Volume 2 on the history of Japan) were additionally published, and in 2002, one on Korea was published as well. With further publications in 2004 of two volumes on the United States, Volume 1 on the people of the U.S., and Volume 2 on the history of the U.S., and subsequently in 2005, Volume 3 on the presidents of the U.S., the series was completed with a total of

12 volumes. The volumes about the six European nations were first serialized in a newspaper for youth in 1981, which ultimately means that it took no less than 25 years for completion. In addition, based on the author’s philosophy that history is always rewritten, revisions to the books were made every five years to reflect changes in international surroundings. The series attracts readers with broad, in-depth information and commentary, an abundance of reading material, and an overflowing sense of humor that can be found between the lines. In particular, cultural information that can come across as a bit dry is skillfully presented in delightful ways, including using a comic style of drawing and a witty development of stories. The author himself, wearing a beret, appears as an engaging character in all the volumes of the series, introducing the history, culture, and people of each country. The author writes about key factors that contribute to a correct understanding of each nation, along with vivid presentations of its history and culture including how the Netherlands became the world’s greatest dairy farming nation; the latent power of Germany in bringing about the "miracle on the Rhine;" the process through which the United States came to have the most capital in the world, as well as the conflict between different races and classes within each country. The huge success of the series has been made possible through the author’s travels in Europe over a period of ten years, which gave him an acute sense of realities, and profound knowledge of history. The author, who began to draw cartoons in 1962 as a high school student, studied architecture at Seoul National University, after which he studied design and the Western art history in Germany. He is currently teaching visual design at a university. In an age of globalization, his books have been appraised as cultural textbooks that have opened up the eyes of readers to the living history and culture of the world. They have been published in various other countries as well, including Japan, China, Taiwan, and Thailand. By Kim Jinwoo

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REVIEWS Graphic Novels

Mystery Thriller with a Gripping Plot Ran's Formula Yang Yeong-sun, Joongang Books, 2008, 312p ISBN 978-89-6188-581-2 (set)

All people have their own ways of happiness and the paths of their routines.

Mr. Kim always uses the same tea bag several times. The tenth grade supervising teacher always waters the plants on the shelf hanging outside the window. The art teacher is always 15 minutes late for class. Ryu, a delinquent in disguise, always smokes a single cigarette in the bathroom before taking exams. These actions are not related to each other, but if someone were to examine each and every move very closely and change just one small part, the paths of these four people would cross, causing an accident. That is exactly what happens when Ryu suffers an injury to his head. Like the butterfly effect, the idea that a butterfly flapping on one side of the ocean can create a typhoon on the other side, Ran’s Formula is based on the idea that an object moved just an inch out of the way can cause a great accident, potentially killing someone. To the untrained eye, this appears to be a simple accident, but in truth, this is a carefully crafted plan, and the architect of the plan is always inconspicuously missing from the scene. This is precisely Ran’s formula. Driven by a fast-paced chain of events, Ran's Formula unfolds as Ran’s

meticulously planned small-scale revenge becomes part of a much larger, more vicious revenge plot. The author, Yang Yeong-sun, has won critical as well as popular acclaim with Noodle Nude, A sekkiga, and Arabian Nights, books informed by a surprising imagination and quirky wit, have won the hearts of many readers. Currently in his late thirties, Yang made his debut with Noodle Nude, a telling, imaginative piece on men's sexual fantasies, which sold 500,000 copies. Ran's Formula, originally a web cartoon, logged one million views per episode and received a thousand comments for its unique artistic style and tightly-woven plot. Ran, the protagonist of the story, is a scholarship student at a prestigious, upscale private high school. His rare illness and less fortunate family background isolate him from his classmates and confine him to a life that revolves around computers. He carefully observes other people’s habits and routines, and makes a hobby of recording them. One day, Ran happens to see his classmate, Ryu, forcing Jinny, the girl Ran has a crush on, to kiss him. The furious Ran starts to plan revenge based on data

he has collected. However, somebody interferes with Ran’s plan, and Ryu ends up being electrocuted. Ran discovers that he is being used as a pawn by someone in a greater plot for revenge. As Ran discovers new architects and tries to bring a stop to the larger plot for revenge, the tension remains taut through most of the story. Readers will be lured into Ran’s world as they follow his web of thoughts. The author throws twist after twist at the readers, and leaves the real architect of the crime hidden until the very end. The relationships between characters are revealed bit by bit to add to the fun. This book is one of the few Korean graphic novels hailed as a meticulously planned mystery thriller. By Kim Jinwoo

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REVIEWS Nonfiction

The Beauty of Korea’s Traditional Walls Flower Wall Lee Jong-geun, Thinking Tree Publishing Co., 2008 303p, ISBN 978-89-8498-856-9 03810

A wall is used to divide or enclose an area. But there is a peculiar type of wall that defies this traditional definition. In South Korea, kkotdam, or flower walls, are not designed to divide and enclose. In the past, Koreans used to paint auspicious characters or images on walls. These beautiful walls served not only as decorative motifs for the house but also as spaces for communicating with the outside world. The height of the walls were usually set low so that residents could easily look outside from a sitting position inside a traditional Korean house. The flower walls, in other words, are open to outsiders. Unfortunately, the country’s time-honored flower walls are steadily disappearing because they are hard to preserve and the government refuses to designate them as official cultural assets. Flower Wall is a culmination of a journalist’s vigorous research that covers major sites across the country, from palaces and temples to traditional houses. It is a project that took about ten years to complete. The book introduces 32 flower walls ranging from the Amisan (mountain) chimneys inside Gyeongbokgung (palace) to a plain yet graceful wall of rocks at Hangae-maeul (village) in Seongju, Gyeongsangbuk-do (province). Flower walls are made up of dirt, rocks, bricks and tiles – nothing special. What’s special, though, is that the flower walls contain images of various auspicious characters, patterns, and images that include phoenixes, bats, bamboo, and the plant of eternal youth. In the book, the author unveils symbolism embedded in the decorations 66

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and patterns painted on the flower walls. In Yeoju, Gyeonggi-do, Haepyeong Yun family’s wall has engraved characters symbolizing wealth and nobility. Lee interprets the wall’s message as a call for a frugal life instead of an aimless pursuit of wealth. Lee also interprets a semicircle pattern in the wall of Hahoe-maeul in Andong as inspiration for filling up the remaining space and the importance of leaving things out on purpose. The author explains that this half-empty philosophy is highly positive and forward-looking because it represents the idea that today’s loss is tomorrow’s profit. A sense of irony is also reflected in the traditional flower walls. For instance, Nakseonje building located in Changdeokgung (palace) was reserved for royal funerals.

No decoration was used for Nakseonje in order to express the deepest sadness for the death of a king, but there stands a colorful flower wall nearby the structure, offering a heightened sense of contrast. The author observes that traditional flower walls represent a Korean aesthetic that is typified by simplicity, gracefulness, and artlessness. The beauty of flower walls also tells volumes about the traditional Korean mindset that stresses harmony with nature. Thanks to Lee Jong-geun’s refined writing style and professional photographer Yu Yeonjoon’s vivid pictures, the result is a colorful book that allows the reader to take a relaxed look at the beautiful walls with neither boundaries nor barriers. By Kim Jinwoo

REVIEWS Nonfiction

Decoding the Consumer Code in the Digital Era The Foresights of Digital Oddities to Consumer Trends Whang Sangmin, Miraebook Publishing Co., 2008 292p, ISBN 978-89-5989-098-9 03320

with the majority, which is an important factor that helps predict the popularity of an item or image. The author divides consumers into six types. The “digital conservative” uses digital items or services to find information on things one wants, but isn’t quick to make the purchase. The “digital modernist” is the assiduous type who searches the Internet as soon as he finds something that sparks his interest. The “digital chic” goes for a leisurely and trendy consumer life whereas the “digital renaissance” wants to make a profit and have fun at the same time. The founder of YouTube is a prime example of a “prosumer,” who both produces and consumes. The “digital ludens” worship a certain item while the “digital boomer” follows the majority’s inclinations, going from one popular item to the next. The author closely examines these consumer types to speculate on which of these will become the trendsetters of future consumerism. By Kim Jinwoo

The Spiritual Journey of Religion Reporters Who are the trendsetters of consumerism in the digital era, and how do they create mainstream consumer culture? This book analyzes emerging social phenomena by studying the consumer trends in the digital era. The ones who set trends in the digital era are not those of the mainstream culture, but those of fringe culture. The author, who holds a degree in psychology, refers to these people as “digital oddities” who buy for fun or purchase images and experiences. A major characteristic of consumer trends in the digital era is the rapid dissemination of what starts out as a small subculture or fringe culture. When fringe culture becomes wildly popular, it becomes mainstream. Such phenomenon is attributed to a group mentality that leads people to go

specializing in religion who traveled twice to the Seon Buddhist temples in China between 2007 and 2008. The journalists visited 20 temples altogether, chose one temple each, and wrote about it. The authors collectively trace the history and teachings of Seon Buddhism from the period during which Saint Dharma and Huineng had a great influence on Kanhua Seon, a form of Buddhism that bloomed during the time of Dahui Zonggao and Gaofeng Yuanmiao in the 12th century. After their pilgrimage around 20 temples of Seon Buddhism, including the Shaolin Temple where the Saint Dharma meditated and the Gaofeng Yuanmiao of Mt. Tianmu, the authors depict the influences and imagery of Seon Buddhism in China. More than just a travelogue, this book is the record of a spiritual journey. The Seon Buddhist temple pilgrimage is a journey to find oneself. The authors confess that the long journey they took to find the root of Seon brought them back where they began in order to confront themselves. The life and influences of Seon Buddhism that unravel in this book attest to the unrelenting fight that helped keep the faith alive, and the gravity of history that quietly continued to flow for over a thousand years. Seon teaches us to find happiness in wealth and fame inside ourselves. The authors noted, "Seon is the discovery of a happy world regardless of external circumstances." By Kim Jinwoo

Bring Me That Humanity Kim Seok-jong et al., Jogye Order Publishing, 2008 239p, ISBN 978-89-86821-97-0 03800

Seon (Zen) is one of the revelations of Gautama Buddha from about 2,500 years ago, which was introduced to China by the twenty-eighth Saint Dharma. The Saint Dharma meditated facing a wall for nine years at the Shaolin Temple in Chong Mountain, and his successors passed on the lights of truth from one person to another. The Seon Buddhism of Korea is the descendent of the teachings of Priest Huineng. The book is a collection of travelogues by various newspaper journalists

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REVIEWS Graphic Novels on how they turned their intense desire for worldly things into creative energy. I wanted to draw a realistic depiction of an artist who isn’t a revolutionary or a master but someone whose entire life is about painting. I wanted to be a part of that spirit.” The organization of the book is also innovative. For example, Monet and Manet appear in each others’ stories and influence one another. All future volumes of this series will feature two artists. Kang’s unique style, depth of knowledge about art history, and the imaginative biographies come together to create an admirable book. By Pyo Jeonghun

An Illustrated The Avarice Life of the Artist and Envy of The Painter 1: Manet and Monet Kang Morim, Dolpoong, 2008, 222p ISBN 978-89-958349-6-1

Man

A Strange Apartment Building

Cartoonist Kang Morim is well-known for her unique style of simple, clean illustrations and down-to-earth stories. This book is the first of the painter series Kang has been working on for four years, and it tells the stories of Edouard Manet, the father of contemporary art, and Claude Monet, the spearhead of Impressionism. Commentary on the artists’ works is followed by their biographies. What sets this book apart from other graphic novels on artists and art is the focus on the artist’s life and his inner world. Kang creates an imaginative biography of the artist’s everyday life and his relationship with others, conjuring up stories whose dramatic structures are similar to that of TV show episodes. Kang planned for this structure since the very beginning four years ago when she started to conceptualize the project. “Manet was far from a disciplined, strong person,” says Kang. “And Monet was morally bankrupt. I wanted to focus 68

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O Yeong-jin, Changbi Publishers, Inc., 2008, 246p ISBN 978-89-364-7155-2 07810

Colon doctor Kim Palbong buys an old apartment building in Gold Village after losing a fortune in the stock market. He plans to live off the rent until the area is redeveloped and he can sell the building and make a profit that will turn his life around. From the onset, things don't go well. He doesn't like his delinquent tenants – an old lady who lives in the basement with her dog, a nightclub singer who lives with her high school daughter, a househusband whose hobby is cooking, and the fellow on the top floor who is studying for the civil service exam. All are poor and never do as Kim says. He is able to keep them under control with the threat of kicking them out until Gold Village is finally designated as a

redevelopment area. The only thing is that by some cruel fate, his apartment building happens to be right next to the breeding grounds of the golden pigeon, an endangered species; therefore, Kim cooks up a plot to get rid of the pigeons. Through lively illustrations and witty lines, the book satirizes the real estate exploits of people living on the outskirts of Seoul and the episodes that arise from their greed. A Strange Apartment Building is an allegory of contemporary Korean society where one has to be cunning in order to claim a space for oneself. The book shows us just how one's actions are often guided by material temptations and how easily one makes amoral decisions, shedding light on the difficulty of being an honest person living in our society. This book is the latest work from O Yeong-jin, the cartoonist famous for Guest from the South and Pyeongyang Project, a comic book about the average citizen in North Korea. O is also the 2008 recipient of Prix Asie-ACBD, the French Association of Critics and Journalists of Comics. By Kim Jinwoo

STEADY SELLERS

Lovely and Respectful “Puppy Poo” Puppy Poo Kwon Jeong-saeng; Illustrator: Jeong Seung-gak Gilbut Children Publishing Co., Ltd., 1996, 34p ISBN 978-89-86621-13-6

“God does not make useless things. You will be important to someone.”

Is anything regarded as humble as poo? What if it is not human poo, but a puppy’s, lying on the street? The main character of the picture book Puppy Poo is one of the most loved and admired characters in Korea, not only by children but also by adults. Puppy Poo, who was

once ignored by a sparrow and a chick, cried, disappointed by who he was. His friend, Earth Clod, comforted him saying, “God does not make useless things. You will be important to someone.” In keeping with these words, Puppy Poo became compost for dandelions, which helped beautiful flowers bloom on a rainy spring day. This picture book was based on Puppy Poo, a short children’s story written by Kwon Jeong-saeng. Puppy Poo was the young author’s alter ego. Kwon suffered throughout his twenties from a severe illness, poverty, and solitude. Sometimes, as a beggar, he felt as lowly as poo. As a Christian, he prayed constantly, asking God if the world needed him. The book Puppy Poo is a desperate but beautiful answer to his prayers. Fresh puppy poo, small and soft, reminds us of adorable babies rather than of things that are unclean. Under the main theme, that the poo sacrificed its body to help beautiful flowers bloom, however, lies the harsh agony of the young author. Just as the poo was reborn, so was the author. Kwon Jeong-saeng, who died at the age of 70 in 2007, wrote many masterpieces and became the most beloved star in the history of Korean children’s literature. He lived humbly, choosing to live his entire life alone in a small countryside hut. When he passed away, the entire country remembered Puppy Poo and shed tears. This picture book played a major role in spreading knowledge of the original children’s story Puppy Poo nationwide. The illustrator, Jeong Seung-gak from the 1980s and 1990s popular arts movement generation, is dedicated to finding the common person’s aesthetics by painting frescoes with local people. This is the reason why, rather than using bright, pretty colors, his version of Puppy Poo utilizes a darker color palette with an older feel. Korean readers must have been touched by his version, for the picture book has sold steadily over the years. He has since illustrated picture books based on Kwon Jeong-saeng’s other children’s books such as Badger's Garden and The Kind Yellow Bull. By Park Suk-kyoung

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REVIEWS Children’s Books

A Childlike Adult Meets a Mature Child The Wildflower Kid Lim Gil-taek; Illustrator: Kim Dong-sung Gilbut Children Publishing Co., Ltd., 2008, 49p ISBN 978-89-5582-082-9 77810

A student brings in flowers everyday and puts them on her teacher’s desk. In appreciation for her thoughtful gifts, the teacher buys a flower book and tries to learn all the flowers’ names.

As everyone knows, at school, teachers teach the students. They study hard at university, pass qualifying tests, get jobs at schools, and pass down their knowledge to their students; that is who teachers are and what they do in today’s modern society. Some wise teachers, however, will smile and shake their heads at such a definition. They will say that teachers are the ones who learn from their students, rather than the other way around. The Wildflower Kid, based on Lim Gil-taek’s short story, was rewritten for children as a picture book with Kim Dong-sung’s illustrations. Starting in his twenties until he passed away at the age of 46 in 1997, Lim Gil-taek wrote stories and poems about the children he met as a teacher in rural mining and mountain villages. His stories are famous for their honesty and true-to-life emotions, as if a child himself had written them. The Wildflower Kid, one of his most well-known works, is about a girl he met during his first year as a teacher. Mr. Kim, born and raised in the city, is sent to teach sixth graders at a small countryside elementary school. One of his students, Bosun, brings in flowers everyday and puts them on his desk. Though she is not one of the best students, she was honest and sincere. In appreciation for her thoughtful gifts, Mr. Kim buys a flower book and tries to

learn all the flowers’ names: orangutan pleated skirt, dog’s-tooth violet, Solomon’s seal, lily of the valley, and so forth. Once, after he learns that the flower she brought that day was called dog’s balls (moccasin flower), his students and he burst into laughter. One day, Bosun leaves school without permission to buy batteries for her flashlight and is late for class. The teacher scolds her. Later, he learns that she lives so far from school that she needs a flashlight to walk in the dark on her way home. He decides to visit Bosun’s family. As the sun sets, he feels scared for a brief moment in the pitch-black forest. He soon realizes Bosun’s courage in commuting along this path everyday; he also thinks about how nice it must be for her to grow up surrounded by nature. Though Mr. Kim is an adult, he has an innocence about him; though Bosun is still a child, there is a maturity about her. In this sense, it would be ideal for children and grown-ups to meet eye-to-eye and respect and learn from each other. While contemporary readers are touched by the story, the original late1970s setting makes it difficult to imagine the flowers, grass, and forest. Thanks to the illustrations, readers only familiar with exotic flowers available in flower shops will be captivated by the flowers, grassy Korean fields, and mountains

after reading just a few pages of this book. When Teacher Kim takes a walk along the mountain path, the greenery is so beautiful that the readers will be struck with wonder. It is touching to see the innocent, heartfelt way the young teacher and his students see each other. In Korea, there are many excellent picture books that have been rewritten based on famous children’s stories; this picture book is one such example. By Park Suk-kyoung

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REVIEWS Children’s Books

The Sad, Difficult Life of a Nerd I Need a Friend Park Jeong-ae; Illustrator: Kim Jinwha, Woongjin Think Big, 2008, 99p ISBN 978-89-01-08236-3 73810

It is said that the most important thing in your life is your friends. Friends help you get to know yourself by helping you understand your good and bad traits. Through your friends, you can find acceptance. Our heroine Eunae wants to have friends but she is severely isolated from her peer group. In fact, there are 72

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always some children who are not welcomed by their friends in any group. We call them outcasts. They can become outcasts if they are different from others, even for petty things such as the way they talk or certain habits they have. Eunae is an outcast. Eunae’s mother is an environmental activist who insists

on using small amounts of detergent. She does not care if Eunae’s clothes are dirty. Eunae is always mad at her mother because she brings her only used clothes from a secondhand store. As a result, Eunae’s classmates avoid her because they say she stinks and that she must have lice in her hair because she does not use shampoo very often. One day, Eunae goes to school in clothes that were given to a secondhand store by one of her classmates. The classmate ends up making fun of Eunae in front of everyone. Fortunately, Eunae has two guardian angels. One is Haeun, who went through a similar situation. Haeun’s background could have caused her to have become a target of teasing. The other is Eunae’s aunt. She was an outcast when she was young. After she hears Eunae’s story, she gives her advice on how to make friends. The first secret is confidence in oneself. Eunae understands her aunt’s advice and really tries to boost her confidence. She gives her favorite things to her friends, she compliments them, and she takes the first step to make friends with those she wants to befriend. Eunae’s mother helps her classmates understand Eunae’s behavior and recognize the importance of environmental issues by volunteering to give Eunae’s class lectures on the environment. Eunae’s friends feel ashamed that they had tried to push away a very unique person. Everyone needs friends. However, not everyone knows what it takes to be a good friend. This book gives advice to young readers who wish to make friends and also to those who wish to become a better friend. By Kim Ji-eun

REVIEWS Children’s Books

The Truth that Speaks Lies The Lies of a Bushy Baby Fox Kim Namoo; Illustrator: Yun Bongsun Sakyejul Publishing Ltd., 2008, 140p ISBN 978-89-5828-288-4 73810

an abundance of treasures. He lies to his friend, whose father has passed away, and tells him that he will be able to see his father again. In fact, Bushy the baby fox is from a very poor family. His grandmother cannot afford to buy food for their next meal, so she has to sell off her last tail to raise her grandson. Bushy finally realizes true friendship by telling his friends the truth. His friends forgive and accept him as their friend because they understand that his lies were actually his own way of expressing friendship. This story may help children who find it difficult to stop lying. Through this humorous story, they will also realize the importance of telling the truth. By Kim Ji-eun

Children’s lies sometimes signal how they feel. If they are bored or lonely, they may lie and say that they have a stomachache. To get attention, they may lie and say they have things when they don’t. This book is about a bushy baby fox who lies a lot. For him, lying is just a means of getting along with people. A Korean legend says that a fox receives a tail each time he lives for a hundred years, and when he becomes ten-hundred-years-old, the fox becomes a fox with nine tails. That means the fox is full of guile and an expert in deception. However, the baby fox in this book is a clumsy liar with only one tail. His parade of lies begins when his grandmother sends him to an elementary school for human children. Because he wants to make more friends, he brags about himself as if he were a great fox. He says he lives in a huge cave and has

Telling Stories through Abstract Images

Such images resemble "The Seafarer" (1923) by Paul Klee, who was torn between music and art. This also brings to mind the view from beneath the eaves of a Korean temple. The ringing of a small bell is a rhythm created by the swaying body of a bronze fish, which is transformed into a sound carried by the wind. Accordingly, we can glimpse Asian and Buddhist-influenced emotions that underlay the author's vision. But in the final scene, the colors of the sound that rise high into the sky are black and white like piano keys. This is a clue to the author's second vision, which is the absolution expressed earlier in Kazimir Severinovich Malevich's "Suprematism" (1916). Author Shin Dongjun, who won honorable mention in the Bologna Ragazzi Awards for his 2004 The Subway is Coming, is one of the few authors who can turn the Asian spirit into abstract images. The proof is his pursuit of absolution through a series of linked works, expressed in picture books as a work of art. As a writer who can draw sound from the pages of a picture book, he is worthy of attention as a spatial artist who is capable of expanding the scope of picture books into a threedimensional space. By Kim Young-wook

The Fish, the Wind, and the Piano Shin Dongjun, Chobang Editions, 2008, 30p ISBN 978-89-90614-24-7

This picture book begins with a large fish that lives deep in the ocean. The image – collages of magazine clippings – describes how morning turns to night and summer turns to winter. Rain falls on the rolling waves, and from within a fragment of wind carried in a bird's mouth comes the sound of a piano. The crashing waves echo the piano music and move with the wind. With each shift, the large images in each scene transform dynamically from parabola to spiral to diagonal.

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MEET THE PUBLISHERS

Munhakdongne staff

Munhakdongne

A literary fiction publisher that now heads nearly a dozen subsidiary companies While discovering new writers, introducing foreign writers into Korea, and exporting Korean literature abroad, Munhakdongne Publishing Corp., which started out as a publisher of literary works, has expanded into various fields, including humanities, culture, comics, childrenâ&#x20AC;&#x2122;s books, financial management, and art, giving life to subsidiary companies in charge of each field. In a short period of time, it has established itself as an influential publishing group.

1 The Queen of Red Bricks Cheon Myeong-kwan, 2004, 447p ISBN 978-89-8281-927-8 2 Life is Tough to be a Grown Man Park Hyun-wook, 2001, 206p ISBN 978-89-8281-395-5 3 The Legends of Earth Heroes Park Min-gyu, 2003, 187p ISBN 978-89-8281-679-6 4 Cabinet Kim Un-su, 2006, 391p ISBN 978-89-546-0259-4 1

Munhakdongne took its first ambitious step in December 1993 with the publication of Munhakdongne, a literary quarterly. The literary landscape of the time, divided between two publishers, Creation and Criticism (Changbi Publishers, Inc.) and Literature and Society (Moonji Publishing Co., Ltd.), underwent a vast change with the emergence of Munhakdongne. More than anything, the effort made by Munhakdongne to discover new talent drew the attention of countless readers. Based on its success in the publication of literary works, the publisher expanded into various fields, including humanities, culture, comics, childrenâ&#x20AC;&#x2122;s books, financial management, and art. Munhakdongne is passionate about finding new writers. From the early days of its founding, it has given generous support to young writers by awarding them with the Munhakdongne Novel Award, Munhakdongne Writer Award, and Munhakdongne New Writer Award. A Gift of the Bird by Eun Hee-kyung, Nowhere Man by Jeon Gyeonglin, The Queen of Red Bricks by Cheon Myeongkwan, and Cabinet by Kim Un-su are works that became steady sellers

5 A Gift from a Bird Eun Hee-kyung, 1996, 396p ISBN 978-89-8571-276-7 6 Nowhere Man Jeon Gyeonglin, 1997, 318p ISBN 978-89-8281-038-1

7 Time for Baking Bread Jo Kyung-ran, 1996, 204p ISBN 978-89-8281-001-5 8 I Have the Right to Destroy Myself Kim Young-ha (German, Dutch and English Edition) 9 An Isolated Room Shin Kyong-suk (French, Japanese and Chinese Edition)

through the Munhakdongne Novel Award. Furth-ermore, countless writers who made their debut through Munhakdongne have become literary stars guiding the Korean literary world. They are showered with endless affection by readers. I Have the Right to Destroy Myself by Kim Young-ha, Time for Baking Bread by Jo Kyung-ran, Life is Tough to be a Grown Man by Park Hyun-wook, and The Legends of the Earth Heroes by Park Min-gyu presaged the formidable activity by new writers who came forward with the help of Munhakdongne. Munhakdongne is also very driven in its effort to introduce good books and writers from abroad into Korea. Nobel Laureates such as Elfriede Jelinek, Orhan Pamuk, and J.M.G. Le Clezio were introduced to Korean readers through Munhakdongne as well as Korean-favorite Paulo Coelho.

Coelho's The Alchemist was published by Munhakdongne, receiving great affection from readers. In 2008, Cormac McCarthy’s The Road stirred up a storm in the literary market, dispelling the preconception that readers like only books that are easy and fun to read. The translated books of literature published by Munhakdongne have attracted the attention of readers with their exquisite translation and sophisticated cover designs. In October 1996, Munhakdongne became the first Korean publisher to be officially invited to the Frankfurt Book Fair. Since then, they have put forth great efforts in introducing Korean writers and their works abroad. An Isolated Room by Shin Kyong-suk, The Private Lives of Plants by Lee Seung-U, I Have the Right to Destroy Myself by Kim Young-ha, and Salmon by An Do-hyeon, among others, have been translated into

German, French, English, and Japanese. Kim Jin-kyung’s fantasy tale, Cat School, in particular, has been translated into French, and had the honor of receiving Le Prix des Incorruptibles, a prestigious children’s literature award. Since then, Munhakdongne has given life to a number of subsidiaries and imprints, and through them has successfully expanded into various fields. Bookhouse, publisher of a variety of practical books, Munhakdongne Children's Books, publisher of children’s books, Anibooks, publisher of comic books, Artbooks, publisher of art books, Henamu, publisher of books on science, humanities and culture, Geulhangari, publisher of books on humanities and culture, Dal, publisher of literary essay, and Long Tail Books, publisher of books on linguistics, prove the success of Munhakdongne in a variety of fields. By Jung Yeo-ul

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MEET THE PUBLISHERS

left: Sakyejul Publishing staff right: library of Sakyejul Publishing

Sakyejul Publishing Making Books that Shine with Age

Sakyejul Publishing Ltd., which started out as a publisher seeking a progressive ideology in a repressive society, has published a number of social science books. Since the 1990s, it has expanded to a variety of fields. In particular, it has focused its efforts on childrenâ&#x20AC;&#x2122;s and historical literature, which have been received with praise by both the public and the publishing world.

Im Kkeok-jeong Vols. 1-10 Hong Myeonghui, 2008

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Sakyejul was established as a social science publisher since its founding in 1982 up until the end of the 1980s. At the time, being a social science publisher in Korea meant a publisher pursuing a progressive ideology. Under the authoritarian government of Korea in the 1980s, many of the books published by Sakyejul were banned. During this period, Sakyejul drew broad attention by publishing Im Kkeok-jeong (nine volumes at the time of initial publication; currently ten volumes), and a historical novel by Hong Myeonghui, one of the major literary figures of the early modern era in Korea. Hong, however, was something of a taboo in Korea at the time, labelled as a writer with socialistic tendencies.

In the 1990s, with the gradual democratization of Korean society, Sakyejul Publishing began to issue books in a much greater variety of fields. For example, they began to publish the Sakyejul Children’s Books series in 1991, and the Sakyejul Picture Books series in 1993. Since then, they have achieved remarkable growth in the area of children’s books. One of the most important works published since includes Lessons from an Ordinary Hen by Hwang Seon-mi. The main character in this children’s book is a hen that leaves the chicken farm so that she can hatch eggs and see the birth of her chicks. This book, about the touching story of a hen overcoming pain, realizing her hopes, and finding freedom and love, has sold over 800,000 copies since its first publication in 2000. Another major field in which Sakyejul Publishing is engaged is that of history. The publisher has shown particular strength in presenting historical knowledge in an easyto-understand, interesting manner. They attracted great popularity with the Historical News series on the subject of Korean history, and World

History News, on the subject of world history. These two series, based on reconstructed historical knowledge and published in a newspaper format, became the talk of the Korean publishing world with their original planning and creative editing. The most important historical work representing Sakyejul Publishing, however, is The Museum of Everyday Life in Korea series (12 volumes, 2000-2004). This series was received with great acclaim by many readers and publishing circles in Korea for its illustrations thoroughly studied by historians, absorbing text that can be read by elementary school children and adults alike, and realistic editing and composition that aid in the understanding of readers. The series also has great significance in the Korean publishing world in that it focuses on the everyday life of ordinary people, not on the politics of the ruling class or military affairs. Through this series, Sakyejul Publishing has established itself as one of the best publishers in Korea in terms of its planning and editing capacity. Sakyejul Publishing has also been consistent in its efforts in the areas of

the history of Central Asia and the Silk Road, and of exchanges between Western and Eastern civilizations. Some major works in this area include Studies on the History of Exchanges Between Civilizations (2002) and The History of Exchanges Between Civilizations in Ancient Times (2001) by Jeong Su-il. Sakyejul has also expended great efforts in publishing cultural and literary works for young readers. In fact, they established the Sakyejul Literary Award in 2002 for youth literature, and have been running it ever since. Sakyejul Publishing has a vision of “making books that shine with age.” The books that Sakyejul publish prove that this vision has become a reality. By Pyo Jeonghun

The History of Exchange of Civilization in Ancient Times Jeong Su-il, 2001, 742p ISBN 978-89-7196-830-7

2 Studies on the History of Exchange of Civilization Jeong Su-il, 2002, 584p ISBN 978-89-7196-906-9 2

3 World History News 1998 4 The Museum of Everyday Life in Korea Vols. 1-12 2007

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

7p My Wife Got Married Anaega Gyeolhonhaetda Munidang www.munidang.com Jang Jung-min 82-2-927-4990 munidang88@naver.com 7p I Will Support You No Matter What Kind of Life You Choose Nega Eotteon Salmeul Saldeun Naneun Neoreul Eungwonhal Geosida Openhouse Han Mi-kyung 82-2-333-3705 mkhani373@naver.com 7p Beautiful Finish Areumdaun Mamuri The Forest of Literature www.godswin.com Park Moon-sook 82-2-325-5736 kranich@empal.com 7p, 49p Take Care of Mother Eommareul Butakhae Changbi Publishers, Inc. www.changbi.com/english Lee Soonhwa 82-31-955-3369 copyright@changbi.com 7p Pieces of You Dangsinui Jogakdeul Dal www.munhak.com Kim Mijeong 82-31-955-2662 mijeong@munhak.com 7p All Who Do Not Love Now Are Guilty Jigeum Saranghaji Aneun Ja, Modu Yujoe Hermes Media www.gimmyoung.com/english Lee Youjeong 82-2-3668-3203 rights@gimmyoung.com 14p, 69p Puppy Poo Gangajittong Gilbut Children Publishing Co., Ltd www.gilbutkid.co.kr Kim Youjung 82-31-955-3262 youjung@dreamwiz.com 14p Waiting for Mom Eomma Majung Hangilsa Publishing Co., Ltd www.hangilsa.co.kr Ahn Minjae 82-31-955-2000 anuri@hangilsa.co.kr

14p A Shower of Poop Ttongbyeorak Sakyejul Publishing Ltd. www.sakyejul.co.kr Kang Hyunjoo 82-31-955-8600 kanghjoo@sakyejul.co.kr

14p Too Busy To Rest Bappayo Bappa Bori Publishing Co., Ltd. www.boribook.com Park Yongsurk 82-31-955-3535 pys@boribook.com

21p The Entire Life of a Butterfly Horangnabi Hansari Gilbut Children Publishing Co., Ltd www.gilbutkid.co.kr Kim Youjung 82-31-955-3262 youjung@dreamwiz.com

14p Haechi and the Four Monster Brothers Haechiwa Goemul Sahyeongje Gilbut Children Publishing Co., Ltd www.gilbutkid.co.kr Kim Youjung 82-31-955-3262 youjung@dreamwiz.com

14p, 16p Tigers Tied up in one Rope Juljuri Kkwen Horangi Sakyejul Publishing Ltd. www.sakyejul.co.kr Kang Hyunjoo 82-31-955-8600 kanghjoo@sakyejul.co.kr

21p Straw Jip Sakyejul Publishing Ltd. www.sakyejul.co.kr Kang Hyunjoo 82-31-955-8600 kanghjoo@sakyejul.co.kr

14p There Dangles a Spider, etc. Siri Dongdong Geomi Dongdong Changbi Publishers, Inc. www.changbi.com/english Lee Soonhwa 82-31-955-3369 copyright@changbi.com

17p A Wife Who Doesn't Eat Bap Anmeongneun Saeksi Chondungbooks www.chondungbooks.com Oh Se-kyung 82-31-955-5015 osekyung@empal.com

21p Acacia Perm E*Public www.safaribook.co.kr Song Jihyun 82-2-2653-5131 (Ext. 452) love-dw0815@hanmail.net

14p Big-hand Grandma's Dumpling Making Son Keun Halmeoniui Mandu Mandeulgi Jaimimage Publishing Co. www.jaimimage.com Song Su-yeon 82-31-955-0880 jaim@jaimimage.com

17p A Pot of Rice with the Frog Family, etc. Gaegurine Hansotbap Gilbut Children Publishing Co., Ltd www.gilbutkid.co.kr Kim Youjung 82-31-955-3262 youjung@dreamwiz.com

14p The Seven Friends in a Lady's Chamber Assibang Ilgop Dongmu BIR Publishing Co., Ltd. www.bir.co.kr Song Jung-ha 82-2-515-2000(Ext.207) ha@minumsa.com

17p Four Storkes and a Half Neokjeom Ban Changbi Publishers, Inc. www.changbi.com/english Lee Soonhwa 82-31-955-3369 copyright@changbi.com

22p Once Upon a Time, Piggies Were Very Smart, etc. Yennareneun Dwaejideuri Aju Ttokttokhaetdaeyo Nurimbo Publishing Co. www.nurimbo.co.kr Yoon Jane 82-31-955-7390 yoonjane@hanmail.net

14p In the Old Days Foxes Caught Quails, etc. Yennal Yeouga Mechurireul Jabanneunde Chondungbooks www.chondungbooks.com Oh Se-kyung 82-31-955-5015 osekyung@empal.com

19p Kestrel, Take Your Time Neujeodo Gwaenchana Maknae Hwangjorongiya Urikyoyuk Co. ltd www.uriedu.co.kr Jang Seulki 82-2-3142-6770 (Ext. 323) bigwig@uriedu.co.kr

22p Taeguek Chapter 1 Yeougogae www.foxbook.co.kr Lim Jong-min 82-2-333-0812 postmaster@bybooks.co.kr

14p My Hometown, etc. Naui Sajikdong Borim Press www.borimpress.com Eom Heejeong 82-31-955-3456 omugeng@borimpress.com 14p, 22p Laika said Raikaneun Malhaetda Nurimbo Publishing Co. www.nurimbo.co.kr Yoon Jane 82-31-955-7390 yoonjane@hanmail.net 14p Bucktoothed Elephant Ppeodeureongni Kokkiri Woongjin Think Big Co., Ltd. www.wjbooks.co.kr Claire Yang 82-2-3670-1168 shy07@wjbooks.co.kr 14p, 22p Cloud Bread Gureumppang Hansol Education www.eduhansol.co.kr Lee Ann 82-2-3279-3802 ann@eduhansol.co.kr

list_ Books from Korea Vol.3 Spring 2009

19p I Was Too Bored Simsimhaeseo Geuraeseo Bori Publishing Co., Ltd. www.boribook.com Park Yongsurk 82-31-955-3535 pys@boribook.com 19p Badger's Garden, etc. Osorine Jip Kkotbat Gilbut Children Publishing Co., Ltd www.gilbutkid.co.kr Kim Youjung 82-31-955-3262 youjung@dreamwiz.com 21p I Love My Mommy's Milk Eomma Jeoji Ttak Joa Woongjin Think Big Co., Ltd. www.wjbooks.co.kr Claire Yang 82-2-3670-1168 shy07@wjbooks.co.kr 21p It's Like My pictures, etc. Nae Geurimgwa Dalmaseoyo Chondungbooks www.chondungbooks.com Oh Se-kyung 82-31-955-5015 osekyung@empal.com

22p How I Caught a Cold, etc. Gamgi Geollin Nal Borim Press www.borimpress.com Eom Heejeong 82-31-955-3456 omugeng@borimpress.com

22p The Zoo Dongmurwon BIR Publishing Co., Ltd. www.bir.co.kr Song Jung-ha 82-2-515-2000(Ext.207) ha@minumsa.com 27p The Bad Boy Stickers Nappeun Eorinipyo Woongjin Think Big Co., Ltd. www.wjbooks.co.kr Claire Yang 82-2-3670-1168 shy07@wjbooks.co.kr 28p Lessons from an Ordinary Hen Madangeul Naon Amtak Sakyejul Publishing Ltd. www.sakyejul.co.kr Kang Hyunjoo 82-31-955-8600 kanghjoo@sakyejul.co.kr 32p Itâ&#x20AC;&#x2122;s Beautiful as It Is Inneun Geudaeroga Areumdapseumnida Samin Books Choi Insoo 82-2-322-1845 saminbooks@naver.com

34p On a Night When Pear Flowers Have Fallen All White Baekkot Hayake Jideon Bame Munhakdongne Publishing Corp. www.munhak.com Kim Mijeong 82-31-955-2662 mijeong@munhak.com

43p Life’s Compass: The Laughter, Life, and Teachings of Grand Master Sungsan Salmui Nachimban Yolimwon Publishing Co. www.yolimwon.com Rosa Han 82-2-3144-3704 rosa.han@yolimwon.co.kr

36p Black Flower Geomeunkkot Munhakdongne Publishing Corp. www.munhak.com Kim Mijeong 82-31-955-2662 mijeong@munhak.com

47p Walk Merrily, Leisurely: A Walking Tour of Jeju Nolmeong Swimeong Georeumeong: Jeju Geotgi Yeohaeng Bookhouse Publishing www.bookhouse.co.kr Kim Kyoungtae 82-2-3144-2701 kimkt@bookhouse.co.kr

38p The Naked Tree Namok Segyesa Publishing Co., Ltd. Park Sunghoon www.segyesa.co.kr 82-031-955-8060 segyesa1@naver.com 40p Chinul:The Founder of the Korean Seon Tradition Jinurui Seonsasang Sonamoo Publishing Co. www.sonamoopub.co.kr An Healyun 82-2-375-5784 sonamoopub@empal.com 40p Temple Decorations, the Shining World of Symbols Sachaljangsik, Geu Binnaneun Sangjingui Segye Dolbegae Publishers www.dolbegae.com Kim Heejin 82-31-955-5033 odradek@dolbegae.co.kr 40p The Story and Architecture of the Korean Buddhist Temple Gabogo Sipeun Got, Meomulgo Sipeun Got Ahn Graphics www.agbook.co.kr Kim Kanghee 82-2-745-0631 agedit@ag.co.kr 42p Sunjae’s Temple Food Seonjae Seunimui Sachal Eumsik Design House www.design.co.kr Chang Da-woon 82-2-2262-7396 cdw@design.co.kr 43p Weontaek’s filial Piety of Monk Seongcheol Seongcheolseunim Sibong Iyagi Gimm-Young Publishers, Inc. www.gimmyoung.com/english Lee Youjeong 82-2-3668-3203 rights@gimmyoung.com 43p May All Beings Be Happy Sarainneun Geoseun Da Haengbokhara Wisdomhouse Publishing Co., Ltd www.wisdomhouse.co.kr Kwon Minkyung 82-2-6399-4199 ohappyday@wisdomhouse.co.kr

50p The Zero G Syndrome Mujungnyeok Jeunghugun Hankyoreh Publishing Company www.hanibook.co.kr Kim Yun-jeong 82-2-6383-1608 simple@hanibook.co,kr 51p The Age of Myths Sinhwaui Sidae Spinning-wheel Publishing Co. blog.naver.com/spin_wheel Goh Won-hyo 82-31-955-7590 spin_wheel@naver.com 51p Journals from Days Past Oraedoen Ilgi Changbi Publishers, Inc. www.changbikids.com Lee Soonhwa 82-31-955-3369 copyright@changbi.com 52p The Best of Korean Mystery & Thriller: 10 Short Stories Hanguk Churi Seurilleo Danpyeonseon GoldenBough Publishing Co.,Ltd. www.minumsa.com Choe Goun 82-2-515-2000(Ext.291) gon0207@minumsa.com 52p Modern Boy Munhakdongne Publishing Corp. www.munhak.com Kim Mijeong 82-31-955-2662 mijeong@munhak.com 53p The Square Gwangjang Moonji Publishing Co., Ltd. www.moonji.com Seo Eun-mi 82-2-338-7224(Ext.111) kaiseo@moonji.com 54p Fairy Tale Travels in Europe Yureopdonghwamaeul Yeohaeng Happy Dream Publishing Co. Kim Jayoung 82-2-706-9452 springsu@naver.com 56p Noreummachi Thinking Tree Publishing Co. www.itreebook.com Park Yeonju 82-2-3141-1616(Ext.303) yeon@itreebook.com

57p Westerner’s Life in Joseon Seoyanginui Joseonsari Prunyoksa Park Hyesook 82-2-720-8921 bhistory2007@naver.com

67p Bring Me That Humanity Geu Maeumeul Gajyeooneora Jogye order Publishing www.jogyebook.com Bak Seonju 82-2-730-6940 bakseonju@empal.com

57p Small Addiction Series Jageun Tamnik Sirijeu Woongjin Think Big Co., Ltd. www.wjbooks.co.kr Claire Yang 82-2-3670-1169 shy08@wjbooks.co.kr

68p A Strange Apartment Building Susanghan Yeollipjutaek Changbi Publishers, Inc. www.changbi.com/english Lee Soonhwa 82-31-955-3369 copyright@changbi.com

58p Kim Hong-hee’s Wandering in Mongolia Gimhonghui Monggolbangnang Wisdomhouse Publishing Co., Ltd. www.wisdomhouse.co.kr Kwon Minkyung 82-2-6399-4199 ohappyday@wisdomhouse.co.kr

68p The Painter1-Manet and Monet Hwaga1 : Manewamone Dolpoong Kim Jooyung 82-31-912-7448 dolpoongs@naver.com 70p The Wildflower Kid Deulkkochai Gilbut Children Publishing Co., Ltd www.gilbutkid.co.kr Kim Youjung 82-31-955-3262 youjung@dreamwiz.com

58p Kimchi Odyssey Gimchigyeonmunnok Design House www.design.co.kr Chang Da-woon 82-2-2262-7396 cdw@design.co.kr 60p Live Broadcasting Psychology Radio Saengjunggye Simnihak Radio Munhakdongne Publishing Corp. www.munhak.com Kim Mijeong 82-31-955-2662 mijeong@munhak.com

72p I Need a Friend Chinguga Piryohae Woongjin Think Big Co., Ltd. www.wjbooks.co.kr Claire Yang 82-2-3670-1168 shy07@wjbooks.co.kr 73p The Lies of a Bushy Baby Fox Ppeongjaengi Wangteori Sakyejul Publishing Ltd. www.sakyejul.co.kr Kang Hyunjoo 82-31-955-8600 kanghjoo@sakyejul.co.kr

62p Darwin’s Table Dawinui Siktak Gimm-Young Publishers, Inc. www.gimmyoung.com/english Lee Youjeong 82-2-3668-3203 rights@gimmyoung.com 63p Faraway Nations and Neighboring Nations in the 21st Century Meonnara Iunnara Gimm-Young Publishers, Inc. www.gimmyoung.com/english Lee Youjeong 82-2-3668-3203 rights@gimmyoung.com 64p Ran's Fomula Ranui Gongsik Joongang Books www.joongangbooks.co.kr Rachel Ahn 81-2-2000-6024 rachel_ahn@joongang.co.kr

73p The Fish, the Wind and the Piano Mulgogiwa Baramgwa Piano Chobang Editions www.choang.com Chung So-jung 82-2-392-0277 bang@chobang.com 74p The Queen of Red Bricks, etc. Gorae Munhakdongne Publishing Corp. www.munhak.com Kim Mijeong 82-31-955-2662 mijeong@munhak.com 76p Im Kkeok-jeong, etc. Sakyejul Publishing Ltd. www.sakyejul.co.kr Kang Hyunjoo 82-31-955-8600 kanghjoo@sakyejul.co.kr

66p Flower Wall Uridongne Kkotdam Thinking Tree Publishing Co. www.itreebook.com Park Yeonju 82-2-3141-1616(Ext.303) yeon@itreebook.com 67p The Foresights of Digital Odditieis to Consumer Trends Dijiteol Goejjaga Miraesobireul Gyeoljeonghanda Miraebook Publishing Co. www.miraebook.co.kr Kim Sung-ok 82-2-325-7556 miraebook@miraebook.co.kr

list_ Books from Korea Vol.3 Spring 2009 79

AFTERWORD

Seeing the World through Seoul Last May I was in Seoul for the extraordinary Young Writers’ Festival (2008 Seoul Young Writers’ Festival). Few international book events in the English medium are based in Asia; fewer still bring together such a pan-global spread of writers in the spirit of genuine cultural exchange and friendship. What’s more, hardly any festivals in the Anglophone world invest proper time and effort in quality translations and interpretations. But Seoul had it all: works from a dozen cultures were collected, translated, and published in glossy English and Korean print editions. A small army of bilingual volunteers, interpreters, and translators were at hand to facilitate interaction at every level. The city itself had plenty to offer: a range of quality writers, an appreciative readership, and an energetic, cosmopolitan urban scene. This was a cozy but world-class gig. It is not hard to imagine the Seoul Festival becoming a major milestone in contemporary world literature as writers and readers from all over the world visit not only to know, appreciate, and enjoy contemporary Korean writing, but also to enjoy the best of emerging Asian and world literature. For better or worse, advances in technology and communications have connected countries, economies, and peoples. One consequence is that our concerns and preoccupations have converged, particularly in the urban centers that account for over half the world’s population. For instance, the edgy verve of much contemporary Korean poetry – such as Yi Won’s technoinspired verse or Kim Kyung Ju’s trans-corporeal riffs – would readily find resonance with readers from around the world. Yet the prejudices, habits, and entrenched interests of the current book trade and literary practice do not make it easy for readers and writers to connect across national and linguistic boundaries. There are opportunities to be seized. Language of course remains a significant barrier: and we mean the kind of language, like poetry and literature, which only a human being can fully translate. The sort of language that tells us not what to do but who we are. There are already efforts to build bridges. The recent international Norton Anthology, Language for a New Century (WW Norton, 2008) brings together contemporary poetry from the Middle East, Asia, and beyond, including (I was delighted to note) several poets from Korea and my native Singapore. It is a landmark publication mainly because there are so few opportunities for the work of contemporary Asian writers to be known, particularly amongst neighbors in the region. Recent English language journals from the Korean book scene, such as New Writing from Korea and Azalea, suggest further exciting possibilities. The latter, in particular, not only showcases contemporary Korean writing in translation, but also commentaries from renowned literary figures such as Nobel Laureate Orhan Pamuk and the American poet Robert Pinsky. There is even scope for such periodicals to include yet more voices from outside Korea, becoming truly cosmopolitan platforms for cultural exchange and for uncovering new voices, particularly from the greater Asian region. I have great admiration for the Korean literary scene, which has already demonstrated the resources, talent, and enlightened will necessary to make the world’s best writing available. Surely Korean writers and publishers, with access to such a remarkable wealth of resources, will point the way forward to a world where we are ever more interconnected, and yet more fully ourselves? By Alvin Pang

list_ Books from Korea Vol.3 Spring 2009

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A Quarterly Magazine for Publishers Vol.2 SpecialWinter Section2008 Korean Picture Books: Features and Trends Special Section Traditional Korean-Style Picture Books The Established Writers Ecological Picture Booksof Korea Examined through Non-fiction Picture Books Keywords:

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