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Book description
This was a truly impressive collection of 1980s Korean fiction and it has the extra bonus of being a collection of all female writers. The three authors presented are Kang Sok-kyong, Kim Chi-won, and O Chong-hui. While you can tie them together as being Korean female authors publishing works in the same time period, their themes and images are very different when looked at closely. The overall feel of the book is a fairly smooth transition between the short stories of the three authors and you get an overall understanding of the latent tensions and emotions present in the 80s. Of the two stories by Kang, I was most excited by Days and Dreams which is about a prostitute who deals with American service men. It was so raw and unexpected, this being my first encounter with the author, and full of a range of sexuality and identity that really caused me to stop and think about the surrounding historical context and the effect of the US military presence in Korea. The second story, A Room in the Woods, won an award when it was first published in Korea and after reading it I can confirm that it was deservedly so. Dealing with the tensions between the generations, social classes, and genders, this story is a snapshot of the mid-80s in Korea. Through the main characters attempts to understand her estranged sister, the modern problem of too many options is explored. The mere presence of those options doesnt mean that they are a right fit for any one person and this story shows the depression one can fall into if you still cant find your way with so many less-than-perfect options readily available. Kims A Certain Beginning takes us all the way to the US where a woman who has her green card feels attachment to neither the US nor Korea. Her uncertainty and ambivalence are highlighted by her association with a young student that she marries for money to help him get his own green card. As an exploration of Koreans in an American context, this text is fairly interesting, albeit brief. Lullaby is a drastically different tone and makes the reader frustrated, yet left with an eerie feeling. It tracks the relationship of a husband and wife who cannot seem to communicate and these miscommunications highlight extant gender issues in Korea even to this day. Os works are renown for their stream of consciousness style and their elaborate, bodily descriptions of the scenery/backgrounds used. Evening Game shows a father and daughter unable to communicate, yet incapable of separating. Chinatown is another look into the underbelly of the US military presence in Korea, but shown through the eyes of a young girl who at such a young age, knows too well the burdens of womanhood from observing those around her. Words of Farewell is the most difficult to read of the three, with its flashing forwards and backwards and mixing perspectives between a woman and her husband. This story feels very modern, yet it deals with issues and themes that are not uncommon. Its exploration of life and death leaves you wondering if the conclusions you came to were really right or not.Another sort of bonus for those who love to read Korean translated literature is seeing how far Korean literature translation has come since this collections publication in 1989. Bruce and Ju-chan Fulton are a pair of the top Korean literature translators, and yet constrictions of the target reader base in 1989 made for some interesting translation choices that would probably be handled differently today due to more Korea-conscious English readers. In particular, the term flower cards came up in a few of the stories and this would probably now be done as Go Stop or a transliteration of the Korean name. Other instances are different clothing or foods that now could just be transliterated instead of a round-about descriptive phrase. As someone who has read more recent translations by this pair and by others, it is kind of exciting and interesting to see just how much the job of translating has changed over the years.
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