Even academic books need to be aware of the prevailing zeitgeist. Richard D McBride begins his history of first-millennium Korea with a pop-culture reference to K-Drama.
Korea
Tracy O’Neill was adopted from South Korea in the 1980s and never thought to search for her birth mother until 2020 when the world seemed to stop. She had just landed a tenure-track position at Vassar and had broken up with a long-term boyfriend. With more time on her hands—teaching online and not leaving her new apartment much—she had the desire to find her birth mother in Korea. The story of her search, discovery and meeting her mother is the subject of her third book, Woman of Interest. This is hardly the first adoption memoir, but O’Neill is a writer of some pedigree with a couple of novels under her belt, which perhaps explains why her memoir at times reads like a thriller and does so right at the beginning.
2014, Seoul, South Korea. The Sewol sinks. Russia takes Crimea. A novel flu threatens to turn the world upside down. Nunmaker, expatriate American, is fired without cause from one of three jobs. His wife, Ha, leaves him, but he doesn’t realize it until movers come for her piano.
Publisher Oxford University Press hails Activism and Post-activism as the first-ever English language work on the birth and development of South Korean nonfiction film. Drawing on more than 200 films and videos, Jihoon Kim’s trailblazing book charts the history of documentary filmmaking in the South from its early “activism” period in the 1980s to what the author calls its modern “post-activism” period in the late ’90s and 2000s. In doing so, Kim highlights the work of marginalized groups—including women, sexual minorities, and the working class—who, without the ease of access modern technology brings to documentary film, would have little platform to speak.
Therapist Haesoo Lim used to appear on television to provide her professional opinion on matters in the news. But after speaking about a famous male actor, her career took a nosedive when the actor committed suicide. Haesoo not only lost her job, but her marriage also fell apart. Kim Hye-jin’s new novel Counsel Culture, translated by Jamie Chang, may be a small, contemplative book, but it packs a big punch with vibrant characters, both human and feline.
Janet Poole, a professor at the University of Toronto, in Patterns of the Heart and Other Stories has translated into English a collection of works by Choe Myong-ik, a writer whom she calls in her introductory essay an “exquisite architect of the short story form”. Following her essay, Poole presents nine stories, five from the colonial era (published from 1936 to 1941) and four in the postwar period (published from 1946 to 1952). Apart from “Walking in the Rain”, which she published in a bilingual edition in 2015, the stories in this book are available in English for the first time.
Examining the omnipresence of grief and revolution in South Korea for women and the queer community, as well as the whole nation after the sinking of the MV Sewol in April 2014, Hwang Jungeun’s dd’s Umbrella presents twin novellas from the perspective of two distinct narrators.
This whip-smart, darkly funny, and biting debut follows a psychologist with a savior complex who offers shelter to a recently cancelled K-pop idol on the run. Sang Duri is the eldest member and “visual” of a Korean boy band at the apex of global superstardom. But when his latest solo single accidentally leads to controversy, he’s abruptly cancelled.
In what ways can or should art engage with its social context? Authors, readers, and critics have been preoccupied with this question since the dawn of modern literature in Korea. Advocates of social engagement have typically focused on realist texts, seeing such works as best suited to represent injustices and inequalities by describing them as if they were before our very eyes.
If one seeks to characterize “Asian-American writing” as something other than just the ethnicity of the author, one might well land on Gina Chung’s short story collection Green Frog as a sort of case-in-point, if not a model.
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