Full - Trailer 13

A short

Flashback 15
Polyomino 16
Animated Anti-animal 18
Three Incomplete Images 19
21 to get closer
Prayer 24
Silence 26
Dictionary 28: Death Missing
Judgement 30
Collision and Rebound 32
Real Stone 34
Master of Black and White 36
White letters on a purple background 38
Footage 39
Monologue 40
Tail of the Day 42
Black and dry 44
Crank in 46
Shape of Recovery 48
Choice 50
Sangsangseon 52

B short

Option 58
Two Summers and Two Results 60
Polyomino 62
66 to build a flat surface
Three Incomplete Images 38
The Dog in the Drawer, Part 70
Prayer 72
Insert song 73
Sitting like a still life 74
Petals float away in a nap 76
Ventilation 80
Dried Plant 82
Fake Stone 84
Lead Cloud 86
Purple letters on a white background 88
Edit 90
Hand's Prediction 92
Running 94
Affectionate Smell 96
Flashback 98
Use 99
Mineral 102
Destruction 104
Acting Theory 106
Dark Box 108

Ending credits

You will evolve 113
Burns and Illusions 115
Pareidolia 118
Noise 120
Tsunami 122
124 to the person who wants to grab the stone
Cookie - There are a lot of pigeons 126

Commentary on the work - Jo Dae-han (literary critic) 127

■A poem of small things that connect different worlds

The stone reflected in the water is like a tree branch
The branch has a dog's face
Do
-From "To Get Closer"

In Kim Seok-young's poetry, scenes appear where landscapes or objects that seem like still lifes suddenly move, or words we know shed their familiar meanings and become broader or overturned.
This is the case in the poem “Mineral,” which describes the experience of “picking up” a grave after the shells become a “grave” while “picking up shells without knowing they are shells” on the beach, or in the poem “Black and Dry,” which looks at the sea like “a candle remembering a place that melted” in a temple on the shore that “was once a burnt place,” and then leads to the transformation that this was really a “candle.”
The story of the clam becoming a grave feels like a time leap, and the scenery that was thought to be like melted candles really was melted candles, like a dream passed down like a butterfly's dream.
Kim Seok-young leaps from side to side like the most flexible long jumper.
Find the cross-section of two different worlds and connect them.
At this time, the poet's imagination and reasoning, which boldly and boldly graft even the seemingly rough cross-sections, make the reader regard the cross-sections as connecting lines, and make them feel more bold than the rough surfaces.

This awareness can also be seen in the poet's autobiography.
The poet who says, “The moon is the moon because it rotates/If it doesn’t rotate, it’s a stone,” expands the image of a stone, which we think of as small and immobile, to mean the moon, which is closer to something larger and eternally moving.
From what can be picked up from the surface of the Earth, that is, the bottom of the ground, to the moon that orbits far away, Kim Seok-young's poetic (weightlessness) is so possible and infinite.

■ A story outside the screen that has been deleted but is still in progress

Only that scene is missing
On the screen
(……)

My independent film has finally been screened.
-In "Selection"

In "To the One Who Wants to Hold a Stone," it often starts in the middle.
This is the case with the poem “Dry Plants,” which begins with “When I spilled the pie/ I was standing at the kitchen table.”
When the reader witnesses the scene, the pie has already been overturned, and the narrator, 'I', is standing at the table.
The poem does not explain how 'I' accidentally spilled the pie before that scene, or why I had to bake the pie much earlier.
The only scene that appears is a later scene in which “a woman wearing a crown and holding a candle stands still, surrounded by people, with a grotesque expression” in a “living room with a picture frame of the sea.”
The same goes for sentences like “Since then/ I couldn’t breathe properly” (“Shape of Recovery”).
We don't know when or what event caused the speaker of the poem to have difficulty breathing, but we are immediately drawn into the speaker's situation and feelings.
Just as one cannot readily ask someone who holds a secret what the secret is, but instead listens intently to get as many hints as possible from the person's words out of curiosity about the secret, one finds oneself listening intently to Kim Seok-yeong's poetry.


Just as shadows make objects appear more vivid, Kim Seok-young's introduction makes us imagine what lies beyond the cut-off screen, creating the other side of the poem, its shadow.
By reading poetry that makes us want to see what is invisible, we can imagine things we do not know.
It is also a property of love to imagine what cannot be seen and to estimate what is unknown.
『To the One Who Wants to Hold a Stone』 is also a poetry collection that teaches a specific way to love poetry.