Love in Yeosu
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Description
Book Introduction
2024 Nobel Prize in Literature winner Han Kang
To live as a human being in this world until the end,
About that miraculous event
A classic of Han River literature reborn
On the road, quietly tie a knot
A deep line drawn by connecting three dots
Read the Han River of yesterday that made the Han River of today.
This is a revised edition of all the short story collections (three volumes in total) published by Han Kang to date, who began her literary career in 1993 when she published the poem “Winter of Seoul” and four other pieces in the winter edition of the quarterly Literature and Society and the following year when her short story “Red Anchor” was selected for the Seoul Shinmun New Year’s literary contest.
Han Kang, winner of the Korean Novel Literature Award (1999), Today's Young Artist Award (2000), Yi Sang Literary Award (2005), Dongni Literature Award (2010), Manhae Literature Award (2014), Hwang Sun-won Literature Award (2015), International Booker Prize (2016), Malaparte Literature Award (2017), Kim Yu-jeong Literature Award (2018), San Clemente Literature Award (2019), Daesan Literature Award (2022), Médicis Prize for Foreign Literature (2023), Émile Guimet Prize for Asian Literature (2024), and Nobel Prize in Literature (2024), resonates with our times as she examines the loneliness and pain at the root of life through her solid and delicate prose.
Han Kang, Korea's first Nobel Prize winner in Literature, has published three short story collections to date.
The three books, which contain works written over a period of 17 years, from 1995 to 2012, were reissued in 2018.
It could be said that it was a task of carefully connecting three books, each with different colors and formats, and placing them on a single line.
Han Kang's first collection of short stories, "Love in Yeosu," published in 1995, is a collection of short stories written in a flurry over the course of a year by the author when she was twenty-three or twenty-four.
In her second collection of short stories, 『The Fruit of My Woman』, published after five years, Han Kang seems to have encountered the simple truth that “the process of change, like flowing water, is me,” but soon asks again.
“Who wrote each and every one of these novels?” (Author’s Note) And 12 years later, the third collection of short stories, “Yellow-Patterned Eternity,” was published.
In the meantime, the novels 『Your Cold Hands』 『The Vegetarian』 『The Wind Blows, Go Away』 and 『Greek Lessons』 were written.
The short story has something like a match spark.
First, pull the fire and watch with all your might until it goes out.
Those moments pushed me forward with all my might.
―'Author's Note' (2012), 『Yellow-Striped Eternity』
To live as a human being in this world until the end,
About that miraculous event
A classic of Han River literature reborn
On the road, quietly tie a knot
A deep line drawn by connecting three dots
Read the Han River of yesterday that made the Han River of today.
This is a revised edition of all the short story collections (three volumes in total) published by Han Kang to date, who began her literary career in 1993 when she published the poem “Winter of Seoul” and four other pieces in the winter edition of the quarterly Literature and Society and the following year when her short story “Red Anchor” was selected for the Seoul Shinmun New Year’s literary contest.
Han Kang, winner of the Korean Novel Literature Award (1999), Today's Young Artist Award (2000), Yi Sang Literary Award (2005), Dongni Literature Award (2010), Manhae Literature Award (2014), Hwang Sun-won Literature Award (2015), International Booker Prize (2016), Malaparte Literature Award (2017), Kim Yu-jeong Literature Award (2018), San Clemente Literature Award (2019), Daesan Literature Award (2022), Médicis Prize for Foreign Literature (2023), Émile Guimet Prize for Asian Literature (2024), and Nobel Prize in Literature (2024), resonates with our times as she examines the loneliness and pain at the root of life through her solid and delicate prose.
Han Kang, Korea's first Nobel Prize winner in Literature, has published three short story collections to date.
The three books, which contain works written over a period of 17 years, from 1995 to 2012, were reissued in 2018.
It could be said that it was a task of carefully connecting three books, each with different colors and formats, and placing them on a single line.
Han Kang's first collection of short stories, "Love in Yeosu," published in 1995, is a collection of short stories written in a flurry over the course of a year by the author when she was twenty-three or twenty-four.
In her second collection of short stories, 『The Fruit of My Woman』, published after five years, Han Kang seems to have encountered the simple truth that “the process of change, like flowing water, is me,” but soon asks again.
“Who wrote each and every one of these novels?” (Author’s Note) And 12 years later, the third collection of short stories, “Yellow-Patterned Eternity,” was published.
In the meantime, the novels 『Your Cold Hands』 『The Vegetarian』 『The Wind Blows, Go Away』 and 『Greek Lessons』 were written.
The short story has something like a match spark.
First, pull the fire and watch with all your might until it goes out.
Those moments pushed me forward with all my might.
―'Author's Note' (2012), 『Yellow-Striped Eternity』
- You can preview some of the book's contents.
Preview
index
Love in Yeosu
Carnival of Darkness
night train
gallop
Azalea Ridge
red anchor
Commentary | The Internal Forms of Pain and Depression in "Rebirth"_Kang Gye-sook
Author's Note
Carnival of Darkness
night train
gallop
Azalea Ridge
red anchor
Commentary | The Internal Forms of Pain and Depression in "Rebirth"_Kang Gye-sook
Author's Note
Into the book
The warm sunlight of a late autumn morning was pouring down through the windows of my studio apartment.
I squinted my eyes as I lay face down on the wooden floor like a caterpillar.
The tip of my tongue hurt like it was being torn apart.
Countless dust particles were flying in the still sunlight.
“How beautiful,” I suddenly thought.
The dust was like sleet.
The sleet that danced down from the distant sky and sobbed over the warm sea waves… … was the sleet of Yeosu.
I squinted my eyes as I lay face down on the wooden floor like a caterpillar.
The tip of my tongue hurt like it was being torn apart.
Countless dust particles were flying in the still sunlight.
“How beautiful,” I suddenly thought.
The dust was like sleet.
The sleet that danced down from the distant sky and sobbed over the warm sea waves… … was the sleet of Yeosu.
--- p.13 From “Love in Yeosu”
Publisher's Review
You have to look back to find the trajectory.
Over the course of the three volumes of her short stories, there are some things that have changed and some that have not changed in Han Kang's short stories.
In 『Love of Yeosu』, the lonely and isolated beings who desperately express their longing for humanity and the world, and who leave, abandon, wander, and fall, end up falling out of sync and getting hurt as they clumsily try to accept the world and each other that they so desperately longed for in 『The Fruit of My Woman』.
And in 『Yellow Patterned Eternity』, the will to regenerate and the life force burn even stronger in despair.
The dignified being, still in pain, finally tries to embrace the other.
The place we must eventually return to, the leaves pushing up their veins, the flowers blooming during the recovery period, the natural changes and flow that we tried to capture during the 'connecting the dots' work are in harmony with the work of photographer Lee Jeong-jin used on the cover.
On the other hand, isn't the Han River's fierce question unchanging?
He never lets go of the questions, “I want to live, I must live, how should I live?” and asks about human existence, life and death, and this world throughout his twenty-one novels, but inevitably he cannot reach an answer.
But the question itself, like a faint flame, and the heat of loneliness and delicate sadness that arise from the question, become the force that draws them in the work and keeps us, the ones we love, alive.
Because it has changed but not changed, I have carefully rearranged the arrangement of the novels and touched up some expressions, but left what needed to be left as is.
In response to the author's own question in "The Fruit of My Woman," which previously asked "who," we will now look at the author's newly written words in "Yellow-Patterned Eternity."
I encourage you to retrace that trajectory together.
Someone has been writing alone for over twenty years.
The Han River is still walking.
I know.
The twelve years I spent writing these novels can no longer be returned, nor can I ever meet the vivid self that wrote all these sentences again.
I don't think that fact should be felt as a loss.
This should never be a goodbye, because I am someone who wants to live and keep writing.
―Author's Note (2018), 『Yellow-Striped Eternity』
A delicate examination of the essential loneliness and hardship of life
The author's first book depicts the loss and wandering of existence.
Love in Yeosu
This is the author's first book and first collection of short stories, published in 1995. The revision process changed the layout of the novels and refined some expressions.
"Love in Yeosu" delicately examines the essential loneliness and hardship of life, and portrays the loss and wandering of existence.
Jeong-seon, who was abandoned at Seoul Station on a train from Yeosu and attempted suicide with his younger brother after losing his wife; In-gyu, who witnessed his younger brother's death; Dong-geol, who must live with his twin brother who has become a vegetable; Jeong-hwan, who abandoned his idiot younger sister and ran away from his hometown; and Yeong-jin and In-sook, who abandoned their home and hometown and wandered like orphans, trying to find themselves (Carnival of Darkness).
Yeosu is the name of a sad heart where the wounded and sick finally arrive.
In seven short stories that delve deeply into fate and death, lonely and isolated characters leave, abandon, wander, and fall.
Those who awaken the living essence of existence near death and never cease their longing for people and the world leave a cold yet warm aftertaste.
Author's Note
I wrote these short stories over a period of about a year, from October 1993 to October 1994.
Since these were written so long ago, when I was twenty-three or twenty-four, I revised them once in 2007, but I still had to edit and polish some sentences and scenes, big and small.
To everyone at Munhak-kwa-Jiseong-sa, I would like to thank you for your relationship over the past twenty years.
We would also like to express our gratitude to artist Lee Jeong-jin for allowing us to feature his work on the cover.
In the fall of 2018, in Seoul, where the wind has become chilly
Han River
Over the course of the three volumes of her short stories, there are some things that have changed and some that have not changed in Han Kang's short stories.
In 『Love of Yeosu』, the lonely and isolated beings who desperately express their longing for humanity and the world, and who leave, abandon, wander, and fall, end up falling out of sync and getting hurt as they clumsily try to accept the world and each other that they so desperately longed for in 『The Fruit of My Woman』.
And in 『Yellow Patterned Eternity』, the will to regenerate and the life force burn even stronger in despair.
The dignified being, still in pain, finally tries to embrace the other.
The place we must eventually return to, the leaves pushing up their veins, the flowers blooming during the recovery period, the natural changes and flow that we tried to capture during the 'connecting the dots' work are in harmony with the work of photographer Lee Jeong-jin used on the cover.
On the other hand, isn't the Han River's fierce question unchanging?
He never lets go of the questions, “I want to live, I must live, how should I live?” and asks about human existence, life and death, and this world throughout his twenty-one novels, but inevitably he cannot reach an answer.
But the question itself, like a faint flame, and the heat of loneliness and delicate sadness that arise from the question, become the force that draws them in the work and keeps us, the ones we love, alive.
Because it has changed but not changed, I have carefully rearranged the arrangement of the novels and touched up some expressions, but left what needed to be left as is.
In response to the author's own question in "The Fruit of My Woman," which previously asked "who," we will now look at the author's newly written words in "Yellow-Patterned Eternity."
I encourage you to retrace that trajectory together.
Someone has been writing alone for over twenty years.
The Han River is still walking.
I know.
The twelve years I spent writing these novels can no longer be returned, nor can I ever meet the vivid self that wrote all these sentences again.
I don't think that fact should be felt as a loss.
This should never be a goodbye, because I am someone who wants to live and keep writing.
―Author's Note (2018), 『Yellow-Striped Eternity』
A delicate examination of the essential loneliness and hardship of life
The author's first book depicts the loss and wandering of existence.
Love in Yeosu
This is the author's first book and first collection of short stories, published in 1995. The revision process changed the layout of the novels and refined some expressions.
"Love in Yeosu" delicately examines the essential loneliness and hardship of life, and portrays the loss and wandering of existence.
Jeong-seon, who was abandoned at Seoul Station on a train from Yeosu and attempted suicide with his younger brother after losing his wife; In-gyu, who witnessed his younger brother's death; Dong-geol, who must live with his twin brother who has become a vegetable; Jeong-hwan, who abandoned his idiot younger sister and ran away from his hometown; and Yeong-jin and In-sook, who abandoned their home and hometown and wandered like orphans, trying to find themselves (Carnival of Darkness).
Yeosu is the name of a sad heart where the wounded and sick finally arrive.
In seven short stories that delve deeply into fate and death, lonely and isolated characters leave, abandon, wander, and fall.
Those who awaken the living essence of existence near death and never cease their longing for people and the world leave a cold yet warm aftertaste.
Author's Note
I wrote these short stories over a period of about a year, from October 1993 to October 1994.
Since these were written so long ago, when I was twenty-three or twenty-four, I revised them once in 2007, but I still had to edit and polish some sentences and scenes, big and small.
To everyone at Munhak-kwa-Jiseong-sa, I would like to thank you for your relationship over the past twenty years.
We would also like to express our gratitude to artist Lee Jeong-jin for allowing us to feature his work on the cover.
In the fall of 2018, in Seoul, where the wind has become chilly
Han River
GOODS SPECIFICS
- Publication date: November 9, 2018
- Page count, weight, size: 328 pages | 380g | 130*195*30mm
- ISBN13: 9788932034812
- ISBN10: 8932034818
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