Goo Yoon-jae
Nomi in the attic
Moru and deer
Winter comes from both sides
Tipi

Starting Note | Light Fragments
Recommendation

Kim Bok-hee
auxiliary soul
Fairy's Yard
Daughter of Man
New entry

Beginning Notes | How Natural Is Writing?
Recommendation

Kim Seon-o
Eternity and Error
Moving Image—And a Hundred Curves
pixels
Unclean nothingness

Start Note | Restore
Recommendation

Moon Bo-young
If you weren't suspicious, it would be hard to like you.
From your fool to mine
That kind of power is a time that does not exist
I was talking

Starting Notes | Their Hearts
Recommendation

God
bird
Dream clothes
snake
luxury

Beginning Notes | Writer
Recommendation

Yoo Seon-hye
Motels and Humans
Motel and remote control
Motel and toilet
Gacha Gyaru

Start Note | Enduring the Faulty Note
Recommendation

Isilbi
taxi
villa
Ears and bells
seven

Starting Note | Sewing Begins at the Eardrum
Recommendation

Han Yeo-jin
The wind flows from high places to low places and people
Soundtrack
Grave of Little People
hospitality

Beginning Note | A Kindergarten Where No One Is In View, But A Low Whistle Is Heard
Recommendation

Planning Notes

A word from the Poetry Project

It is no miracle that in a time when the age of poetry seemed to have vanished, young poets and readers who rediscovered their unfamiliar sensibilities emerged.
Breaking through all the vain rumors, in the depths of Korean literature, there were constant attempts to write and read poetry that had never been seen before.
〈Poetry View〉 aims to focus solely on the kinetic energy of young poetic language at the peak of poetry writing.
This small festival, held once a year, is not a selection exercise, but rather a place for literary friendship to share intuitions surrounding Korean poetry.
What we experience is the event of 'poetry' itself, writhing beyond the names of young poets.
A poet is not a name owned by his contemporaries, but a being who invents the sensibilities of his contemporaries.
Poetry arrives first and awaits us at the moment of language to come.
The act of ‘seeing poetry’ now opens up a world that is more calm and intense than poetry.
-Selection Committee: Kang Dong-ho, Oh Eun, Lee Su-myeong, Jo Yeon-jeong, Ha Jae-yeon-

* Goo Yoon-jae, "Nomi in the Attic" and others

Nomi was a grandmother. Everyone had a hard time with Nomi after she became a grandmother. Nomi was still just Nomi [… … ] Nomi was still just Nomi with a lot of questions, but no one listened to Nomi’s questions and just took the transparent string away from Nomi, telling her to stay healthy. Now Nomi is a Nomi who can’t be healthy. That’s how Nomi became a box.
- Part of "Attic Nomi"

Gu Yoon-jae's poetry, which uses "a unique rhythm as its driving force" created through names such as 'Nomi', 'Moru', 'Noru', and 'Tipi', has "affection at its center" (Oh Eun).
“The scenes of ‘I’ as a child, the children inside ‘I’, the children outside ‘I’, and future grandmothers” meeting, communicating, and growing up are delicately performed “on the stage of white and shining poetry” (Ha Jae-yeon) under the “will of love and understanding.”


* Kim Bok-hee, "Auxiliary Soul" and others

There are also assistant spirits next to your friends.
There must be!
The assistant spirits set up a tea table and laughed haha ​​hoho
Talk about the master, the servant, and the fruit
- The "Auxiliary Soul" section

The alien entities that appear in Kim Bok-hee's poetry overlap with 'hope' in that they are "small but clearly alive" and "exist without fail even if they cannot be seen" (Oh Eun).
The 'assistant spirits', 'fairies', and 'dwarves', who are so small that they make us want to look closely, lightly and noisily open up a crack in reality.
Following in their footsteps, “I hope that people who are always living in the present with a slightly discouraged heart will read Kim Bok-hee’s poetry” (Jo Yeon-jeong).

* Kim Seon-o, "Eternity and Error" and others

The wind blowing between the notes is cold.

I wish I had a cold like this.

[… … ]

You're going to love this music.
The music of the winter vacant lot rebar society.
- "Eternity and Error" section

By capturing pixels of the external landscape with his unique poetic finder, Kim Seon-o “records the signs of cracks that reveal the ambiguous boundary between dreams and reality in a modern and aesthetic language” (Kang Dong-ho).
His “image-video-narrative experiments”, achieved through persistent observation and imagination, fascinatingly present “the multidimensionality of existence that can be constructed within our reality and simultaneously beyond it” (Ha Jae-yeon).


* Moon Bo-young, "If there had been no suspicion about you, it would have been difficult to like you"

[… … ] I was just trying to get the desk out of my room, but the desk was bigger than the door, so I was wondering how the desk got into the room, and then I suddenly realized that I loved my friend, so I wrote a letter in a hurry.
[… … ] I also add to my letter that it was only after I turned my desk over that I realized what a complex object it was.
- "If there were no suspicious things about you, it would be hard to like you"

The reason why “Moon Bo-young’s wordplay,” which involves telling seemingly absurd stories or linking disparate scenes, contains both wit and pathos is because it is “a life practice to avoid being crushed by the sorrow of the world” (Kang Dong-ho).
His poetry, which actively seeks to reveal the true feelings behind empty words, is a “long-winded and rambling letter” and a “hasty confession” (Jo Yeon-jeong).

* Shin Iin, "Bird", etc.

[… … ] Maybe the woodpecker didn’t run away.
It came right inside me.
If not, I wouldn't be able to feel the woodpecker like this.
I still can't stop talking about this feeling.
Deep down, you are alive and well.
[… … ]
You are there.
Thanks to this, I was able to dig into every nook and cranny and write down what the inside said.
I finally became a writer.
- The "bird" part

Shin In-in reflects on the shell of the past he has endured and the scars that may still be present in the “mirror of generationalism that is both disturbing and lovable” (Kang Dong-ho).
The strong honesty felt from his gaze, which willingly endures even the horror and looks at himself, may be the “spicy charm that the ‘poetry’ clothes he wears can show” (Oh Eun).

* Yoo Seon-hye, “Motel and Human” and others

The hand he waves to shoo the moth away, the moth's fluffy body, his smooth, hairless big toe, the cloudy powder falling from the moth's wings, the sweat dripping from his chin, and his very specific gestures.
From humans
Because I am human, I feel like a fine dust falling down
I felt like I was going to cough
- "Motel and Human" section

In a motel room where the unpleasantness, desire, and falsehood of the world are clearly exposed, in front of a gacha machine that holds infinite and terrifying possibilities, the poet sharply depicts the specific details of life with “sentences that are not exciting but low-key” (Lee Su-myeong).
Yoo Seon-hye's pessimism and consolation, which are "exactly contemporary and generational," are "a barometer that allows us to gauge the current state of Korean poetry" (Ha Jae-yeon).


* Lee Sil-bi, "Taxi" and others

It ran like a meter.
crazy
long
Until we get out of the tunnel.
No one met.
Even if you saw something that looked like a person, you couldn't be sure if it was a person.
When it comes to taxis, I am confident that I can recognize the taxi at a glance without confusing it with other taxis.
It still exists.
- The "Taxi" part

“Isilbi’s spatial motif, which is mixed with strange images while encountering issues of family, gender, exploitation, system, and hierarchy” (Lee Su-myeong) unfolds the violence and loss that intrude into every aspect of life like a cruel fairy tale.
The scenery of memories seen while riding in a shaking taxi with the poet “sadly reminds us that facing pain dryly sung can never be synonymous with overcoming it” (Jo Yeon-jeong).


* Han Yeo-jin, “The wind flows from high places to low places and people”

When I gather them all, I will build a house. I will hide sweet potatoes and taro on the warm floor. But, Grandma… … If you ask me how I should live my life

You have to hold on tight, really tight
- "The wind flows from high places to low places and people"

Han Yeo-jin's poetry, written "in a way that looks into, listens to, and imagines the history of the world" (Lee Su-myeong), brings existence and absence, extinction and rebirth into the realm of poetic experience.
As we follow the tightly woven, “winding, distant, and long-standing lyricism of life and death,” “a leisurely time and space” and “sensations that are happy and longing, but at the same time scary and lonely” (Ha Jae-yeon) unfold before our eyes.