Kim Hyesoon (born 1955) (Hangul: 김혜순) is a South Korean poet.
When I was at university, the policemen used to measure how short the women's mini-skirts were and how long guys' hair was. We were living under a government that considers people to be soldiers.
In my opinion, poets talk through the symptoms of disease. These symptoms of disease are predictions, screams, and songs.
If you propose there is a feminism problem in Korea, somebody would point out that you are bringing up antiquated issues. No one acknowledges that discrimination against women is still widespread.
Women are foils to men. It is hard for women to take a lead role even in NGOs for political resistance.
There is a specific kind of day when I feel like writing poems. My senses become really sharp. This day is when I feel as if I am drowning into the abandonment of death.
We carve on our body what society teaches us and continue this task, not knowing the identity they force us to have. This identity is carved on our faces and our skins. Not knowing our bodies have become "the paper made of human meat," we stuff our bodies and make them a theater where cultural symbols or suppressed symbols play.
The rhythm of my body is the same as my mother tongue. It is in this rhythm where I find sanctity, that I can return to my mother who is everywhere in the universe.
Women who have been disappeared by violence are howling. The voices of disappeared women are echoing. I sing with these voices.
My tough and grotesque images were thrown on the roads and were stepped on by my critics, and I was talked about with scorn. I felt regret that readers only seemed to like something they were accustomed to.
If someone asks, Is anyone alive? Break, your, head, open, and, show, your, ten, ta, cle.
Women in Korean myths disappear after giving birth. The reason they were born is to produce sons.
It is difficult to disturb the common usage of Korean that is bent to the perspective of a male-oriented society. Korean society is based on both a politics and history that have been disguised as a solid society of solid male poems, a solid written language, fixed rules of how to write literature, and a narrative language.
The body of poetry is nothing but energy, waves, rhythm.
I came to grotesque language in the patriarchal culture under the dictatorship. The body that was broken into pieces is a sick body. I put the disease of this world and my sick body together.
It seems Korean women are enjoying a passive and fragile status, intoxicated by appearance. Not only feminism, but any serious discourse ends up being swept away by popular culture in Korea.
Since the boundary of the world of poetry is fluid, the language in it is also fluid. Hence, the language that is outside of the poetry world, namely the language that is not the language of poetry, cannot go into the poetry world.
When anger and sorrow overflow, sometimes it becomes poetry.
Korean feminism has been swept away by popular culture. It became a sort of old-fashioned trend or a joke.
As a university student, I tried hard to write poems in Korean. It was at that time that I foresaw my death and the world's death. I think my poems started at that time.
We have certain rules for traditional lyric poetry in Korea. I twist my body, confused by what to say and how to act, facing these rules. Confronting traditional lyricism, I speak with a bare body without the tattoos of culture on it.