Bøger af Kim Hyesoon

Sydkoreas vigtigste nulevende digter Kim Hyesoon blander i sin digtsamling Dødens selvbiografi feminisme, mytologi og shamanisme i en vild, humoristisk og smukt hvirvlende undersøgelse af patriarkalsk vold, historiske traumer, kolonisering, neoliberalisme og død. Det er den første digtsamling, der er oversat direkte fra koreansk til dansk og er et hovedværk i sydkoreansk samtidslitteratur. Dødens selvbiografi består af en cyklus på 49 digte. Hvert digt repræsenterer én af de dage, ånden ifølge buddhismen flagrer rundt, inden den indgår i reinkarnationen. Om sin digtning fortæller Kim Hyesoon, at hun synger med de dødes stemmer. Primært de døde, der i Sydkoreas brutale historie er omkommet på tragisk vis. Som regel tavst og upåagtet. Kim Hyesoon påbegyndte Dødens selvbiografi under indtryk af Sewol-færgeulykken i 2014, hvor 250 skoleelever mistede livet. Da færgen, som lastede over lovgrænsen og transporterede jern til konstruktionen af en ny flådebase, begyndte at tage vand ind, fik passagerne besked på at blive i deres kabiner. Skibet gik ned, mens redningsmandskabet så til, og tv-kameraerne rullede. Det afsluttende langdigt ”Rytmens ansigt”, der ikke er en del af cyklussen, kredser om smerte, den syge krops grænser og meditation. Bogen indeholder et efterskrift om oversættelsesprocessen af Maja Lee Langvad.

First British edition of leading South Korean poet known for her innovative experimental feminist poetry.

Poetry. Asian Studies. Translated from the Korean by Don Mee Choi. The first full-length English language edition of one of the foremost woman poets in Modern Korean poetry. Kim Hyesoon was the first woman recipient of the prestigious Kim Suyong Contemporary Poetry Award, and is the author of eight collections of poetry. In Kim Hyesoon's saturated political fables, horror is packed inside cuteness, cuteness inside horror. Interior and exterior, political and intimate, human and animal, agent and victim become interchangeable, interbreeding elements. No subjecthood is fixed in this microscape of shifts, swellings, tender subjugations and acts of cruel selflessness

WINNER OF THE NATIONAL BOOK CRITICS CIRCLE AWARD FOR POETRYAn iconic figure in the emergence of feminist poetry in South Korea and now internationally renowned, Kim Hyesoon pushes the poetic envelope into the farthest reaches of the lyric universe. In her new collection, Kim depicts the memory of war trauma and the collective grief of parting through what she calls an "I-do-bird-sequence," where "Bird-human is the 'I.'" Her remarkable essay "Bird Rider" explains: "I came to write Phantom Pain Wings after Daddy passed away. I called out for birds endlessly. I wanted to become a translator of bird language. Bird language that flies to places I've never been." What unfolds is an epic sequence of bird ventriloquy exploring the relentless physical and existential struggles against power and gendered violence in "the eternal void of grief" (Victoria Chang, The New York Times Magazine). Through intensely rhythmic lines marked by visual puns and words that crash together and then fly away as one, Kim mixes traditional folklore and mythology with contemporary psychodramatic realities as she taps into a cremation ceremony, the legacies of Rimbaud and Yi Sang, a film by Agnes Varda, Francis Bacon's portrait of Pope Innocent X, cyclones, a princess trapped in a hospital, and more. A simultaneity of voices and identities rises and falls, existing and exiting on their delayed wings of pain.

Poetry. Asian & Asian American Studies. Translated from the Korean by Jiwon Shin, Lauren Albin, and Sue Hyon Bae. A landmark feminist poet and critic in her native South Korea, Kim Hyesoon's surreal, dagger-sharp poetry has spread from hemisphere to hemisphere in the past ten years, her works translated to Chinese, Swedish, English, French, German, Dutch, and beyond. In A DRINK OF RED MIRROR, Kim Hyesoon raises a glass to the reader in the form of a series of riddles, poems conjuring the you inside the me, the night inside the day, the outside inside the inside, the ocean inside the tear. Kim's radical, paradoxical intimacies entail sites of pain as well as wonder, opening onto impossible--which is to say, visionary--vistas. Again and again, in these poems as across her career, Kim unlocks a horizon inside the vanishing point.