She was student athlete for volleyball, long jump, and other sports, before she moved to Seoul when she was 14. She was the editor in chief of the Seoul Institute of the Arts journal and in 1998 made her literary debut with the short story «A Meal in August» through the annual spring literary competition sponsored by the Seoul Shinmun. Kang participated in the Seoul Young Writers’ Rina and kang and the East Asia Literature Forum in 2008. Christian social movement, environmental activism, and encouraging discussions between different religions.
Kang was a visiting researcher at Hosei University in Japan in 2007 and her main interest lies in environmental issues. She was selected for Daesan-Berkeley Writer-in-Residence program, funded by Daesan Foundation, she was in Berkeley, California in 2014. The stories embody the anxiety of suffering city dwellers in mundane locales damaged by natural disasters. Kim You-jeong Literary Award in 2011.
The story portrays contrasting images of a female narrator living in a provincial city affected by foot-and-mouth diseases and a young artist living in a major city. They all escape with the hope of finding a Utopia in the land of P. What awaits Rina, however, is a chemical plant in the mountains, a desert-like field of salt, an isolated village, Siring, a town of prostitutes, and a large-scale industrial complex. Rina makes desperate efforts to settle down wherever she goes, but there is no place for her to stay. The journey of Rina, in which she crosses paths with all kinds of vulgar people, whose business it is to murder and rape, and deal in human trafficking, drugs, and prostitution, is described in a unique tone of black humor, it is difficult to tell reality from illusion in this novel. In the end, Rina goes in the direction of another border, not the land of P, demonstrating the time-old struggle between nations, or borders, and humans.
Shaken — Paju: Munhakdongne Publishing, 2002. Every Day is a Celebration — Paju: Changbi Publishing, 2004. Black in Red — Paju: Munhakdongne Publishing, 2009. The Night He Lifts Weights — Paju: Changbi Publishing, 2011. Rina — Seoul: Random House Korea, 2006. Revised edition, Paju: Munhakdongne Publishing, 2011. Seoul: Jauem and Moeum, 2010.
Sad and Delightful Teletubby Gril — Seoul: Moonji Publishing, 2013. Bi-Lingual Edition Modern Korean Literature, Seoul, Korea, 2014. Library of Korean Literature, Dalkey Archive Press, Texas, US, 2015. Diaspora, Our Modern Fate,» ‘_ list Books from Korea, KLTI, VOL.
Books from Korea, KLTI, VOL. This page was last edited on 5 December 2017, at 22:56. What might be taken for granted as comfortable or soothing or beautiful in a novel that subscribes to bourgeois realism becomes intentionally alienating or disconcerting and potentially hostile in a novel about the subaltern. Korean into English by Kim Boram, is part of Dalkey Archive’s Library of Korean Literature series in conjunction with the Literature Translation Institute of Korea. Kang, a South Korean writer who has published short story collections that have yet to be translated into English, puts her main character Rina through unrelenting hardships. It is interesting to note that the first of Kang’s books to be translated into English is a novel that, in the midst of current media focus on refugees, is one that closely tracks the movements of one. Rina is informed and it is the truth of that logic the novel tries to approach, or excavate.
From the start of her journey until the end, Rina does things she doesn’t want to — submits to sex with her factory supervisor, kills people, sells sex for money, and continuously pretends. In one of her first jobs, taking over the role of a local aging singer, she spins lies about her situation to an audience of equally trapped, impoverished workers. She becomes a Scheherazade of the borders. Rina is then not the most reliable of narrators, experiencing extreme disorientation and displacement. In this way, the narrative emulates the arbitrary workings of borders and globalization, tracking a life that is meant to be a series of jobs that keep one going until death, after which only one’s debts have the certainty of living on.
The producer and the missionary are not individualized as bad or evil owing to some past event, bearing psychological scars. Instead, they are shown to merely operate along the lines of capitalist logic: cheap is best especially for labor, and what can be sold, must. They both refuse to enter into barter agreements for their efforts on behalf of the escapees and refugees and accept nothing in return but cash. Instead, Kang is interested in showing how a particular subjectivity is formed in relation to its external factors, a relation that depends entirely on one’s class — that is, one’s relation to the means of production. It is a world mediated by images — these people labor to make things that are then circulated as commodities that reinforce the primacy of the image — but in the world of the subaltern workers, the body is unavoidable. The labor classes are forced into close encounters with one another’s bodies. They have to see each other in all manner of being that bourgeois mores deem private, or ideally only shared between consenting adults, be it showering, peeing, giving birth, or fucking.
Rina is aware of how her body is put to use, either as an object of gratification for other men or as a source of labor for capitalists. Sometimes both of these ends to which her body is put to use merge, particularly through the sexual division of labor through work like prostitution. Despite this awareness, she has a hard time coming to grips. Whenever she sees her reflection in the mirror, she is either ashamed or surprised. Her physical appearance doesn’t fit with her idea of herself. But Kang recognizes that being oppressed by the logic of capital doesn’t mean that workers lack agency, wit, or kindness and are mere ciphers who robotically do what’s required. Maybe because the borders of the subaltern body are made porous while those of nations remain unbreachable, this is a novel that is especially attentive to landscape and its shaping of subjectivity.