When the Nobel committee acknowledged Han Kang in October for her physique of labor exploring “the fragility of human life,” it couldn’t have identified how related the theme would really feel in South Korea simply two months later.
Han, the primary Korean author to win the Nobel Prize in Literature, has lengthy been within the existence of the victims of violence, as explored within the context of the Gwangju democratic motion of 1980 in “Right here Comes the Boy” or the Jeju rebellion of 1948-49 in “No Goodbye.” By drawing out the historic traumas which have left deep scars in Korea’s trendy historical past, the novelist seeks to recollect and heal them.
And but the trauma of Korean society is ongoing. On Dec. 3, as a part of an influence wrestle, President Yoon Suk Yeol declared martial legislation, bringing a whole lot of troops to encompass parliament and raid the election fee. Lawmakers restored civilian management after about six hours, with out main violence, and have since moved to impeach the president.
Han’s work reveals how literature can lead a nation ahead from moments like these. She critiques our establishments and our historical past, and he or she seeks to grasp our individuals and to provide hope. Han does this by inspecting the connection between the native and the common, the nationwide and the worldwide.
James Joyce as soon as stated: “I’m at all times writing about Dublin, as a result of if you may get to the center of Dublin, you may get to the center of any metropolis on this planet. Within the particularity lies the common.” Han discovered universals within the particularities of Korean household relationships, violence and democratic actions. Her award is simply the most recent affirmation that the trail for Korean literature to globalize is to not search the summary common, however to discover the roots of actuality right here and now in Korea. The movie “Parasite” by Bong Joon-ho and the Netflix drama “Squid Recreation” additionally come from an identical cultural context and in their very own methods, by way of the native nature of Korean society, uncovered unstated truths in regards to the present stage of human civilization.
I imagine that the distinctive energy of Han’s work, expressed in poetic prose, lies in her capacity to interrupt with the shackles and norms which have been so strongly enforced within the Korean literary custom. The standards of excellent literature are to indicate a sure distinction and specificity, and such distinction and specificity isn’t solely doable by way of the person competence of the author but additionally by way of the buildup of the cultural competence of the nation and language to which she belongs.
Han’s award needs to be seen as honoring the rise of Korean tradition over the past decade, with the unfold and progress of the Korean Wave, or Ok-culture, which has seen Korean movies and dramas win prestigious worldwide artwork awards, and fashionable music, together with BTS, spreading the nation’s affect all over the world. This prominence isn’t doable with out the buildup of competence and the ability of cultural voice.
The Nobel is bound to extend curiosity in Han’s work and to draw readers all over the world, together with to “The Vegetarian,” which was published in English in 2016, and subsequent month’s English translation of “We Do Not Part.” I count on the award will enhance curiosity in Korean literature usually. Those that do discover Han’s fiction will shortly understand it’s removed from superficially entertaining; her tales require cautious studying and reflection on individuals and the world. It was by no means a protected guess that works resembling hers could be “fashionable,” however in case you put within the effort, you’ll be glad you probably did.
Readers all over the world who delve into Han’s writing and likewise observe the information from South Korea will respect the weird incongruity that my nation is experiencing now: We’re celebrating a Nobel laureate who explored our previous, whereas we additionally really feel anew the specter of a coup d’état, martial legislation and state violence. In her acceptance speech, Han requested: “How are people this violent? And but how is it that they’ll concurrently stand reverse such overwhelming violence? What does it imply to belong to the species known as human? To barter an inconceivable means by way of the empty area between these two precipices of human horrors and human dignity, I wanted the help of the lifeless.”
The occasions of December have solely underscored that Korean democracy certainly does want the help of the lifeless, and of residing artists resembling Han, and of allies all over the world.
Gilyoung Oh is a professor of English at Chungnam Nationwide College in South Korea and a literary critic.
