Homecoming (귀향)

You land with gold over the Red Centre still in your head.
The road taking you home to the sea is a lizard flattened in the heat.
The light does the talking, the light splinters all over the place.

Who lives here? Who comes into the leaf-lit room?
An ancient traveller is led by a warm lovely hand into a garden.
Look, look, look, says blessedness, before he eats and sleeps.

One bird then another bird keeps him afloat and awake—
lilypond mind, the lapping of silence, old waters that are deep,
a sleep at the bottom of the ocean, sleep drowning memory.

Later the same day that is night he wakes into silence.
There, nearby and faraway are the loved ones speaking,
the right words in their throat, cooing into his speechlessness.

Later the same day it seems to be the real sea he is in,
salting the odd word, washing him back into blazes of time.
Rediscovering his freestyle under the Turneresque bushfire sky

he swims—that’s it, you swam into the aesthetic of homecoming!
They have not changed, they are only more beautiful your loved ones.
You kiss the return, you find specs of ash on the pillow.

Posted in 44: OZ-KO (HOJU-HANGUK) | Tagged ,

Old Photo: The Union Buries … (오래된 사진: 조합원이 땅에 묻는 …)

A solid pack around his grave.
Good steel to a magnet, the sky leaden
with the warmth, somehow, of common ground.

I did not know them all
but the bulk of them knew me. Their leader
told them of his bookish son

and of his grand children gathered, see—
near my elbow on the lava plain
on the hard crust of the Flats

near thistles, stone walls, Carbon Black
and the cracker’s flame leaping
where the cranes once flew

over a lad’s lizard-hunting days.
That was the time of solid stories,
of organizing rather than mourning.

This group, with family in it, is resolution.
I remember stupidly thinking, ‘the clay’s so
sticky no union man could turn in it.’

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To the God Skype (나의 신 스카이프에게)

The face of the loved one
the only face
the face which speaks to mine.

One leaf curls to the other
they fold, in and out
To each other’s autumn breeze.

Her perspiration, the brow that she wipes
her labours to be well,
to rest the right way. O love.

Her beautiful hands that belong to the piano.
Her wrist, exquisitely showing her bangle.
The palm that rests in the small of my back.

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The Peace Pagoda (평화의 탑)

You might have just glimpsed
the way to write this book:

Start with Thich Nhat Hahn’s recollection of Ben Tre
the city he knew from which a few shots
were fired at American planes

that came back
to wipe out the whole city.

We had to destroy it to save it, the Yanks said.

The fire in the monk’s heart lasted for days.
Anger consumed him.

Then he sat down and embraced it:
‘I looked deeply into the nature of my suffering.
Then compassion arose in me…

The young men sent to Vietnam to kill
and be killed suffered deeply.’

How on earth did he get to this point?
If your book could start right there, right here…

After reading Hahn on the way to Nagasaki
you felt worthless.
You did not have a peace book in you.

You have numerous books of war.
Scorn knows no bounds in you.
Not a night passes without a dream that seethes.

Your peace book has to exterminate the warmongers!

But no.
It has to start with an embrace, like old Walt’s:
‘I would not tell everyone, but I will tell you…’

However.
‘You’? Who are you?

In Japanese, the character for Other
is made of Man, and Scorpion.

All creatures.
All creatures are our neighbours.
Will you ever be able to fully believe that?
Can you, as they say, make that work for you?

Six weeks after the Nagasaki blast
the ants came back to the surface of the earth.

Somehow, in the course of composition,
re-compositions, your insect mind has to
become as hard as nails.

It’s not a matter of loving your neighbour.
It’s a matter of loving your neighbour
as you love yourself

if you are able to love yourself.
Let the book start there if you can
and if you can’t, you can’t—

which might be where the fire really starts—
with the hard-baked zero
the Self-immolation part

which is not an ‘embrace’:
there it is, your anger, rising into the ether.
Thereafter, some words will emerge, yes:

try to make a clear start with them
see where they take you
try not to simply assume a peaceful end.

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Pattern recognition #2

Pattern recognition, no. 2, by Sebastian Gurciullo

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Oz-Ko (韓 – 濠)

Pattern recognition algorithms only give us ‘fuzzy’ matches,
eschewing the exact in favour of the textual, or else the sublime.

This text, then, serves as a warning that “Oz-Ko”, the present
object of study, is not an object at all – rather, an attempt to trace,

using machine translation and serendipity, the metamorphosis
of tiger into bear. In fact, there’s an app for that, like most things.

The opening screen locates the user inside a terrace house,
the kind that students used to occupy in the early nineties but

which is now a facade for something else, something bigger.
Just like Agent Orange, the evening descends without mercy.

Once inside the zone, you experience strafing runs that paint
oil on air, feel the shock and awe. There are Australians here,

fighting both for and against the Koreas. Post-apocalypse,
some sing nesting songs, in voices filled with the quiet hope

of reconstruction, while others write poems without mothers,
or texts hollow and sad. In a perfect evocation of melodrama,

looking to the south, we see the compass points have switched:
convoys perform thirty-eight-point turns, crossing the Han river

and driving north. Having reached the old Mintongsun Line
we exit the vehicle and buy a couple of energy tonics from the

conveniently-located convenience shack/PX. The young guy
serving us grins at our grey watches, or our Antipodean tans.

The sign says something we cannot read or understand. This
is only to be expected: we begin from a position of ignorance.

For example, it takes a certain kind of person to interpret that
sign as saying Do not feed the lion when there’s no zoo for

miles and the strokes country cries out for sustenance, rains.
Nothing much surprises anymore. That’s the way of cliché.

It sounds familiar when you travel back to the world made up
by that White guy in Voss. The sky becomes blue as a new

Renaissance, internet explorers ride URLs through the desert,
the hooves of their camels pressing hyperlinks into the sand,

while faraway Laura tweets the sudden rain in Tilba Tilba.
Between these two imaginary notions – the Oz and the Ko –

lies an interface of skin, a winding path of dim calculations.
You don’t meet many anthologists along the way but then

again, you hadn’t expected any. The sound of the old bark
peeling away from the trees holds you captive, makes you

wince. You have no names for any of these trees, either, so
you concentrate on the farmhouse instead. Ants crawl over

your hands and make jagged patterns. There is an old canal
that’s teeming with carp. They, like us, have been imported,

shipped in barrels and bred in tanks. Let them loose in stolen
rivers, introduce them to the peace pagoda’s ponds. We see

smoke rising and experience some kind of volcano meditation.
Out of water, we suck in the still-free air, to no avail. It would

take more than the tricks of an everyday magician to save us
from our own planned obsolescence. Again with the arrogance:

if attacked by a shark, blame the shark. When travelling in a
strange land, hate the strangers. And don’t forget to take some

photographs and post them on your blog. Come on now, we’ve
all been caught calling Korea at some stage. But who are we?

Is your history, when it comes down to it, just a blog entry with
no previous post? Okay, this sounds pompous, but then so do

many poems when read out loud. Are you a member of the new
carless generation, or does your life revolve around road trips,

the cinema strips of tar? Pity the bus drivers outside Tongdosa!
Stuck there for hours at a time while the tourists seek Buddha!

Does this sound familiar? What is this place at which we think
we’ve arrived first? How can we go out to be in time, when

our moments collapse into memes, instead of correspondence?
Tiring of the narrator’s rhetoric, another poet pens five sijo for

her raider. Noting that the plural of sijo is also sijo, all the sijo
in the world merge into a single sijo, just as all the coastlines

you have ever known eventually turn into one big empty road,
or a wave. Suddenly a bagnier pulls you from the surf, saving

your modesty as much as your life. You peruse the next slide:
a view from the memory in which we try to kiss each other.

The border guard inquires as to your state of origin but you’ve
left your passport behind in the burning village. Similarly, two

sisters found at the central railway station in 1907 were unable
to provide identification; just three years later, their country was

annexed. Recycling the possible proves to be the only option –
but how? The wind says it is not possible. The buildings swaying

like trees scream “Don’t be stupid” and sound like they mean it.
Apparently healing is harder to practice than it is to recommend.

Still, your survey of bearded men produces startling results; in
fact, several journals are interested in publishing them. It’s all

very well to talk about translation studies but aren’t the gaps
between what make language and communication really interesting?

The next slide, a view from the Yarra Bend with two men, stops
that train of thought in its tracks. Maybe this is just as well. After

all, it’s midnight and the convenience store is closing in an hour.
We’ve been here once before, although the context was different:

you were running after Hwang Jin Ye. We bought Pocari Sweat
because it was humid outside and the bottle mentioned something

about ion supply. I was compiling a book of lepidopterists’ anecdotes,
entitled Colourful Moths of North Korea. Some things you just

can’t make up. A Host is an organism that harbours parasites. Yes,
true. It says so right here in Wikipedia. You pulled out a notebook

and penned a paean to the God Skype. After that, we decided to
go shopping. The malls were all open, and the smoky street stalls

looked inviting as well. Eventually we chose a Korean triptych:
silkworm larvae, sundae and beers. Strangely enough, they didn’t

sit too well together in our stomachs, and we lurched towards the
subway entrance crying Aa-zaa-dee!, which has no meaning here.

According to The New Scientist, North Korea could make two
nuclear bombs per year. At that rate, No-Ko will be the world’s new

superpower in 4550, give or take a decade. Nevertheless, as old
Gough Whitlam might have said, It’s Time, It’s Time to dust off

the stereotypes once more, to reduce an entire culture to puppets.
Or just one puppet … Students know the drill: copy, photocoffee

Till the library closes! Nick Cave may be popular in Seoul but
we just can’t tell yet. Do you know what “Here’s To The Regular

Air Force Korea” is really about? Tell everyone what you think.
Ah, “Mea Culpa”. That was just the Internets, stalking my bad.

A double abecedary on tertiary teaching sounds like trouble.
Extra points awarded to students who can render said abecedary

in four dimensions. There’s that temporal ghost again, sprawling
on the footpath outside the HQ like an exhausted cyclist, crying.

The compass point swings north again, like a turnstile in reverse,
or a screen-printer’s squimjim, or a crème brûlée. Young people

are sitting in cafeterias, not following instructions. Fall in love.
Do it now. That’s an order of magnitude for you. Take a number.

Languages that were never spoken where “I came from” sound
beautiful and dangerous to the ear. In the mouth, they taste just

fine. Is this it? The zero turning into one? Call it an approach, an
invitation. Just don’t pretend you came here for enlightenment.

Posted in 44: OZ-KO (HOJU-HANGUK) | Tagged

Kim Young-Moo and Perth

The Swan River is central to Perth’s mythology. It’s the proverbial lifeblood of our township. If we were feudal, we’d bring our horses to drink from it, our children to learn the magnitude of life it contains. Of course, now our river blossoms algae, and we move from feudal to almost futile. As settlers, we have disrupted the mythology Indigenous Australians birthed it with. We have even accidentally pumped it full of effluence, the foreshore attracting its own sense of chaos and grand uncontrollable beauty. And yet, it still captures our imagination, although we are watching it die.

As somebody who was born elsewhere, I can identify with Kim Young-Moo’s Perth poetry. His awe for the Swan River corresponds with an awe that has bloomed through my own poetic tropes. It’s an awe I have seen flourish in the poetry of other West Australian poets, those who I admire or aspire toward. Perhaps it’s the innate love of rivers, a shared ancestral respect for these points where we build our cities. Or perhaps it’s because there is something truly magical about the Swan River.

After all, according to the Nyungar people, the Swan River was created by The Wagyl, a winged serpent who created the troughs and slope of the river with the breadth of its body winding through the landscape. The Swan Brewery, near Perth city, is the site at which it apparently has and continues to slumber. The construction of this much lauded yet now largely forgotten building was fraught with bad publicity, both literal and supernatural. Once built, it reminded me of having all those hollow contrived lines that make for the setting of a good horror movie. After all, the site is an attractor of the horrific, with more than one Perth poet writing about the inherent violence that ghosts and scars this site. And all the while – beneath it – a mythic beasts harrows in its sleep, haunted by nightmarish visitants who take the form of little white men with huge greedy eyes that swallow and swallow and swallow.

Our river is populated with various waterfowl. Pelicans calculate with exactitude the currents to swoop, freeway lampposts their lookouts. Ducks cling to the shores, jostling on the lapping waves. Herons skulk and stalk the shallows, meditating on extraction. And then there are the swans. Correction: and then there are the black swans.

If swans are elegance personified, their black counterparts are maverick and slightly malicious. Swans in general are known for a savage strength, their wings and beaks legendary, the bird capable of breaking a man’s arm. But white swans would, perhaps, refrain from such violence. After all, it is not befitting royalty, and white swans are supposedly descended from royal blood. The black swan, however, is descended from the common people. This bird is the salt of the earth. It embodies, more than it can imagine, the down-to-earth larrikinism of the Australian people. No surprise, then, that it is one of the emblems of this state of Western Australian. Black swans emblematically wing our flags.

Black swans were considered mythic until they were discovered in 1697. It’s this span from myth and legend that led Nassim Nicholas Taleb (2007) to develop the Black Swan Theory. This theory suggests that, as it occurs, an event is surprising and has an impact on the observer… at least. In retrospect, or in contemplation, the event becomes rationalised. It could, in effect, have occurred at any time to anyone: probability makes the impossible and spectacular a potentially commonplace occurrence. It makes life… mundane.

Poetry bears similarity to the Black Swan Theory. The event experienced by the poet is profound. It is life-changing. It is unique. It is rare and exceeds expectations. It is a fission of potentiality. It must be captured. And in capturing, the rare becomes rationalised. It is edited for effect. It is adapted, changed, remade. It becomes a probability of poetics, at its most accomplished, capable of recreating the majesty of the initial event in full effect, but only existing as its approximation. It is not the event itself. It is merely a report of the event. This essence may be captured and depicted through the technical skills employed but the poem itself is not the event that inspired it. It is a black swan – rare at first sighting, but ultimately commonplace in the statistical realm of human experience.

Yet, for a moment, that black swan is a majestic enigma, breathtaking to behold. Kim Young-Moo’s poems are like such creatures. It’s no wonder, then, that his more transcendental – or shamanic – experiences use the black swan as the central image around which the scope of the spirit pivots and shifts.

Perth: riverside with swans

I want to build a nest and spend some time here.
Becoming a water bird

I want to visit that forest of masts
across the river, moored with sails furled.

No matter how dazzlingly the lake waters
shine somewhere in the sky

today,
I want to go flying

low, low
over the blue rippling waves

feeling the wind blowing on my breast
like a bare winter tree

on some snow-covered mountain slope.

In his poem ‘Perth: riverside with swans’, Young-Moo invokes grokking, a shamanic practice of entering the body of an animal, a practice traditionally used to gain knowledge or wisdom. Here, Young-Moo groks with the black swan. “Becoming a water bird” is a tenuous process, Young-Moo’s deliberate use of a grammatical dangler to open the sentence pitching the act into a vague placement of action.

As he travels, the “forest of masts” he longs to visit invokes the sotdae of Korea, totemic poles typically crowned with the carved effigies of water-birds. They ward off evil spirits from villages, and sometimes mark celebratory rights of passage. Here, they herald good spirits toward them, captivate the soul to take flight, as it were, becoming hypnotised by the process of transcending. And Young-Moo succumbs, his soul enthralled in a winged flight over waves, the world capitulating upside down so “lake waters / shine somewhere in the sky”.

The experience is so mesmerising it carries Young-Moo back, far back, to the haunting simplicity of the Korean wilderness. The process becomes stripped of magic, anchored in a profound vista where the sotdae shucks its totemic quality to become merely a tree, the cresting of waves magnified into a froth of snow, the shoreline sloping to become mountainous. It is no longer the poet who has transformed: the world has shifted around him, become a vision of another realm, a place he knew and yearned for. And that place is the barren majesty of home, a landscape that is alien to all those who visit it, but not those who seek sanctuary within it, who “build a nest and spend some time”. Such familiarity is only achievable if you succumb, entirely, to the place.

It is a poem which reflects many aspects of traditional Korean poetry. In fact, its closing twin images are iconic in conjuring up an Asiatic vista of harmony and oneness with nature. They are almost iconic in that respect, iconic like the black swan is to Western Australia. Here though, landscapes are tinged with an otherworldliness – ultimately, we are all aliens here, unless we identify as Indigenous Australians. As such, a folklore and legend unknown to us and our modern conquests sleeps within the landscape.

Image: Jackson Eaton.

Young-Moo feels this. His poetry hints at it. Yet it is through the perceived presence of this sacredness that Young-Moo is able to invoke the same myth and wonder of Korea – essentially, the two landscapes reveal their secrets to those who are born from its bloodline. The revelation is unique to the culture, naturally. Myself, I still stand outside both of them, feeling what lies beneath, hinting at it with my own poetry, but not able to transcend it fully: it is not my place to appropriate indigenous religious or shamanic beliefs for my own gain.

This land is to be honoured. It will reveal what it chooses to reveal as it sees fit. I must merely wait. For Young-Moo, the revelation was the harmony that resonates from home and the stark majestic scope inherent to such resonance.

It becomes evident elsewhere in Young-Moo’s black swan poems that the affinity with the Australian landscape extends to Indigenous Australians too. On first reading, his poem ‘Formalities of thanks’ made me incredibly uneasy. Here are bold statements that, out of context, can be construed as racist. After all, we’d expect rednecks to say “Native Australians / do not know how to say thanks” – although such people wouldn’t have the decency to use such a politically correct term when addressing the traditional owners of this land. For Young-Moo, the certainty of the statement is tenacious. It continues with him instructing the reader to “not expect / any kind of expression of thanks” if you gift them food or drink. As an opening stanza, it smacked of the same dogged determinism that racism and bigotry does. And just as I balked and dared to move on, the second stanza expanded the sentiment, explaining the tribal nuance of gift-giving, how “everything is a gift from their tribal spirits”.

Formalities of thanks

Native Australians
do not know how to say thanks.
If you give them biscuits or some chocolate,
or a few cans of coca-cola,
you must not expect
any kind of expression of thanks.

To Australian aborigines
everything is a gift from their tribal spirits.
Once a year they gather to thank the gods
in songs and dances, and that is all.

We are all brothers and sisters of the same tribe,
everything under the heavens is yours and mine,
so no need to say thanks to anyone.
All is freely given, freely received,
and as there’s no word for thanks
there’s no ingratitude either.
Ah, how fascinating the barbarity
of the black descendants of the Rainbow Serpent!

There’s nothing new under the sun
and there’s nothing in the world that is ever old
so how disgusting
the laws of etiquette in advanced civilizations
that consider patents, copyrights and vested rights
sacred and inviolable.

What began as an expression of foreignness, unfamiliarity and contemplated experience has become, in part, a commentary against civilised societies and cultures around the world; the scope of conviction broad enough that it lacks any hint or tone of racist or bigoted thought. It is comment. Comment must be broad. To be specific is to single out. Young-Moo deftly circumvents that, essentially criticising the capacity of his own society and culture, as well as those he has navigated through since.

After all, “the laws of etiquette” make for a disgusting display of how coveting and conquering mar any intrinsic familial bonds of society, forsaking a collective community for the feudal bond of the singular family. Bloodlines work in harmony, do not amass by forsaking connectedness. It’s a societal epidemic that stems from such nations’ disconnected relationship with the world they inhabit, the world that gives to them, unconditionally, the world they need not thank. Formalities have overshadowed the simple act of being grateful. We are consumed with modern living. As a result, we have forgotten how to be unique.

Thanks only comes through begging, bargaining and desperation. We are desperate to sate our consumption, having forgotten what our ancestors taught us, forsaking them for skyscrapers and mobile phones and mega-corporations who confront each other, waging their boardroom war in our pockets and bank accounts and in our unending need to be spiritually whole, even though our spirit long ago slumped over itself, sick from civilisation.

And again, the harmony of Young-Moo’s black swans, the harmony inherent to Korean poetry, resonates. It beckons. There is peace, somewhere, amid all this maddening sound. There is gratitude too. There is an insatiable desire to see, and to reflect. Within Kim Young-Moo’s poetry there is a dual capacity; for great poetry, no matter what culture it comes from, contains harmony and gratitude.

Additional material on Kim Young-Moo:

Translations and a short biography by Brother Anthony
Selected Poems
His work as a translator with Brother Anthony can be found in Ko Un’s The Sound of my Waves

Posted in ESSAYS | Tagged , , ,

Tim Wright Reviews Ken Bolton

A Whistled Bit of Bop by Ken Bolton
Vagabond Press, 2010

The cover of A Whistled Bit of Bop makes use of a cool, spare design, reminiscent of 60s jazz album covers. It’s a change from the handmade look of many of Bolton’s earlier collections. The O and P of ‘BOP’ are also the record and arm of a turntable; the circular author photograph on the back cover – showing Bolton in a thumb-to-chin thinking pose – might then be the sticker in the centre of the disc about to be played. The collection contains twelve poems, nine of them long or longish ones. There are poems here which begin by describing the scene or occasion of writing and find their way from there, collaging thoughts, questions, quotations, references to R & B and jazz musicians, and imagined meetings with others (poets living and dead, a talking pigeon).

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Jal Nicholl Reviews Best Australian Poems 2010

Best Australian Poems 2010 edited by Robert Adamson
Black Inc., 2010

It’s hard to write about a collection as diverse as this. It has no theme really except what Adamson mentions in his introduction, quoting Baudelaire’s poem ‘Correspondances’, a poem, to paraphrase blandly, about mysterious relations between things of different kinds. Anything can be compared to anything else, but is there a “ténébreuse et profonde unité” (“dark and deep unity”) in this collection, as Adamson seems to imply? I’m not sure what he means by “poetry is one way to decipher lyrics from electronic jargon”, but I guess that the reference to Baudelaire’s poem is a way of saying that the book as a whole is big and diverse, giving rise to a chance network of interrelations.

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What the Job Is: Notes on Racism and the Cultural Divide

The Elephant in the Room

My plan to start teaching phonetics in my Korean English class actually germinated in Nepal. I began to notice signs similar to ones I had seen in Korea, toting the English language as a kind of educational panacea. I found myself wondering if the modern world was engaged in a cultural war, an effort to arm itself with my mother tongue. A policy of Mutually Assured Comprehension. Aware of my role in this cultural siege I decided I would make better use of my classroom time to teach things the Korean syllabus was not imparting in regular class time – word pronunciation, aural recognition of key words and English inflection.

It began well. The first week I taught syllables and played a classroom game where students had to solve maths problems where the integers were the number of syllables in a sentence. The next week I tried to teach word stress but had greater problems as there are so many exceptions to English stress patterns. The third week I had gotten to inflection but was facing real resistance from the kids.

One student asked me,“Teacher? (pointing to sheet) Last week?”

“Pardon?”

“Syl-la-bles. Last week? Syllables?”

If the kid had aced the sheet I would have understood his frustration. Problem was, he’d gotten half of the questions wrong. The final straw came when walking back from one of these unsuccessful classes.

My head was down, I was obviously frustrated and my co-teacher said to me,“I think this class is too difficult for the students.”

“Yes, but I think it is good material. I just need to make the subject easier to understand.”

“I think maybe you should just entertain the students. This subject is too hard.”

In the hopes of representing myself as an anything-but-unbiased-reporter I will quote verbatim the Facebook status update that immediately followed.

Daniel East is sick of DANCING LIKE A F—ING MONKEY! Dance monkey DANCE! Speak your goddamn monkey tongue. Play for our children. Ornament our school. Caper, smile, be our f—ing fool.

Playing the Race Card

I thought I knew what racism was. I had by turns been indoctrinated (by a grandfather who had fought against the Japanese in WW2), learned its dangers and ugliness (after an embarrassing display in primary school), read about the critical discourse surrounding it (a modest amount of Post-colonialism and Frantz Fanon at university) and finally thought I understood its pervasive, alien character (when I witnessed the extreme racial segregation between indigenous and non-indigenous Australians in Broome). But these were abstract, intellectual definitions – nothing prepared me for being treated differently due to my race and more importantly, reacting against this racial identification by generalising the reaction of individuals as indicative of a racial group.

The more I have thought about this event the more ashamed I have grown of the Facebook outburst above. The “R” word lurks like a leviathan of the shimmering deep beneath the drunken exchanges of the ex-pat community. Many other teachers have expressed similar feelings to the one I expressed above – feelings of being ostracised, undervalued and demeaned by our staff and students. But are racially specific complaints racist if they are partially justified by typified behaviour?

What the Job is

In Korea the job of the foreign teacher is simply to be a foreigner. Every school is different but most waeguk teachers (waeguk literally translated is “foreigner” but can be more correctly translated as “not Korean”) will be required to devise their own class material – and their efforts will be supported in class by a Korean co-teacher whose job is limited to translating directions and enforcing discipline. When school events come along (carnivals, festivals, excursions) the foreign teacher will remain behind his desk when the school may be almost completely empty.

He or she will be asked to prepare for open classes that other schools from the district will attend. These schools will bring their own foreign teacher along. Far from being an opportunity for teachers to share advice or ideas, the lesson is prepared in uncharacteristic detail and often delivered in expensive-looking rooms the students and teachers rarely see – effectively rendering any feedback irrelevant because the class itself is uncharacteristic of any regular teaching practice. Even the students do not benefit from these forums as the host classes chosen are generally removed from their regular syllabus to drill the lesson over and over. It is not uncommon to see students answer questions before the teacher asks them.

Dissent in the Community

Amongst ex-pat teachers these outlandish open classes are the tip of the iceberg. Twice a semester Korean schools undergo a radical shift as students prepare for their exams. Teachers stay late drafting papers, students begin to wear their blazers and vests to school (even in the middle of summer) and the foreign teacher finds all his/her lessons cancelled, sometimes at the last minute, for days or weeks before. Patrick, a friend of mine who lives one subway stop along, has had no work for almost a fortnight.

Image: Jackson Eaton

Well, almost no work. His job is to arrive in the mornings and deliver the ‘English Address’ (unscripted, unprepared English phrases spoken over the intercom the entire school repeats) and one after-school English class a week. This after-school class is a rotation of the entire school’s Korean teachers who are encouraged by the principal to teach all their subjects (science, maths, art) in English. Patrick delivers English lessons to overworked Korean teachers many, many years his senior in a country where age difference is so far ingrained it forms a linguistically complex part of the grammar (only a decade ago it was almost unheard of for Koreans to make friends with anyone with a few years age difference).

Yet Patrick’s Korean co-teacher (the person in charge of handling his paperwork) told him that if the principal was not present in the class to let the teachers go. They are ‘too busy’ to spend time in his class. An awkward situation for all involved, made worse by the reactions of the Korean teachers. Patrick said the class behaved like his lower level students: they were hard to control, talked to each other when he was speaking and paid no attention to his lesson.“I tried to teach them Yesterday by The Beatles. I mean, it’s Paul McCartney, man. Paul McCartney.”

A Better Defence for Future Outbursts

In the replies to my Facebook status mentioned above, one friend commented: “You’re not a person anymore, you are just a useful interactive book”

The stages of culture shock are well documented on the Internet, so I feel no need to dwell on it here. But generally they form a three step model consisting of a ‘Honeymoon’, followed by a period of ‘Adjustment’ that (sometimes) culminates in ‘Integration’. I had hit that second stage and begun to exhibit frustration and anger – but it was the nature of my anger, and that damned elephant in the room that I began to dwell on. Was it Korea that had gotten to me, or the job?

After all, was it all that surprising that I was given no responsibility during the important exam period, given that my position is entirely transitory and my presence limited to the twelve months of my contract? Is it surprising, given the language barrier between the staff and myself (even the English teachers are not particularly confident or fluent) that they encourage me to teach easier lessons so I don’t get so agitated? (I noticed many of my teachers were consistently getting the stress and syllable questions wrong). And was it really that odd that my lack of responsibilities engendered a little hostility among my co-workers – that it bugged them when they were busily preparing tests and dealing with rowdy students that I was watching season after season of The Wire – and getting paid to do it?

In my opinion, it comes down to this: racism is not making cultural generalisations but believing them to be the root cause of all problems. During the “Syllable stress teaching nightmare” period I had one student who openly mocked me in class by repeating all my instructions in a high, bitter falsetto. But instead of thinking, “Damn middle schoolers” I thought, “Damn Koreans.” When I had a class that wouldn’t behave because my co-teacher didn’t show up for a lesson I didn’t think “God-damned fourteen year olds,” I thought, “God-damned Koreans.” The frustrations I felt were more indicative of general human jerkishness and not culturally engendered disrespect.

Although I’ve had moments of being treated differently due to my race (older Koreans not wanting to sit next to me, teenagers giving sarcastic high fives, a co-teacher laughing at a student who mocked me behind my back) it was not a balanced response to blame the culture as a whole. I’ve had kids who’ve practically gawped with excitement to see me on the street, who rush into the staff room to say hello, teachers who have sat with me at lunch and laughed with me as I struggle with Korean pronunciation. The cultural divide exists, it causes anxiety and anger but it is not the entire reason for my problems. In my own culture, faced with a difficult workplace I might hate someone, but never an entire race. Over here, choked by the inscrutable bureaucracy, I turned my anger on the Koreans I was educating and working with. Understandable, but deplorable.

So what to do? Personally I’ve decided to embrace my lack of responsibility within the school system. I’m going to teach my own childhood interests (dinosaurs and the solar system) and hope I manage to impart some of the same wonder these subjects held for me when I was that age. Until I get told I’m not doing my job correctly – and then I’ll have to adapt all over again.

Post-script: The Korean for ‘Burden’

As so often happens with this type of article, the perfect closing moment came after the article itself had been finished. Never one to tamper with chronology I will relate it here.

Our school recently lost the head of its English department, a very kind and co-operative teacher I knew as Susan (when speaking of her to another co-teacher she didn’t understand who I was talking about until I pointed her out. No one was familiar with her English name). She was replaced with another woman whose name I have forgotten and been too shy to ask for again (see how it goes both ways?). Seeing no one else in the staff room I asked her to lunch and she came with apologies for not asking me earlier.

Our conversation was making a good clip on subjects of immediate interest and her time abroad made her more comfortable and fluent with her English. So it was that we were discussing the 2010 kimchi price hike when two older Korean teachers came and sat a few seats down from us. One of the ladies leaned over and said something to my co-teacher and she smiled a little awkwardly, nodding in return. Knowing I usually don’t get a translation of what is said I didn’t ask – but she offered immediately.

“They say the English teacher is a burden.”

“Oh.” Pause. “For you?”

“For them. I think they are very scared of you. They have only elementary English.”

When I pressed her on this, she related her experience at university where she saw a foreigner for the first time and could not understand anything he (the lecturer) said. “I think many Koreans have a fear of foreigners.”

Connecting this in my head to the article, I began to ask what sort of material I could teach to help students overcome this fear of speaking.

“That is a very fundamental question.”

She leaned back a little and began to cover her mouth as she spoke.

“I think it is good for you to just teach anything to the students.”

“Anything at all?”

“Yes. It is good for them.”

“For them just to see and listen to me?”

“Yes. I think it will help them to listen. You are doing a very good job. I think you are a very good teacher.”

The conversation continued on as I ate my bap and bulgogi. Out of interest, I asked her what the Korean word for perilla (a herb similar to sesame leaf) is – she told me and now, less than fifteen minutes later, I have already forgotten it.

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The Bastards Learned How to Swim

I’ve been swimming since I was two and the feeling it gives me, of such wonderful lightness, is approximated by nothing else on earth. Except maybe alcohol. As adulthood came and passed me by I indulged in liquors that lifted my head two feet above my body and by waving my arms I could follow it up into the air. My drinking has always had a very narrow purpose, one that I’ve repeatedly given up without issue or pain; it is a bonus to rather than a facet of my days. But when I moved to Seoul I was confronted with a type of drinking attitude that insisted my commitment to alcohol be put to the test. For the first time I was taking part in a night life that had no half measures, no flip side to the coin: it’s go for a drink or go to bed. And if you choose bed, you’d better take a drink along.

“Work is the curse of the drinking classes” – Oscar Wilde

In South Korea it is the social aspect of their drinking culture that puts the country on a whole new level of consumption. Alcohol has moved beyond an accepted overindulgence into a necessary function within Korean life. A business dinner in Seoul looks much the same as a celebratory drinking session. These men keep their shirts neatly buttoned, ties knotted tight, jackets folded in half over chairs and proceed to completely let themselves go with numerous bottles of beer and soju. On the many weeknights when I’ve been wandering the city until early hours, buying cheap alcopops in seven elevens, it’s easy to lose count of the men, always in pairs, holding hands for balance, staggering from bar to restaurant to bar with little heed toward their working day fast approaching. They look like the walking dead and they do it over and over again.

In my eyes, Seoul is populated by eighteen year olds trapped in middle aged bodies and these newly-turned adults are about a decade away from learning their lessons on heavy drinking. At first I wondered how South Korea’s growing economic strength could continue when these were the citizens thrusting the country forward into a successful monetary future. Then I realised, the impressive work ethic of these people isn’t focused on a high standard of pride but on shameful necessity due to their night time distractions. So many men and women work until seven, eight, nine at night but these extensive work hours make sense when you remember that many of them haven’t sobered up until early afternoon. I don’t care how committed a worker you may be, if you spend your night sleeping off three bottles of soju on a train station bench, you’re not doing anything of any worth until at least lunch time.

“People got attached” – Charles Bukowski

I’ve been to dinner many times with my co-workers and one in particular, a Korean reporter known to me under her Japanese name of Harue, has a peculiar habit when we drink soju. Not only must our glasses always be full but each time we drink, she insists that we toast and when we clink she says ‘I like you’. Originally I thought she was tailor-making a toast just for me, to bring us close and cement our friendship. Each time was ritualistic; she spoke in the same pitch, with the same intonation and the same nod of her shiny-haired head. Late one night over beef tendon kebabs I asked her what it meant and she said it was her own personal habit every time she drank with others. So it wasn’t a performance for my benefit but it was an integral part of her drinking.

During these moments, Harue finds it appropriate to express her affection and when it is directed at me the walls between us, as women hailing from different countries, are knocked down and drowned in 20% alcohol. When she pours my soju she holds one hand to her chest, a gesture meaning ‘you are in my heart’; while ordering a new bottle she puts an arm around me and calls me Iseul, my Korean name. I am constantly touched by these overtures but part of me wishes that drinking could be removed from how we connect to one another. If I told her I loved a film that she also adored and she embraced me in excitement, I think I would take more from the moment but I have to take a moment to remember that the society I am now playing within doesn’t work under any rules I am acquainted with.

Image: Jackson Eaton

Perhaps it would be insulting for me to look for affection in ways I personally find meaningful when I am already offered love and acceptance. At our first dinner I drank my entire shot in one mouthful and each of my six co-workers’ reactions were of such wonder that I realised this was the way to a Korean’s heart: one hell of a strong stomach. Sipping or tasting a drink is an entirely satisfactory method of partaking in the festivities but downing with one swallow shows that you are there with them as a friend, ready for the night ahead.

“First you take a drink, then the drink takes a drink, then the drink takes you” – F. Scott Fitzgerald

Most of all it’s the novelty and availability of alcohol that I appreciate. Methods and places of drinking have become as important as what’s in the glass or, as I discovered at a music festival, the I.V.. The extent of packaging and beautifying alcohol have been realised in South Korea mainly due to the looseness of social drinking practices. At a popular bar in Seoul, known as Vinyl, drinks are mixed and served in an I.V. bag which you can enjoy whilst relaxing inside or take with you through the streets. A mere two blocks away is a permanent street vendor run by a smiley elderly woman who sells very cheap cocktails in plastic cups and, as there is no seating area, the customer is forced to consume on their feet.

This is one mighty drinking culture which, despite its over-consumption, has no problems with violence or public destruction. These people can hold their alcohol and if it does get the better of them, they go to sleep in a quiet corner of a train station or park. Considering the lack of alcohol control, this is extremely impressive self-control, especially when you consider how easy it is to drink. The following list is an example of locations that supply alcohol to anyone who walks in the door, no proof of age required:

newsagents;

train station convenience stores;

unlicensed coffee shops;

bakeries;

stationary outlets;

gift shops in hospitals.

This freedom has allowed anyone to drink any amount of anything they want at any time of day. And if this isn’t enough incentive for extensive drinking, alcohol is offered in a shocking variety of sizes and forms. Soju is a basic staple in the Korean diet and the regularity of which it is consumed is reflected in the many ways it can be bought. 360ml bottles are the favourite size for restaurants and they feel misleadingly like coke bottles. Needless to say, one is never enough. For a large family, or very thirsty couple, soju comes in two litre plastic bottles for a mere four dollars. When I saw it on the supermarket shelf I thought it was soft drink; when I showed it to my parents on Skype they thought it was mineral water.

Its tricky appearance makes the massive amount of alcohol it holds seem relatively harmless when the power of human denial is properly utilised. Furthermore, the bottle is just big enough to feel bottomless; after all, we’re only pouring single shots. And finally, soju can be bought in the smallest amount possible, that of a popper or children’s juice box. This is marketed toward the Korean on the go: hard working, busy and looking for a quick fix. The packaging suggests a different story. Now I’m not saying that Korean parents give their children soju poppers. But am I saying they don’t?

“Alcoholism isn’t a spectator sport” – Joyce Rebeta-Burditt

South Korea is the first place I’ve ever visited where peer pressure is absent and general expectation so obvious. Perhaps it’s the general pleasure of drinking in large groups, without the thunder of threat overhead, that draws me into late night sessions but I’m not entirely sure the reason doesn’t lie in my own psyche. Where alcohol was once a release of my inhibitions it has now become a gateway into foreign affections. These people are hard as nails, quick to touch and often so drunk they can’t stand after midnight.

But damn can the bastards swim.

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Ryan Scott reviews Robert Drewe and John Kinsella

Sand by Robert Drewe and John Kinsella
Fremantle Press, 2010

Sand is a substance which suggests abundant contradictions. Abundance and scarcity is one; others are leisure and hardship, isolation and revelry, and most starkly the infinitely small and the infinite. Yet, it is rarely held up as something sacred. It is not often treasured for its feel and its ubiquity. While not a paean, Sand, a collection of poetry and prose by John Kinsella and prose by Robert Drewe, does explore this element as a condition of place, in this instance Western Australia, and place as a condition of experience and memory. As such, place in this collection is not a passive subject. It is something constructed through artistic engagement.

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Jeju-do with Family: A Korean Photo Essay

[EasyGallery id=’jacksoneatonkoreanphotoess’]
Click on the image above to view this gallery.

It might be possible that you fall in love instantly, I suppose. That the skinny girl behind the bar – who you talk to because you’re drunk and who, to your surprise, has similar taste in music and who, despite the confusion caused by a protective boss, does not in fact have a husband and who is genuinely pleased to see you when you return to that bar two nights later to dance for her and scrawl your number on a napkin and kiss on her soft cheek at dawn – is actually your true love and not the subject of a standard chance beginning to a relationship of indeterminate length. Well, based on a prior record of three to five months – depending on how upset she is and how severe your confusion – this is when you suddenly start not feeling much. It could be possible. But it could also be possible that you just needed her, then.

It was before the Christmas of 2008 when my brother and his girlfriend came to visit my dad and I in Seoul. That’s over three years ago now and I didn’t keep a diary at the time. I have some memories, and I have some photos, and I have some memories from some photos. And I have some emails.

Dec. 1 (excerpt)

dear darling
so what/how do u want me to help you?
you guys should make up mind tonight and tell me otherwise it’d be too late for booking resort so, set the date and tell me tmr morning.
and no worries about price honey, it’s expensive but for your family and it’s a great chance to chill out and have fun together. it doesn’t happen all the time
so don’t complain or be grumpy, right?

My dad and I had decided to show my brother and his girlfriend Jeju-do. An island frequented by honeymooners, famous for its ponies, stone grandfather statues and haenyo – ‘sea-women’ who free dive for abalone and conch in the bitterly cold water almost all year round. My girlfriend didn’t come with us, which meant I used my recently schooled Korean to help us through the bus-ports and restaurants and gift shops and check-ins. There is no real story here, sorry. I remember seeing my dad lying naked, hairy and sweaty in the resort sauna. I don’t have a picture of that. I remember hiking to the lip of Sangumburi Crater, seeing a rabbit and the underwhelmingly diffuse dawning of the sun on an overcast winter morning. I have an underexposed picture of that. I remember carrying from tourist attraction to tourist attraction the deep suspicion that it was only really Korea that kept us together.

Dec. 4 (excerpt)

so, why did u get cynical?
we see the same thing everyday
we talk about the same thing everyday
we meet in the same place
we have sex in the same room
I call you everyday.
you say hi everyday

After the trip we were to fly to Australia for a six-week holiday. After nearly three years I was going home. She would visit Australia for the first time and meet my mum and see my childhood home and all the other things about my other life. We were to travel on 22 December, which was her sister’s birthday. I had insisted we fly that day so we could be home in time to spend an extra day with mum before the relatives arrived. It’s one of those decisions that for some reason I still dwell on. A poignant example of my selfishness, superficial in comparison to some of the other atrocities yet through incidental practice or some other reason it stays in my mind. Like the time I made her go and get my dad from the subway station half way through our DJ set because he’d gotten off at the wrong exit. Or the time I left her in the bedroom with a bad insect bite because I was more interested in playing boardgames.

Feb. 5 (excerpt)

the reason why I happen to decide to wait for you is, I clearly know or I assume strongly, that
I know you haven’t cancelled the ticket.
I know it’s stupid to think like this but I can’t I can’t I can’t I can’t stop hoping something again.
I just wanted to tell you if, if you decide to stay there (I know you have already but)
and 100% sure that there won’t be any chance to restart this relationship again
(I know you’ve told me already but) please, tell me.

I arrived at her house unannounced. There were people sitting around on the porch. They were all very well dressed and it appeared as if some were town dignitaries and some were family. Her mum greeted me with a huge smile. While I waited outside, some people tried to make polite conversation but I was distracted, anxious about seeing her and besides I had forgotten much of the Korean I had learned. She appeared, looking quite fragile and not at all surprised to see me. We went for a walk with her sister. We came to a large felled tree trunk that was twisted and charred. We rolled it over and it looked perfect but she was disappointed; it wouldn’t do. Suddenly I realised what she needed it for. She would use it to build her own coffin. I felt so sad and with embarrassment tried to explain that I had not simply come to see her one last time. I awoke from this dream (this morning) in tears. It might be possible that you just needed her I suppose. But that might not matter. You fell in love, then.

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Impressions of Modern Korean Poetry in Translation

Since reading Dorothy L. Sayers’ translation of Dante’s Inferno at the age of 15, and ‘discovering’ Baudelaire a couple of years later (translations by Francis Scarfe and Geoffrey Wagner), I have had a lifelong love of literature in translation, especially poetry. During the 1970s, a period coinciding with a boom in translation (such as Penguin’s Modern European Poets series), I found many of the poets who have since enriched me: Rilke, Cavafy, Pessoa, Celan, Akhmatova, Salinas, Lorca.

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Joel Scott Reviews Kim Hyesoon and Don Mee Choi

Mommy Must be a Fountain of Feathers by Kim Hyesoon
(translated by Don Mee Choi), Action Books, 2008

The Morning News is Exciting by Don Mee Choi
Action Books, 2010

It is refreshing to be introduced to a literature through its contemporary women poets. For that reason, I was extremely happy to receive these two titles, both published by Action Books (a small U.S. publisher doing great things). Neither book, though, is entirely Korean. Mommy is a selection of translations into English by Don Mee Choi, while The Morning News is a collection of Choi’s own work originally composed in English.

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Oz-Ko Envoy Editorial

When the British landed in Australia
they asked an aborigine,
“What’s that thing leaping up and down?”
The native replied,
“I don’t know,
Kangaroo, I don’t understand you.”

The name stuck.

Ah, how much grander not knowing is
than knowing.

KO UN, ‘Kangaroo’
first published in Song of Tomorrow (1992)
translation by Clare You and Richard Silberg

When the call for submissions to Oz-Ko, Cordite’s thirty-fifth issue went out last November, it included the following ‘instructions’ for potential contributors: “For this issue, while the overarching aim is Australia-Korea relations, we instead seek works on any theme. Although works that take Korean themes as their inspiration will of course be considered, the focus is on attracting engaging, innovative, translatable and contemporary works, no matter their ostensible subject(s).”

The number and quality of submissions we received was both encouraging and problematic: encouraging, because the hundreds of poems submitted showed a pleasantly surprising knowledge of Korean culture; problematic, because we’d originally planned to publish just forty poems in the issue, leaving us with some tough choices. In the end, we decided to publish an additional twenty poems; and thus, Cordite 35.0: Oz-Ko (Envoy) was born!

I should emphasise right away that referring to this issue as an ‘Envoy’ does not lessen its importance in comparison to what is to come. On the contrary, the twenty poems collected here hopefully perform a very important role, in terms of setting the stage for what will be our biggest issue ever, and our most challenging. In addition to the poems published today, in May we’ll be publishing forty poems by twenty contemporary Korean poets in both English and Hangul. These poems have been selected and translated by Korean scholar Eun-gwi Chung, with assistance from Hui-Sok Yoo and An Sonjae. We’re tremendously excited to have an opportunity to present these works to an Australian audience. I’d also like to apologise for the delay in presenting these works, but can assure you that the wait will be worth it.

The third and final stage of our Oz-Ko issue (scheduled for release in May-June) will feature forty poems by twenty Australian poets in both English and Hangul. As far as we’re aware, this is a world first, although I’m hesitant to make too much of a song and dance about it. The acknowledgement of a language such as Hangul in Australian literature could arguably be viewed as long overdue; and while we’ve published a number of poems in various languages on the Cordite site over the years, it’s somewhat embarrassing and perhaps inappropriate to be making lofty claims about our inclusivity on this basis.

I do not personally claim to be an expert on either Korea or Australia, and am therefore slightly nervous that Oz-Ko will be seen as an attempt to summarise the literature of two vastly different but equally complex and fascinating cultures. Perhaps, just as in the story of the word ‘kangaroo’ in the Ko Un poem quoted above, the words ‘Australia’ and ‘Korea’ are already understood or heard in radically different ways. Perhaps by presenting a bi-lingual issue we’re attempting to talk to everyone, while reaching nobody. To be perfectly honest, I myself have entertained similar doubts upon the publication of each of the last thirty five issues of Cordite. What’s so different this time around?

Image by Jackson Eaton.

Maybe one answer to that question lies in the fact that unlike previous issues of Cordite, we’ll be publishing this issue in stages, making it more difficult to make an immediate ‘impact’, whatever that might entail. Then again, the ability to stagger posts, embellish themes and change tack is one of the great advantages of publishing in a web medium. Maybe I’m just nervous that we’ll have trouble posting Korean texts on the Cordite site. Having already made a couple of test posts, it’s become clear that some readers (particularly those using older versions of Internet Explorer) might be greeted by rows and rows of strange symbols or square boxes, rather than by beautifully composed lines of hangul. In fact, this is one of my worst recurring nightmares!

Then again, the possibility that some of these texts will not be able to be read by everyone is hardly earth-shattering or unique. Indeed, it’s a symptom of the transient nature of electronic texts in general, and the fragility of coded texts in particular. I suspect we’ll have much more to say about these kinds of challenges as the issue progresses. In this sense, it is kind of appropriate that this first stage of Oz-Ko is referred to as an ‘Envoy’: these twenty poems are like tiny agents sent out into the crowded world of the Internet, an advance party preparing the way for what is to come, not all of which will be understood by the machines it encounters.

Each of the poems in Cordite 35.0: Oz-Ko (Envoy) has been chosen because it illuminates some aspect of Australian culture, or else because it expresses some kind of engagement with Korean culture. Together they make rather strange bedfellows, and sometimes a poem’s connection to the issue may seem rather obscured, but would life be nearly as fun if the meaning of everything was immediately apparent? Rather than spoil that fun, I’ll refrain from editorialising further for the moment, and simply trust that you enjoy reading them.

In addition to this first batch of poems, today we’ve also published an essay by Dan Disney on the subject of Ko Un’s Maninbo. This is the first of a series of features that we’ll be publishing each week in order to achieve a kind of “rolling thunder” effect in the lead-up to the second and third stages of the issue. Over the coming weeks you can look forward to a review of Kim Hyesoon‘s classic Mommy Must be a Fountain of Feathers, along with a book of poems by her translator; a feature on contemporary Korean poetry in English; a photo essay by Jackson Eaton (whose images will also be sprinkled throughout the issue); essays on drinking and teaching in Korea, respectively, and plenty more.

Shortly we’ll also be making an announcement about our forthcoming poet’s tour of Korea, and the subsequent tour by Korean poets to Australia, both of which have been made possible by a range of funders and partners. Stay tuned for further announcements as they say in the classics, but while on the subject, I’d especially like to thank Dan Disney, Nicolas Low, Eun-gwi Jeung and An Sonjae for the often superhuman efforts they have made to ensure that Oz-Ko in its multi-faceted becomes a reality.

The future starts now.

Welcome to Oz-Ko.

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‘You’re alive, and I’m alive’: Resistance and Remembering in Ko Ŭn’s Maninbo

Imagine: a young man is forced into compulsory labor while the war that kills millions of his compatriots rages around him; as that war concludes he turns his back on the world and spends the next decade as a Zen monk; he returns and, salving his despair, lurches toward alcoholism and then suicide; he fails (several attempts), but is energized by a surging democratization movement and becomes a leading dissident; over two decades he is imprisoned four times for para-political activities; he is finally accused of treason, and sentenced to twenty years in prison; he is tortured by a cadre of jailers, beaten so badly his eardrum ruptures; he is eventually pardoned, released a final time, and becomes a father at fifty; all the while, prodigious numbers of his books are published – over 150 at last count – including the sprawling, thirty-volume Maninbo (Ten Thousand Lives), which chronicles the life of every person the poet has ever met.

Who is this ‘demon-driven Bodhisattva’, as Allen Ginsberg once called him,[1] this hero who strides through the epic poem of his own life? With its Chronological Record of Former Lives, the poet’s website enumerates an elaborate mythology: this ‘friend of Dionysus’ claims to have first entered the world as a mare, somewhere near the Caspian Sea in 1125BC. Human lives followed, and after stints as a Siberian shaman, ‘an innkeeper in an unknown land’, a Mongolian shepherd boy, illiterate firewood gatherer and deaf farmhand on a remote island, in 1933 the mysterious personage of Ko Ŭn wandered into his current incarnation, fated for greatness, the eldest son of a farmer from the south western Chŏlla region of Korea.

Ko Ŭn is a literary giant who has gathered together a suite of folk stories, anecdotes, vignettes and asides in order to construct the monumental edifice of his Maninbo. The title translates literally as the ‘family records of ten thousand lives’,[2] and the poet seems compelled to record the details of those who might otherwise be erased from history. Maninbo is part historical account, but it is also a funereal ode which adumbrates all who remain, all who have existed – an ontological stocktaking, if you will. Rather than an accretion of archetypes, these poems contain a procession of individuals who represent the gamut of human experience, but the inflection is clear: so many of these people disappeared without trace during Japanese occupation (1910-1945), the Korean War (1950-1953), and the ensuing rule of successive military dictatorships (1948-1987) in the newly-formed South Korea.

Brother Anthony of Taizé, the foremost of Ko Ŭn’s English-language translators, calls Maninbo an ‘immense mosaic narrative of Korean history’.[3] These poems are haunted by their subjects; by retracing the identities of ordinary people caught in the flow of all-too-human and ideologically-driven events, Maninbo memorializes the palpable absence of the many that disappeared:

At the end of the Japanese period we had nothing to eat.
There were no trees on the hills.
Springtime was dreary without azaleas.
Ch’ung-jo, my little brother,
born when I was already a big boy,
chose that wretched time to come into the world.

(from ‘Ch’ung-jo, My Little Brother’[4])

What’s a ghost?
I know.
It’s starvation.

(from ‘A Ghost’[5])

And for the crime of having served the Reds
was abused by
this man
and that man,
and the police.
She was obliged to bite off her tongue and end her life.

(from ‘Im Yŏng-ja’[6])

His baby son died of malnutrition.
His wife went missing.

(from ‘Oh Sŏng-ryun’[7])

Perhaps these few examples suggest Maninbo as a litany of horrors; certainly, the poet refuses to avert his gaze from terrains of the starving, the traumatised, the dying and dead. But many of the poems in Maninbo are startling for their pragmatic hope, resilience, and their refusal to despair:

Swept away in the flood,
far out to sea
he came across a plank,
a narrow escape if ever there was one,

…

Su-kil dug up the tomb
retrieved his tools,
fitted them with new handles,
stuck one into the ground and said:
‘You’re alive, and I’m alive, and
as ever, there’s a lot of work to be done.’

(from ‘Tomb of Tools’[8])

In Chammi-dong, Kunsan, several blind people live together
several blind people good at massage
living happily together.

…

Amidst all the world’s evil
there is this goodness too:
even darkness can be a blessing!

(from ‘Two Blind People’[9])

When Wu-sik went back down the hill after crying his fill,
he felt full of new energy.
The world might be too much for him,
still he had the energy to burrow down
and make a shelter for them all.

(from ‘Wu-sik from Arettŭm’[10])

Despite everything Maninbo is triumphant, and testifies to human tenacities. These are poems loud with sounds that have ‘served this land, sounds alive and dead’,[11] and the harmonies are made by a motley gathering of monks, teachers, dogs, babies, peasants, dissidents, soldiers, merchants, prostitutes, spouses, great-aunts, snake-catchers, poets, murderers, politicians, mountain climbers, et al: in short, all the turbulent and cacophonous tunefulness of a nation fighting to survive.

Throughout ManinboKo Ŭn remains sensitized to how ‘language is home for every human being’,[12] and his poems serve as unofficial histories in the struggle for a cultural identity. As Charles Bernstein has written (for his own programmatic reasons), ‘language control = thought control = reality control’,[13] and what is clearest in Maninbo is the poet’s enduring refusal to accept the imposition of any version of reality other than his own. Indeed, for Ko Ŭn, to be a poet is ‘freedom itself’.[14] The impulse to think in his own ways and in his own language manifests early when, as a child, he learns the forbidden Korean language while his peers accept Japanese as their mother tongue:

Taegil, the farmhand for Kwan-jŏn’s family in Saetŏ,
a first-rate farmhand,

…

Under the lamp I learned from him our language,
I could recite the story of Changhwa and Hongryŏn fluently, like rain pouring  down.
So my eyes were opened to the world as a child.
After thirty-six years under Japanese rule, I was the only kid who knew
how to read and write our language: ka-kya-kŏ-kyŏ.

…

When there were snowdrifts in icy winter,
the wind would pass freely through the sleeves of his thin clothes.
He said:
People who live in too much luxury know nothing about anything else.
In this world we live with others.

…

He was a light for me,
a light burning all night long, whether I woke or slept.[15]

Where in a child does the impetus to learn a banned language come from? A temptation is to suggest it arrives from some intuitive belief in the rightness of the act; despite those realities imposed by successive ideologies, Ko Ŭn appears to have been getting things right for most of his life. Beginning with learning ‘ka-kya-kŏ-kyŏ’ (those first building blocks of the Korean language), it is through listening, observing, experiencing and then writing that Ko Ŭn’s vision not only survives but prevails. As the poet avows, ‘reality has certainly imposed a mission on my writing’[16] and, despite the blacklistings, the threats and torture, disappearance and deaths of friends around him, amid the suffering Ko Ŭn knows how much work is to be done. His canon-building project can be defined by two broad priorities: resistance to imposed cultural identities, and belief in speaking out and speaking truly.

Indeed, Ko Ŭn has consistently been spurred into action by the normalized atrocities surrounding him. The poet describes his as ‘a poetics of experience’,[17] and the idea to write Maninbo was conceived during an extended period in solitary confinement – his third stint in prison following the assassination of military dictator Park Chung-hee. In the aftermath, demonstrations and uprisings across South Korea were bloodily put down by new dictator, Chun Doo-hwan, who killed unknown numbers of pro-democracy protesters and swept many thousands more off the streets and into prison. In the preface to his translation of Maninbo, Brother Anthony describes the subhuman conditions faced by Ko Ŭn and his fellow inmates in prison:

” … a labyrinth of tiny, windowless cells lit only by one small electric bulb. Completely isolated from the world and, most of the time, from one another, they had no way of knowing if they would come out alive or be summarily executed and disappear without trace.” [18]

Posted in ESSAYS | Tagged ,

A Double Abecedary on Tertiary Teaching

Academically speaking, teaching’s really spaz
But who expects to make an impression when every
Contact confirms your sense that your life is under a hex.
Don’t give up yet though; for all you know,
Education theorists may one day tumble to the wisdom p.o.v.
For all that that may seem the last thing they’d desire. Utu,
Getting even, eating your enemy’s heart out,
Having in mind how the myth of eternal recurrence really happens,
Is what keeps the thing you see in the mirror
Jolly enough to consider things could be worse, say frontline Iraq:
Keep your mind focused. If this isn’t the life of Riley, it isn’t a trap
Laid by anyone else but yourself; go
Make the Mister Chips noises, or even believe in them; happen
No harm will come from it. Put up with Angst in its full-bottle form—
‘Overwrought, that’s all that’s wrong with them, they’ll all
Pull through’—Thanks, Occupational Health Office, I don’t think:
Question is, what do those blighters do all day but go on a hajj
Round the campus to see who’s alive and who’s dead (‘What’s your alibi,
Sport?’). This Sargasso Sea hosts other crawlies, monsters with
Two driving motives: knowledge they’re hopeless as teachers, and toadying
Up to the setters of targets for others. Stuff them; stiff
Vodkas at six, and they vanish from mind. Then the fun starts here:
What are these documents students have tendered—
Xanax is in it: did I teach so badly that logic
Yearns now for some link with reality? Maybe so: overdub
Zero then, give our best efforts an ‘A’.

Posted in 43: OZ-KO (ENVOY) | Tagged

At Tongdosa (통도사에서)

She grabs my hand and drags me through the gate,
the flow of foreign words only later
understood: ‘This way, the food is free
for Buddha’s birthday – pay-back time for monks’.

We eat another lunch to satisfy
her generosity – no place for leftovers,
we finish our soup and wash and stack our bowls.
Spongy green bread is pressed into our hands.

My great-grandfather swam in the river
after a sleepless night in an airless room –
the hospitality repaid with cake,
the monks assured no butter would pass their lips.

The river’s clear to the rounded rocks beneath,
in remembrance I pick up a greenish stone,
and realise later my memento’s not jade,
but whitest marble covered in ancient moss.

그녀는 내 손목을 잡아끌고 일주문一柱門을 넘는다,
이국의 언어는 오직 뒤늦게서야만
이해되는 법: ‘이쪽입니다, 음식은 무료입니다
석가탄신일이에요 – 승려들이 진 신세를 되갚는 것이죠’

그녀의 자애로움에 응답이라도 하듯,
우리는 점심을 한 번 더 먹는다 – 남겨지는 음식은 없다,
우리는 국을 닦아내듯 깨끗이 비우고, 그릇을 포갠다.
스펀지 같은 초록색 빵이 손에 쥐어진다.

내 증조부는 답답한 방에서 잠 못 이루는 밤이면
강에 나가 수영을 하곤 했었다 –
케이크와 함께 되돌아오는 환대,
승려들은 한조각의 버터도 자신의 입에 대지 않았다.

강은 맑아서 그 아래 둥근 돌들도 보였다,
기억 속에서 나는 초록색 돌을 하나 집는다,
그리고 깨닫는다, 그것이 내 기억을 붙잡아둔 비취가 아님을
단지 오래된 이끼에 뒤덮인 아주 하얀 대리석이라는 것을.

 
 

Hangul translation by 김성현 (Kim Sunghyun)

Posted in 43: OZ-KO (ENVOY) | Tagged

Mea Culpa

In the morning all that’s left
is a clutch of feathers
by the watertank,
another by the front gate
and one more on the verge.
The door of the chookshed
stands open, the lock unfixed
for more than six months, the
makeshift prop of a railway
sleeper lying where I left it,
an unspoken accusation.
I quietly collect yesterday’s
eggs from the laying box,
apologise to the empty yard
and head back inside.

Posted in 43: OZ-KO (ENVOY) | Tagged

Korean Triptych

I: SŌSHI-KAIMEI

occupiers gone
Confucius removes
jade mask
 

II: JEO

in Shi Jing poems
kimchi reduces wrinkles
silkskin grandmother

 

III: CARPODACUS ROSEUS

feathers of dawn cross
the 38th parallel
lost Pallas’ Rosefinch

* Koreans forced to take Japanese surnames were referred to as sōshi-kaimei.

* Jeo: early name for kimchi.

* Shi Jing: Book of Songs, first Chinese poetry book 1000 BC.

* Pallas’ Rosefinch (carpodacus roseus) is native to both North and South Korea.

							
Posted in 43: OZ-KO (ENVOY) | Tagged

Recycling the possible

tear into
pieces
the possible

drench it in rainwater
steep for a season

size it with sand
fine as breath
pass the slurry

over
an alveolar web

let the sheet dry
in watercolour
light —

inside the egg
of the bay

a small boat
bobs on
corduroy teal

canary
streaks the shell—

look! take
a leaf
from the blue

pick a splinter
from the pier

feel for a place
in the grain & start
writing

the ripple of
silence

Posted in 43: OZ-KO (ENVOY) | Tagged

Host (호스트)

Host
I am in love with you
Han River
great grey green yellow wide Han River curling round
the bridge pillars’ concrete dreaming

hero-maker, forced by sulphuric acid lonely mother stealing
children slips from the sewer drip-drop echoing den
coral spawn flashbulb bloodied for her smash-up, media’s
symbiotic relationship with reality, succubus of normality
echoing each lonely life arrows hide her, and fire, incompetence!
the or is she … or is she …

purple mists of official response! her murderous entry stage left
slamming through a caravan KAR-RAAARSH! slapstick keening
squid-tentacles most tenderly enloop
and caress, consume …

innocence return! this will test us! test this river back
into Han River super-slug of toxic importance
broken thing, forced by unbottled id upon this sick rampage
we existentially cruelled and mutated
her lonely life how
could we!
she will test us! test our commitment!
smash the state and find us wanting
dear Host!
dear Han River!
dear Host!

나는 너와 사랑에 빠졌다
한강이여
거대하게 초록과 노란빛으로 물든 드넓은 한강이
영웅을 꿈꾸는 교각의 콘크리트 기둥을

휘돌아 나간다, 황산에 쫓긴 외로운 어미는, 아이들을
잡아가는 외로운 어미는, 물방울 뚝뚝 메아리치며 떨어지는
하수관을 슬며시 빠져 나온다
산호가 퍼져가는 것 같은 카메라의 플래쉬는 어미를 잡기위해
혈안으로 번쩍거리는, 미디어와 현실과의 공생관계,
저마다 홀로 외로운 삶속에서 메아리치는 평범함을 빨아먹는 서큐버스
화살이 어미를 감추고, 그리고 불, 무능력함이여!
그 혹은 그녀는… 혹은 그녀는…

관계기관의 대처는 보라색 연무! 살인적인 그녀의 등장으로
사람들은 뿔뿔이 흩어진다 꽈과과광! 애도하는 슬랩스틱 코메디
연체동물의 촉수는 부드럽게 올가미를 만들어 애무하듯,
소진하며…

순수한 회귀! 이것이 우리를 시험에 들게 할 것이다. 이 강을 다시
한강으로 되돌아가게 시험할 것이다 유독성의 거대한 괄태충은
상처 입은 짐승, 도덕에서 해방된 욕망의 힘으로 떠밀려 이 역겨운 광란
우리는 실존적으로 어미의 외로운 삶을
못쓰게 만들고, 돌연변이로
만들었다 어떻게 우리가!
그녀는 우리를 시험할 것이다! 우리의 책무를 시험할 것이다
국가를 부수고 갈망하는 우리를 찾아낼 것이다.
호스트여!
한강이여!
호스트여!

 
 

Hangul translation by 김성현 (Kim Sunghyun)

Posted in 43: OZ-KO (ENVOY) | Tagged , , , ,

Calling Korea

she has these huge Mickey Mouse ears
she could be from another planet

the one I bumped into when being
busy and important one morning

bustling to bludge like a rotten tornado
WHAM bodies colliding bags spewing up

the untwisting began slowly but surely
from that day onwards when first her fist

Inspector Gadget style powed forth and
yanked out my antennae YOWZERS

cried the jagged balloon in black on dotty white
we did not speak the same language

English Korean tomarto tomayto broken
unbreakable should have called the whole thing

off her head starkers she phoned home
working 4 jobs in 5 café bar joints barely

sleeping no time no need just discipline
and flourish I would write lousy poems on

serviettes she would serve me more OLÉ
chatting at cross purposes into the night

illegal and proud she made no protest when
Detention claimed her now I give her coins

so she can phone home off her head starkers
no lawyer no reason no refugee here

she grins with teeth bared dazzlingly white
one for eternal link defending to the death

crafty queue jumper hotty pants sorceress
in disguise for she begets love only LOVE

Posted in 43: OZ-KO (ENVOY) | Tagged