Quote

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.

Kim Hyesoon

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Kim Hyesoon
Age: 69
Born: 1955
Born: January 1
Poet
Writer
Make
Force
Identity
Teaches
Stuff
Continue
Symbols
Become
Theater
Cultural
Body
Paper
Task
Human
Teach
Meat
Humans
Knowing
Bodies
Carved
Play
Society
Skins
Carve
Made
Faces
Tasks
Suppressed

More quotes by Kim Hyesoon

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I have to reach the poetry condition to write. Then it is as if the border around me is thinned or blurred or erased or disappeared or dead.
Kim Hyesoon
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In Korea, a woman must first obey her father, then her husband when she becomes an ajuma, and finally obey her son as a halmoni. Any woman who violates or lives outside of these roles is called a ch'angyŏ (prostitute).
Kim Hyesoon
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The language of poetry is not stuck in place. Nothing can own language. I think, however, the genre of poetry itself is very feminine and motherly.
Kim Hyesoon
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The body of poetry is nothing but energy, waves, rhythm.
Kim Hyesoon
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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.
Kim Hyesoon
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Women in Korean myths disappear after giving birth. The reason they were born is to produce sons.
Kim Hyesoon
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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.
Kim Hyesoon
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Living in South Korea as a girl meant living under a lot of discrimination and limitation. It was the same in my university and in the Korean literary world I am involved in.
Kim Hyesoon
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Poems are ways of saying you clearly remember the day of your death and your tomb. When I am writing poetry, I relive my days when a woman inside me dies many times.
Kim Hyesoon
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As a sick kid, I always looked out the window. The objects of my observation were the sun, the seasons, the wind, crazy people, and my grandfather's death. During my long period of observation, I felt that something like poems were filling up my body.
Kim Hyesoon
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The grotesque in my poems is the motion I use to put myself and the grotesque world together. So the miserable images I use in my poems are the same as the letters I send into the miserable world.
Kim Hyesoon
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When I first started to write poetry, I used to feel as if my tongue would go numb.
Kim Hyesoon
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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.
Kim Hyesoon
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When anger and sorrow overflow, sometimes it becomes poetry.
Kim Hyesoon
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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.
Kim Hyesoon
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Speaking as an outsider is the most authentic voice for a poet. Poets who have one hundred thousand or one million readers [as many South Korean poets do] might not be a real, authentic poet.
Kim Hyesoon
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Korean feminism has been swept away by popular culture. It became a sort of old-fashioned trend or a joke.
Kim Hyesoon
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Our mothers who have gone are buried in our bodies. It can be said that we were born with dead mothers in our body.
Kim Hyesoon
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Men think women should do trivial things on the margins. They think women should be merely a seasoning for a dish. I feel anger and sorrow seeing this.
Kim Hyesoon
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I am a tomb robber who is robbing my own tomb. Things from my tomb are exhibited under the radiant sun. Every time it happens I feel crude.
Kim Hyesoon