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Mother does not exist, like water that has given life to a flower and then disappeared. Mothers live somewhere after giving birth to us.

Kim Hyesoon

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Kim Hyesoon
Age: 69
Born: 1955
Born: January 1
Poet
Writer
Water
Given
Mother
Disappeared
Doe
Mothers
Live
Somewhere
Flower
Giving
Exist
Life
Birth
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More quotes by Kim Hyesoon

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My body is full of graves. A sepulcher is dug up, and a young girl comes out of it with her dusty hands in tears. A lady who is a young girl and an old girl at the same time feels the presence of the young girl. I feel that the 15-year-old me and the 50-year-old me come out of the sepulcher through an illegal excavation.
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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.
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When I first started to write poetry, I used to feel as if my tongue would go numb.
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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.
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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.
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If someone asks, Is anyone alive? Break, your, head, open, and, show, your, ten, ta, cle.
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Mother is a synonym for abandonment and death. Comparing this synonym to water, it is like poured-out water. I call it mother, the identity that I cannot identify.
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Women in Korean myths disappear after giving birth. The reason they were born is to produce sons.
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The body of poetry is nothing but energy, waves, rhythm.
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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.
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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.
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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.
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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).
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Women are foils to men. It is hard for women to take a lead role even in NGOs for political resistance.
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.
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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.
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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.
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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.
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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.
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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