From the legendary avant-garde poet Kim Hyesoon, a landmark collection documenting her first and only work of digital performance art to date. "Poetry in Korea has been a vaunted form--and traditionally left to men. Kim broke away from the masculine styles that came before her. . . . Kim has pursued a vernacular that''s intensely Korean yet open to the world." --E. Tammy Kim, New Yorker In March 2014, Kim Hyesoon, the grand dame of contemporary Korean poetry, began to post anonymously on the online blog of Munhakdongne, a major South Korean publisher. Rather than use her own name, Kim Hyesoon''s chosen persona for these blog posts was Lady No. Fittingly, Lady No''s writings are dissenting, combative, subversive, and ontologically feminine; formally, they defy any attempt at easy categorization. They are neither poems, nor are they prose, but a radical innovation Kim calls shisanmun -- an ungovernable style that heralds her internationally acclaimed works Autobiography of Death and Phantom Pain Wings . The entries in this seminal collection, arranged chronologically and in their entirety here for the first time, are an eclectic hybrid of opinion editorials, aphorisms, recipes, daydreams, travelogues, art criticism, as well as treatises on the metaphysics of poetry and the current state of international literature. They take place in and around the world but most often they return to a country called Aerok, a frightening yet familiar mirror of contemporary Korea. First unwittingly, and then with concentrated grief, they chart the course of one of the most politically significant years in recent South Korean history: the sinking of the MV Sewol on the morning of April 16th that killed 304 people, including 250 high school students, and the reverberations of this national tragedy that culminated in the impeachment and ouster of the country''s then-sitting president. Taken together, these writings bear witness to the people''s shame, mourning, and perseverance under a corrupt administration -- a painful public reckoning not dissimilar from our own. Surreal but visceral, and inflected with both humor and rage, Lady No contains perhaps the most accessible of Kim Hyesoon''s writing to date and documents her first and only work of digital performance art. Totaling 179 individual entries and featuring 34 drawings by the artist Fi Jae Li, Lady No explores the inner and outer lives of contemporary Korean women and embodies the inextricable link between social justice and literary citizenship. ...

Autorentext

Kim Hyesoon is one of the most prominent and influential poets of South Korea. She is the first woman poet to receive the prestigious Kim Su-yeong Literary Award and Midang Literary Award, and her work has since been translated around the world. Among many other honors, she is a winner of the Griffin Poetry Prize in 2019 and was the first foreign laureate to win the National Book Critics Circle Award for Poetry, in 2023. Her poetry collection Phantom Pain Wings, translated by Don Mee Choi, was named poetry book of the year in 2023 by the New York Times, Washington Post, and The Poetry Society.

Jack Saebyok Jung is a 2024 National Endowment for the Arts Translation Fellow and the author of Hocus Pocus Bogus Locus (Black Square Editions, 2025). A Truman Capote Fellow at the Iowa Writers’ Workshop, he co-translated Yi Sang: Selected Works (Wave Books, 2020), winner of the MLA’s Aldo and Jeanne Scaglione Prize for a Translation of a Literary Work. He teaches at Davidson College. 

Klappentext

From the legendary avant-garde poet Kim Hyesoon, a landmark collection documenting her first and only work of digital performance art to date.

“Poetry in Korea has been a vaunted form—and traditionally left to men. Kim broke away from the masculine styles that came before her. . . . Kim has pursued a vernacular that’s intensely Korean yet open to the world.” —E. Tammy Kim, New Yorker

In March 2014, Kim Hyesoon, the grand dame of contemporary Korean poetry, began to post anonymously on the online blog of Munhakdongne, a major South Korean publisher. Rather than use her own name, Kim Hyesoon’s chosen persona for these blog posts was Lady No. Fittingly, Lady No’s writings are dissenting, combative, subversive, and ontologically feminine; formally, they defy any attempt at easy categorization. They are neither poems, nor are they prose, but a radical innovation Kim calls shisanmun**—*an ungovernable style that heralds her internationally acclaimed works Autobiography of Death and Phantom Pain Wings*.

The entries in this seminal collection, arranged chronologically and in their entirety here for the first time, are an eclectic hybrid of opinion editorials, aphorisms, recipes, daydreams, travelogues, art criticism, as well as treatises on the metaphysics of poetry and the current state of international literature. They take place in and around the world but most often they return to a country called Aerok, a frightening yet familiar mirror of contemporary Korea. First unwittingly, and then with concentrated grief, they chart the course of one of the most politically significant years in recent South Korean history: the sinking of the MV Sewol on the morning of April 16th that killed 304 people, including 250 high school students, and the reverberations of this national tragedy that culminated in the impeachment and ouster of the country’s then-sitting president. Taken together, these writings bear witness to the people’s shame, mourning, and perseverance under a corrupt administration—a painful public reckoning not dissimilar from our own.

Surreal but visceral, and inflected with both humor and rage, Lady No contains perhaps the most accessible of Kim Hyesoon’s writing to date and documents her first and only work of digital performance art. Totaling 179 individual entries and featuring 34 drawings by the artist Fi Jae Li, Lady No explores the inner and outer lives of contemporary Korean women and embodies the inextricable link between social justice and literary citizenship.