An iconic figure in the emergence of feminist poetry in South Korea
and now internationally renowned, Kim Hyesoon pushes the poetic
envelope into the farthest reaches of the lyric universe. In her
new collection, Kim depicts the memory of war trauma and the
collective grief of parting through what she calls an
“I-do-bird-sequence,” where “Bird-human is the ‘I.’”
Her remarkable essay “Bird Rider” explains: “I came to write
Phantom Pain Wings after Daddy passed away. I called out for birds
endlessly. I wanted to become a translator of bird language. Bird
language that flies to places I’ve never been.” What unfolds is
an epic sequence of bird ventriloquy exploring the relentless
physical and existential struggles against power and gendered
violence in “the eternal void of grief” (Victoria Chang, The
New York Times Magazine). Through intensely rhythmic lines marked
by visual puns and words that crash together and then fly away as
one, Kim mixes traditional folklore and mythology with contemporary
psychodramatic realities as she taps into a cremation ceremony, the
legacies of Rimbaud and Yi Sang, a film by Agnes Varda, Francis
Bacon’s portrait of Pope Innocent X, cyclones, a princess trapped
in a hospital, and more. A simultaneity of voices and identities
rises and falls, existing and exiting on their delayed wings of
pain.
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