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For Nirvana features exceptional examples of the poet Cho Oh-Hyun's
award-winning work. Cho Oh-Hyun was born in Miryang, South
Gyeongsang Province, Korea, and has lived in retreat in the
mountains since becoming a novice monk at the age of seven. Writing
under the Buddhist name Musan, he has composed hundreds of poems in
seclusion, many in the sijo style, a relatively fixed syllabic
poetic form similar to Japanese haiku and tanka. For Nirvana
contains 108 Zen sijo poems (108 representing the number of klesas,
or "defilements," that one must overcome to attain enlightenment).
These transfixing works play with traditional religious and
metaphysical themes and include a number of "story" sijo, a longer,
more personal style that is one of Cho Oh-Hyun's major innovations.
Kwon Youngmin, a leading scholar of sijo, provides a
contextualizing introduction, and in his afterword, Heinz Insu
Fenkl reflects on the unique challenges of translating the
collection.
Yi Mun-yol's Meeting with My Brother is narrated by a middle-aged
South Korean professor, also named Yi, whose father abandoned his
family and defected to the North at the outbreak of the Korean War.
Many years later, despite having spent most of his life under a
cloud of suspicion as the son of a traitor, Yi is prepared to
reunite with his father. Yet before a rendezvous on the Chinese
border can be arranged, his father dies. Yi then learns for the
first time that he has a half-brother, whom he chooses to meet
instead. As the two confront their shared legacy, their encounter
takes a surprising turn. Meeting with My Brother represents the
political and psychological complexity of Koreans on both sides of
the border, offering a complex yet poignant perspective on the
divisions between the two countries. Through a series of charged
conversations, Yi explores the nuances of reunification, both
political and personal. This semiautobiographical account draws on
Yi's own experience of growing up with an absent father who
defected to the North and the stigma of family disloyalty. First
published in Korea in 1994, Meeting with My Brother is a moving and
illuminating portrait of the relationships sundered by one of the
world's starkest barriers.
Yi Mun-yol's Meeting with My Brother is narrated by a middle-aged
South Korean professor, also named Yi, whose father abandoned his
family and defected to the North at the outbreak of the Korean War.
Many years later, despite having spent most of his life under a
cloud of suspicion as the son of a traitor, Yi is prepared to
reunite with his father. Yet before a rendezvous on the Chinese
border can be arranged, his father dies. Yi then learns for the
first time that he has a half-brother, whom he chooses to meet
instead. As the two confront their shared legacy, their encounter
takes a surprising turn. Meeting with My Brother represents the
political and psychological complexity of Koreans on both sides of
the border, offering a complex yet poignant perspective on the
divisions between the two countries. Through a series of charged
conversations, Yi explores the nuances of reunification, both
political and personal. This semiautobiographical account draws on
Yi's own experience of growing up with an absent father who
defected to the North and the stigma of family disloyalty. First
published in Korea in 1994, Meeting with My Brother is a moving and
illuminating portrait of the relationships sundered by one of the
world's starkest barriers.
For Nirvana features exceptional examples of the poet Cho Oh-Hyun's
award-winning work. Cho Oh-Hyun was born in Miryang, South
Gyeongsang Province, Korea, and has lived in retreat in the
mountains since becoming a novice monk at the age of seven. Writing
under the Buddhist name Musan, he has composed hundreds of poems in
seclusion, many in the sijo style, a relatively fixed syllabic
poetic form similar to Japanese haiku and tanka. For Nirvana
contains 108 Zen sijo poems (108 representing the number of klesas,
or "defilements," that one must overcome to attain enlightenment).
These transfixing works play with traditional religious and
metaphysical themes and include a number of "story" sijo, a longer,
more personal style that is one of Cho Oh-Hyun's major innovations.
Kwon Youngmin, a leading scholar of sijo, provides a
contextualizing introduction, and in his afterword, Heinz Insu
Fenkl reflects on the unique challenges of translating the
collection.
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