During the Pacific War, more than 200,000 Korean girls were forced into sexual servitude for Japanese soldiers. They lived in horrific conditions in “comfort stations” across Japanese-occupied territories. Barely 10 percent survived to return to Korea, where they lived as social outcasts. Since then, self-declared comfort women have come forward only to have their testimonies and calls for compensation largely denied by the Japanese government. Kim Soom tells the story of a woman who was kidnapped at the age of thirteen while gathering snails for her starving family. The horrors of her life as a sex slave follow her back to Korea, where she lives in isolation gripped by the fear that her past will be discovered. Yet, when she learns that the last known comfort woman is dying, she decides to tell her there will still be “one left” after her passing, and embarks on a painful journey. One Left is a provocative, extensively researched novel constructed from the testimonies of dozens of comfort women. The first Korean novel devoted to this subject, it rekindled conversations about comfort women as well as the violent legacies of Japanese colonialism. This first-ever English translation recovers the overlooked and disavowed stories of Korea’s most marginalized women.

An anthology of contemporary Korean fiction including: "The Wife and Children"; "The Post Horse Curse"; "Mountains"; "Kapitan Ri"; "The Winter"; and "A Dream of Good Fortune."

An anthology of contemporary Korean fiction including: "The Wife and Children"; "The Post Horse Curse"; "Mountains"; "Kapitan Ri"; "The Winter"; and "A Dream of Good Fortune".

Ch'oe Yun is a Korean author known for her breathtaking versatility, subversion of authority, and bold exploration of the inner life. Readers celebrate her creative play with fantasy and admire her deep engagement with trauma, history, and the vagaries of remembrance. In this collection's title work, There a Petal Silently Falls, Ch'oe explores both the genesis and the aftershocks of historical outrages such as the Kwangju Massacre of 1980, in which a reported 2,000 civilians were killed for protesting government military rule. The novella follows the wanderings of a girl traumatized by her mother's murder and strikes home the injustice of state-sanctioned violence against men and especially women. "Whisper Yet" illuminates the harsh treatment of leftist intellectuals during the years of national division, at the same time offering the hope of reconciliation between ideological enemies. The third story, "The Thirteen-Scent Flower," satirizes consumerism and academic rivalries by focusing on a young man and woman who engender an exotic flower that is coveted far and wide for its various fragrances. Elegantly crafted and quietly moving, Ch'oe Yun's stories are among the most incisive portrayals of the psychological and spiritual reality of post-World War II Korea. Her fiction, which began to appear in the late 1980s, represents a turn toward a more experimental, deconstructionist, and postmodern Korean style of writing, and offers a new focus on the role of gender in the making of Korean history.

During the Pacific War, more than 200,000 Korean girls were forced into sexual servitude for Japanese soldiers. They lived in horrific conditions in “comfort stations” across Japanese-occupied territories. Barely 10 percent survived to return to Korea, where they lived as social outcasts. Since then, self-declared comfort women have come forward only to have their testimonies and calls for compensation largely denied by the Japanese government. Kim Soom tells the story of a woman who was kidnapped at the age of thirteen while gathering snails for her starving family. The horrors of her life as a sex slave follow her back to Korea, where she lives in isolation gripped by the fear that her past will be discovered. Yet, when she learns that the last known comfort woman is dying, she decides to tell her there will still be “one left” after her passing, and embarks on a painful journey. One Left is a provocative, extensively researched novel constructed from the testimonies of dozens of comfort women. The first Korean novel devoted to this subject, it rekindled conversations about comfort women as well as the violent legacies of Japanese colonialism. This first-ever English translation recovers the overlooked and disavowed stories of Korea’s most marginalized women.

O Chonghui crafts historically-rooted yet timeless tales imagining core human experiences from a female point of view. Since her debut in 1968, she has formed a powerful challenge to the patriarchal literary establishment in Korea, and her work has invited rich comparisons with the achievements of Joyce Carol Oates, Alice Munro, and Virginia Woolf. These nine stories range from O Chonghui's first published work, in 1968, to one of her last publications, in 1994. Her early stories are compact, often chilling accounts of family dysfunction, reflecting the decline of traditional, agrarian economics and the rise of urban, industrial living. Later stories are more expansive, weaving eloquent, occasionally wistful reflections on lost love and tradition together with provocative explorations of sexuality and gender. O Chonghui makes use of flashbacks, interior monologues, and stream-of-consciousness in her narratives, developing themes of abandonment and loneliness in a carefully cultivated, dispassionate tone. O Chonghui's narrators stand in for the average individual, struggling to cope with emotional rootlessness and a yearning for permanence in family and society. Arguably the first female Korean fiction writer to follow Woolf's dictum to do away with the egoless, self-sacrificing "angel in the house," O Chonghui is a crucial figure in the history of modern Korean literature, one of the most astute observers of Korean society and the place of tradition within it.

Ch'oe Yun is a Korean author known for her breathtaking versatility, subversion of authority, and bold exploration of the inner life. Readers celebrate her creative play with fantasy and admire her deep engagement with trauma, history, and the vagaries of remembrance.

In this collection's title work, "There a Petal Silently Falls," Ch'oe explores both the genesis and the aftershocks of historical outrages such as the Kwangju Massacre of 1980, in which a reported 2,000 civilians were killed for protesting government military rule. The novella follows the wanderings of a girl traumatized by her mother's murder and strikes home the injustice of state-sanctioned violence against men and especially women. "Whisper Yet" illuminates the harsh treatment of leftist intellectuals during the years of national division, at the same time offering the hope of reconciliation between ideological enemies. The third story, "The Thirteen-Scent Flower," satirizes consumerism and academic rivalries by focusing on a young man and woman who engender an exotic flower that is coveted far and wide for its various fragrances.

Elegantly crafted and quietly moving, Ch'oe Yun's stories are among the most incisive portrayals of the psychological and spiritual reality of post-World War II Korea. Her fiction, which began to appear in the late 1980s, represents a turn toward a more experimental, deconstructionist, and postmodern Korean style of writing, and offers a new focus on the role of gender in the making of Korean history.

These nine stories span half a century of contemporary writing in Korea (1970s-2010s), bringing together some of the most famous twentieth-century women writers with a new generation of young, bold voices. Their work explores a world not often seen in the West, taking us into the homes, families, lives and psyches of Korean women, men, and children. In the earliest of the stories, Pak Wan-so, considered the elder stateswoman of contemporary Korean fiction, opens the door into two "Identical Apartments" where sisters-in-law, bound as much by competition as love, struggle to live with their noisy, extended families. O Chong-hui, who has been compared to Joyce Carol Oates and Alice Munro, examines a day in the life of a woman after she is released from a mental institution, while younger writers, such as Kim Sagwa, Han Yujoo and Ch'on Un-yong explore violence, biracial childhood, and literary experimentation. These stories will sometimes disturb and sometimes delight, as they illuminate complex issues in Korean life and literature. Internationally acclaimed translators Bruce and Ju-Chan Fulton have won several awards and fellowships for the numerous works of Korean literature they have translated into English. Featuring these authors and stories: Pak Wan-so: "Identical Apartments" Kim Chi-won: "Almaden" So Yong-un: "Dear Distant Love" O Chong-hui: "Wayfarer" Kong Son-ok: "The Flowering of Our Lives" Kim Ae-ran: "The Future of Silence" Han Yujoo: "I Am the Scribe-Or Am I" Kim Sagwa: "Today Is One of Those The-More-You-Move-the-Stranger-It-Gets Days, and It's Simply Amazing" Ch'on Un-yong: "Ali Skips Rope"

Ch'ae Manshik is one of the most accomplished modern Korean writers yet is underrepresented in English translation because of the challenges posed by his distinctive voice and colloquial style. Sunset: A Ch'ae Manshik Reader is the first English-language anthology of his works and features a variety of genres-novella, short fiction, anecdotal essay, travel writing, children's story, one-act play, three-act play, and roundtable discussion. This anthology moves beyond the usual "representative works" to provide a well-rounded selection of writing by one of Korea's most innovative and memorable voices, drawing on Ch'ae's ten-volume Complete Works. This edition also provides a comprehensive introduction outlining the limitations of existing approaches to Ch'ae. It contextualizes the anthology's contents both in terms of the author's career and the rich Korean tradition of intertextuality and intermediality that he reflects from the country's earliest times to the new millennium.

O Chonghui crafts historically-rooted yet timeless tales imagining core human experiences from a female point of view. Since her debut in 1968, she has formed a powerful challenge to the patriarchal literary establishment in Korea, and her work has invited rich comparisons with the achievements of Joyce Carol Oates, Alice Munro, and Virginia Woolf.

These nine stories range from O Chonghui's first published work, in 1968, to one of her last publications, in 1994. Her early stories are compact, often chilling accounts of family dysfunction, reflecting the decline of traditional, agrarian economics and the rise of urban, industrial living. Later stories are more expansive, weaving eloquent, occasionally wistful reflections on lost love and tradition together with provocative explorations of sexuality and gender. O Chonghui makes use of flashbacks, interior monologues, and stream-of-consciousness in her narratives, developing themes of abandonment and loneliness in a carefully cultivated, dispassionate tone.

O Chonghui's narrators stand in for the average individual, struggling to cope with emotional rootlessness and a yearning for permanence in family and society. Arguably the first female Korean fiction writer to follow Woolf's dictum to do away with the egoless, self-sacrificing "angel in the house," O Chonghui is a crucial figure in the history of modern Korean literature, one of the most astute observers of Korean society and the place of tradition within it.

Ch'ae Manshik is one of the most accomplished modern Korean writers yet is underrepresented in English translation because of the challenges posed by his distinctive voice and colloquial style. Sunset: A Ch'ae Manshik Reader is the first English-language anthology of his works and features a variety of genres-novella, short fiction, anecdotal essay, travel writing, children's story, one-act play, three-act play, and roundtable discussion. This anthology moves beyond the usual "representative works" to provide a well-rounded selection of writing by one of Korea's most innovative and memorable voices, drawing on Ch'ae's ten-volume Complete Works. This edition also provides a comprehensive introduction outlining the limitations of existing approaches to Ch'ae. It contextualizes the anthology's contents both in terms of the author's career and the rich Korean tradition of intertextuality and intermediality that he reflects from the country's earliest times to the new millennium.

Atmospheric and fast-paced, this novel of manners set in a provincial South Korean city leads readers through the silent corridors of a school for hearing-impaired children and the city’s foggy back streets and murky centers of power to a stirring courtroom climax. Gong Ji-young’s Togani (The Crucible), published in Korean in 2009, is based on a historic case of child sexual abuse at a state-run institution. The novel went on to sell nearly a million copies and, along with a 2011 film adaptation directed by Hwang Dong-hyuk, prompted the South Korean National Assembly to pass the "Togani Laws" to provide greater legal protections for children and vulnerable adults under state care and harsher penalties for those convicted of their abuse. At a time when Korean popular culture drives cultural production worldwide, Togani reminds us of the power of fiction to effect meaningful societal change. A story of courage in the face of corruption, Togani offers nuanced portraits of a failed young businessman seeking a new life as a teacher and his counterpart, a young woman committed to a career in human rights; a police officer of humble origins who rose through the ranks as he turns a blind eye to the abuse of students by the school’s administrators; and a hearing-impaired teenage girl, a victim of that abuse, who cares deeply for the other children at the school. The book testifies to the legacy of neo-Confucian class conflict, gender disparity, and the vulnerability of those near the bottom of the social ladder. It is a heart-wrenching and provocative work that helped bring about change to a system it dared to challenge.

These captivating short stories portray three major periods in modern Korean history: the forces of colonial modernity during the late 1930s; the postcolonial struggle to rebuild society after four decades of oppression, emasculation, and cultural exile (1945 to 1950); and the attempt to reconstruct a shattered land and a traumatized nation after the Korean War.

"Lost Souls" echoes the exceptional work of China's Shen Congwen and Japan's Kawabata Yasunari. Modernist narratives set in the metropolises of Tokyo and Pyongyang alternate with starkly realistic portraits of rural life. Surrealist tales suggest the unsettling sensation of colonial domination, while stories of the outcast embody the thrill and terror of independence and survival in a land dominated by tradition and devastated by war.

Written during the chaos of 1945, "Booze" recounts a fight between Koreans for control of a former Japanese-owned distillery. "Toad" relates the suffering created by hundreds of thousands of returning refugees, and stories from the 1950s confront the catastrophes of the Korean War and the problematic desire for autonomy. Visceral and versatile, "Lost Souls" is a classic work on the possibilities of transition that showcases the innovation and craftsmanship of a consummate--and widely celebrated--storyteller.

Modern Korean fiction is to a large extent a literature of witness to the historic upheavals of twentieth-century Korea. Often inspired by their own experiences, contemporary writers continue to show us how individual Koreans have been traumatized by wartime violence - whether the uprooting of whole families from the ancestral home, life on the road as war refugees, or the violent deaths of loved ones. ""The Red Room"" brings together stories by three canonical Korean writers who examine trauma as a simple fact of life. In Pak Wanso's ""In the Realm of the Buddha,"" trauma manifests itself as an undigested lump inside the narrator, a mass needing to be purged before it consumes her. The protagonist of O Chong-hui's ""Spirit on the Wind"" suffers from an incomprehensible wanderlust - the result of trauma that has escaped her conscious memory. In the title story by Im Ch'or-u, trauma is recycled from torturer to victim when a teacher is arbitrarily detained by unnamed officials. Western readers may find these stories bleak, even chilling, yet they offer restorative truths when viewed in light of the suffering experienced by all victims of war and political violence regardless of place and time.