Lady No - Kim Hyesoon

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