When I became a poet, the Korean literary world expected women poets to sing passively of love. Naturally, this was not written anywhere, but this rule existed nonetheless. Consequently, I received plenty of serious criticism.

The rhythm of my body is the same as my mother tongue. It is in this rhythm where I find sanctity, that I can return to my mother who is everywhere in the universe.

The grotesque in my poems is the motion I use to put myself and the grotesque world together. So the miserable images I use in my poems are the same as the letters I send into the miserable world.

Women are foils to men. It is hard for women to take a lead role even in NGOs for political resistance.

We carve on our body what society teaches us and continue this task, not knowing the identity they force us to have. This identity is carved on our faces and our skins. Not knowing our bodies have become "the paper made of human meat," we stuff our bodies and make them a theater where cultural symbols or suppressed symbols play.

My tough and grotesque images were thrown on the roads and were stepped on by my critics, and I was talked about with scorn. I felt regret that readers only seemed to like something they were accustomed to.

Poems are a dance of language that comes out when my body taps into the rhythm of language. Rhythm gets us naked and exposes our selves completely.