Living in South Korea as a girl meant living under a lot of discrimination and limitation. It was the same in my university and in the Korean literary world I am involved in.

Alienation between the content and form happens frequently in my poems because I obstinately carry on dismantling my body, an act you can also call "dismantling delusion." I think that after I dismantle my female body, I can finally dismantle established lyric poems.

Poems are ways of saying you clearly remember the day of your death and your tomb. When I am writing poetry, I relive my days when a woman inside me dies many times.

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 body is full of graves. A sepulcher is dug up, and a young girl comes out of it with her dusty hands in tears. A lady who is a young girl and an old girl at the same time feels the presence of the young girl. I feel that the 15-year-old me and the 50-year-old me come out of the sepulcher through an illegal excavation.

Living in Korea as a girl meant living under a lot of discrimination and limitation. It was the same in my university and in the Korean literary world I am involved in now.

In my opinion, poets talk through the symptoms of disease. These symptoms of disease are predictions, screams, and songs.