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.

The body of poetry is nothing but energy, waves, rhythm.

In poetry, rhythm is a priority above everything else.

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.

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.

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.

You cannot call a poem female just because it is written by a woman. Nevertheless, I think attempts to find femininity in female bodies, life, and thinking, attempts to find a way for women to speak, will improve widely in Korea.