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

Speaking as an outsider is the most authentic voice for a poet. Poets who have one hundred thousand or one million readers [as many South Korean poets do] might not be a real, authentic poet.

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.

Korean feminism has been swept away by popular culture. It became a sort of old-fashioned trend or a joke.

As a sick kid, I always looked out the window. The objects of my observation were the sun, the seasons, the wind, crazy people, and my grandfather's death. During my long period of observation, I felt that something like poems were filling up my body.

I am a tomb robber who is robbing my own tomb. Things from my tomb are exhibited under the radiant sun. Every time it happens I feel crude.

We have certain rules for traditional lyric poetry in Korea. I twist my body, confused by what to say and how to act, facing these rules. Confronting traditional lyricism, I speak with a bare body without the tattoos of culture on it.