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.

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.

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

Women who have been disappeared by violence are howling. The voices of disappeared women are echoing. I sing with these voices.

I came to grotesque language in the patriarchal culture under the dictatorship. The body that was broken into pieces is a sick body. I put the disease of this world and my sick body together.

As a university student, I tried hard to write poems in Korean. It was at that time that I foresaw my death and the world's death. I think my poems started at that time.

Since the boundary of the world of poetry is fluid, the language in it is also fluid. Hence, the language that is outside of the poetry world, namely the language that is not the language of poetry, cannot go into the poetry world.