Mother does not exist, like water that has given life to a flower and then disappeared. Mothers live somewhere after giving birth to us.

It is difficult to disturb the common usage of Korean that is bent to the perspective of a male-oriented society. Korean society is based on both a politics and history that have been disguised as a solid society of solid male poems, a solid written language, fixed rules of how to write literature, and a narrative language.

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.

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.

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. They were in some kind of state and condition that made them difficult to render into words. As a university student, I tried hard to write them 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.

Mother does not exist, like water that has given life to a flower and then disappeared. Mothers live somewhere after giving birth to us.

In poetry, rhythm is a priority above everything else.