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.

The rhythm of my body is the same as my mother tongue. It is in this rhythm where I find sanctity, that I can return to my mother who is everywhere in the universe.

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.

Poems are a dance of language that comes out when my body taps into the rhythm of language. Rhythm gets us naked and exposes our selves completely.

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.

Mother is a synonym for abandonment and death. Comparing this synonym to water, it is like poured-out water. I call it mother, the identity that I cannot identify.