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.

South Korea is one of the worst countries when it comes to opportunity for women in social activities and employment. To my disgust, in certain communities in Korea, you cannot even imagine how severe sex discrimination is.

If you propose there is a feminism problem in Korea, somebody would point out that you are bringing up antiquated issues. No one acknowledges that discrimination against women is still widespread.

Korean feminism is on the brink of death. Korea has a less clear boundary between popular literature and serious literature than in other countries. I feel that feminism is abandoned like a product that was a craze in the past.

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.

The grotesque in my poems is the motion I use to put myself and the grotesque world together. So the miserable images I use in my poems are the same as the letters I send into the miserable world.

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.