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.

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.

Living in South Korea as a girl meant living under a lot of discrimination and limitation. It was the same in my university and in the Korean literary world I am involved in.

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.

The body of poetry is nothing but energy, waves, rhythm.

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.

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