Kang Hwa-gil
Kang Hwa-gil (born 1986) is a South Korean writer and feminist who has written about women consistently since her literary debut in 2012. Her writing is influenced by gothic romance and thrillers written by women in the 19th century. She often employs the use of "unreliable narrators" to make readers uneasy. She is a recipient of the Munhakdongne Young Writers’ Award (2017) and the Hankyoreh Literary Award (2017). Life. Kang was born in Jeonju, North Jeolla Province in 1986. As a child she enjoyed activities that could be performed alone, and reading was her favorite one . As a teenager, she dreamed of becoming a writer and received multiple prizes in writing contests. She majored in Korean literature at Jeonbuk National University, but the lack of creative writing classes led her to join a joint literary review club. While considering her future career, she took a semester off from college to focus on writing. After graduating she enrolled in a graduate program for narrative creation at the Korea National University of Arts, while continuing to write on the side. In 2012, she made her literary debut with the short story "Bang" (방 Room). Young Feminists. Kang has  consistently written about issues related to women, earning her the descriptions “feminist writer” and “young feminist.” Stories in "Gwaenchaneun saram" (괜찮은 사람 A Good Person) (2016) and "Dareun saram" (다른 사람 A Different Person) (2017) are laced with the anxieties faced by contemporary women. Kang believes that women's issues are important and feels obligated to write about them, but she's careful not to make them the sole focus of her work. She says that since her debut, many have warned her about the possibility of being stereotyped as a female writer who writes about women. However, Kang believes  that such self-regulation can end up limiting women's issues that occur within the social structure to personal problems. She plans to continue to delve into femininity as an interesting and important topic that can be further expanded upon. She says that she is still in the process of becoming a feminist, and she will strive to show her inner world through her works. Writing. Kang was influenced by the works of 19th-century Western women writers, including the Brontë sisters and Mary Shelley, and is particularly interested in gothic romance and thriller narratives. Kang's fiction makes use  of the grammar and atmosphere of mystery thrillers in general. In addition, unreliable narrators in Kang's stories heighten the sense of mystery. When the reader finds inconsistencies in the narrative, the narrator becomes an unreliable person. A hunch that there is something else that cannot quite be found out intensifies the reader's anxiety, leaving the reader to wonder what is underneath the surface of the story. Often, the ambivalence that feeds the reader's anxiety is left unresolved in the work. The anxiety and fear that envelopes Kang Hwa-gil's stories are linked to real-life  events that women in society encounter. Most of the narrators in Kang's stories are women, and their statements about their feelings and experiences tend to be somewhat lacking and at times make them seem overly sensitive. However, as these situations recur, the reader realizes that whether or not the narrators are telling the truth is not the issue at hand. The point is that women cannot help but feel anxious and fearful when left in the dark about men's intentions even if they are good intentions—and that unknowable truth brings suffering upon humans. Section::::"Gwaenchanneun saram". "Gwaenchanneun  saram" (2016) is a short story collection that features stories with characters who are troubled at heart. It makes the readers ask why the author wrote such characters and what she wants to say through them. This is a reason why we also need to look closely at Kang's "saram" (person or people) series. In the titular story "Gwaenchanneun saram," the first-person narrator has a fiancé. But she is unsure whether the action of her fiancé, which resulted in her getting hurt, was accidental or intentional. Without knowing whether his action was a result of his consideration for  her or a threat, the narrator is left to anxiously wonder whether he really is a good person or not. “Nikkola yuchiwon-gwihan saram" (니꼴라 유치원-귀한 사람 Nikola Kindergarten – A Precious Person 니꼴라 유치원-귀한 사람) features a narrator who wants to send her son to a respectable kindergarten, out of a twisted feeling of inferiority. The mysterious atmosphere of the story continues to build, as the narrator learns the reason her son who was second on the waiting list received the chance to attend the kindergarten and hears strange rumors about the kindergarten. Toward the end of the  story, it makes the reader question what a "precious person" is and whether the narrator wishes her son or herself to be a "precious person."      “Hosu-dareun saram” (호수-다른 사람 Lake-Other People) begins with an assault. When her friend is found assaulted, the first-person narrator begins to look into what happened to her friend along with the friend's boyfriend named Ihan. However, as time passes, the narrator feels terrorized by Ihan, but to Ihan she appears to be an overly sensitive person who asks questions that are unrelated to the incident. The only objective fact is  that her friend is lying unconscious in the hospital. The narrator and Ihan are “other people” who were not the victims of assault. Section::::"Dareun saram". Kang Hwa-gill's novel "Dareun saram" (2017) begins with Jin-a, who was subjected to dating abuse, calling the police on her boyfriend. Upset about the soft punishment the perpetrator received, Jin-a writes about what happened to her online but ends up getting hurt by vicious comments about her instead. While scrolling through the comments, she notices one that seems to have been written by someone who knew her in the past and  is reminded of a friend named Yu-ri, who died. The narrative continues with stories of dating abuse, hate comments on the internet, and sexual assault in school. Although initially these experiences seem personal, they are eventually revealed to be violence pervasive in Korean society, shared by many people. In addition, Jin-a's struggle to understand what happened to her as she experiences self-hatred, victim mentality, and self-defense makes the reader wonder if she really is a “different person” from us. At the end of the novel, the author writes “you,” pointing to the people who neglected  the victims of abuse around them, thinking that they were different. Section::::"Seo-u". "Seo-u" (서우) (2018) is a story that combines the fear of taking a cab late at night and an urban legend that has become plausible in the era of misogyny. The first-person narrator takes a cab to go to a neighborhood where female cab drivers go missing. The narrator gets into the cab feeling safe as the driver is a woman, but her unpleasant speech is reminiscent of male cab drivers and the narrator soon grows uncomfortable. However, the twist does not end with the  point that women can also be perpetrators. As the story about the narrator's psychopathic tendencies in her childhood surfaces, suddenly the narrator turns into an unreliable narrator and a key suspect. "Seo-u" distorts the typical structure of an urban legend and also puts a twist into the idea that women are clueless victims.