{"id":167983,"date":"2024-07-08T10:30:28","date_gmt":"2024-07-08T14:30:28","guid":{"rendered":"https:\/\/www.theparisreview.org\/blog\/?p=167983"},"modified":"2025-09-22T11:42:53","modified_gmt":"2025-09-22T15:42:53","slug":"making-of-a-poem-hyesoon-ok","status":"publish","type":"post","link":"https:\/\/www.theparisreview.org\/blog\/2024\/07\/08\/making-of-a-poem-hyesoon-ok\/","title":{"rendered":"Making of a Poem: Kim Hyesoon and Cindy Juyoung Ok on \u201cPerson Walking Backward\u201d"},"content":{"rendered":"
\"\"

Achat1999, CC BY-SA 4.0<\/a>, via Wikimedia Commons<\/a>.<\/p><\/div>\n

For our series Making of a Poem, we\u2019re asking poets and translators to dissect the poems they’ve contributed to our pages. Kim Hyesoon\u2019s poem \u201cPerson Walking Backward<\/a>,\u201d translated by Cindy Juyoung Ok, appears in our new Summer issue, no. 248. Here, we asked Kim and Ok to reflect on their work.
\n<\/em><\/p>\n

1. Kim Hyesoon<\/strong><\/p>\n

How did this poem start for you? Was it with an image, an idea, a phrase, or something else?<\/em><\/p>\n

This poem began during an interview. The poet who came to interview me asked, \u201cWhat do you think about Korean poetry these days?\u201d I answered, \u201cI think Korean poetry these days is like a dog running on the highway.\u201d There is a dog inside my poem. This dog living in \u201cPerson Walking Backward\u201d is eternally digging through the \u201cpile of garbage\u201d of the present. The poem is a poem about time, two types of time. Continuous time and frozen time. The dog\u2019s time and my life\u2019s time. The poem\u2019s time and my time. Dying\u2019s time and living\u2019s time. Each is the possibility of <\/em>being to one another. <\/p>\n

How did writing the first draft feel to you? Did it come easily, or was it difficult to write? Are there hard and easy poems?<\/em><\/p>\n

At the time of this poem\u2019s writing in the early eighties, South Korea was under the rule of a dictator. They elected the president among themselves in the gymnasium [translator’s note: \u201cgym elections\u201d refer to a farcical official process of internal selection that supported two authoritarian regimes]. I felt like every day was a day when the sun did not rise. In that period, I would write poems without editing them. I simply called the screams that burst out of me poetry. In our country, literary magazines and newspapers ask poets to write poems, rather than poets submitting poems without being commissioned\u2014only writers hoping to make literary debuts submit their work themselves. During this time, I wrote poems only upon request. I didn\u2019t write anything else. I sealed the bottle caps of the poems that were springing out of me because I was despairing over the helplessness of poetry. But in gradually freeing my mind from the dictatorship, I began to write and even revise poems on my own again. I don\u2019t know if there can be a distinction between difficult and easy poems. Maybe there can be poems written without pain.<\/p>\n

How did you come up with the title for this poem?<\/em><\/p>\n

When I was writing this poem, I thought of this earth we live on as \u201cthe hell of that star,\u201d and I still do. If this earth is not a prison or hell buried under countless stars, how is it that humans can hurt, kill, and consume other humans? How is it that humans long for others, ache, and suffer? How is it that one can sit in one\u2019s room and watch dictatorships and wars with peace of heart? The poems I wrote around this time had titles that were all about walking backward, looking at the world upside down, reversing meanings.<\/p>\n

When did you know this poem was finished? Were you right about that? Is it finished, after all?<\/em><\/p>\n

Can you use the word finished<\/em> about a poem? There is no \u201cfinish\u201d for a poem. A poem is open and unfinished to the last line. I put a poem that is not finished in a poetry collection. Then, in another poem, in a different book of poems, I start writing again toward the \u201cfinish\u201d of the earlier poem. Because the poem is never finished, it just opens the door and goes out.<\/p>\n

2. Cindy Juyoung Ok<\/strong><\/p>\n

How would you describe the translation process?<\/em><\/p>\n

I used to be asked to help manage plays and, as a favor to friends, I would control the light board or make the rehearsal schedules while observing, over time, the dynamics of the production. I found it profound how there were always several true centers: the show belonged to so many, without contradiction. A translator also works with the writer: not in a fifty-fifty or ten-ninety model but, like the playwright and the actor, or the director and the choreographer, in a relationship of one hundred\u2013one hundred. When a scene had gone well or poorly, there was never just one reason, never one person to fault or credit. Writing and translating are similarly corresponding, raveled processes.<\/p>\n

Did you show your drafts to other writers or friends or confidants? If so, what did they say?<\/em><\/p>\n

I showed drafts of this translation to two people. My minute questions were whether \u201chere and there\u201d or \u201cthis way and that\u201d better fit the poem\u2019s world, and the sonic effects of \u201cfootprints left in the sand\u201d versus \u201cfootprints in the sand.\u201d I also discussed the poem\u2019s structure with the\u00a0Review<\/em>\u2019s poetry editor. It was lucky\u2014and unfortunately unusual\u2014to be able to exchange thousands of words about where to hold and release the conditional.<\/p>\n

What was the challenge of this particular translation?\u00a0<\/em><\/p>\n

This poem is imaginative, but nothing about it is a joke. So the serious stakes could not be overcast by associations of the dog with fable or satire.<\/p>\n

Do you regret any revisions?<\/em><\/p>\n

My revisions were willful efforts to minimize future regret so luckily, no. I also understand my translation as a contribution to the poem\u2019s life, not some definitive resolution\u2014a beginning, an invitation, not a termination.<\/p>\n

 <\/p>\n

Kim Hyesoon is the author of fourteen poetry collections.\u00a0<\/i>The Hell of that Star\u00a0will be published by Wesleyan University Press in 2026.<\/em><\/p>\n

Cindy Juyoung Ok is a translator and the author of the poetry collection<\/em> Ward Toward.<\/p>\n","protected":false},"excerpt":{"rendered":"

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