Yi Sang

Kim Hae-kyŏng (Korean: 김해경; Hanja: 金海卿; September 23, 1910 – April 17, 1937), also known by his art name Yi Sang (이상; 李箱) was a writer and poet who lived in Korea under Japanese rule. He is well known for his poems and novels, such as Crow's-Eye View and Wings. He is considered as a pivotal and revolutionary figure of modern Korean literature.

Yi Sang
Born	Kim Hae-Gyeong September 23, 1910 Keijō, Keiki-dō, Korea, Empire of Japan
Died	April 17, 1937(1937-04-17) (aged 26) Tokyo, Empire of Japan
Occupation(s)	Poet, Novelist, Architect, Painter, Illustrator
Organization(s)	Guinhoe (Circle of Nine, 구인회, 九人會)
Notable work	Crow's Eye View The Wings
Movement	Modernism

In this Korean name, the family name is Kim.

Yi Sang
Hangul	이상
Hanja	李箱
Revised Romanization	I Sang
McCune–Reischauer	I Sang
Birth name
Hangul	김해경
Hanja	金海卿
Revised Romanization	Gim Hae(-)gyeong
McCune–Reischauer	Kim Haegyŏng

Biography

Early Life

Kim Hae-gyeong was born in Seoul, Korea, on September 23, 1910, as the eldest son of Kim Yeun-chang and Park Se-chang. Yi's great-grandfather, Kim Hak-jun, held the rank of 'Jeong 3 Pum Dangsangwan' (정3품 당상관 관직: 도정; 都正) in the Joseon Dynasty. He lived in a very affluent household, but the annexation of Korea by Japan led to a decline in the family's fortunes. His father worked in letterpress printing for a palace before his birth, but after an accident that cut off his finger, he became a barber instead. Yi Sang was raised by his uncle Kim Yeon-Pil (김연필; 金演弼) as an adoptive son since 1913, as Yeon-Pil and his wife had no children at the time of his birth. Later, however, Yeon-Pil took Kim Young-Sook (김영숙; 金英淑) as his concubine and the son she already had, Kim Moon-Kyung (김문경; 金汶卿), became a legal son of Yeon-Pil. Yi spent time at his uncle's house even during his tenure as an official in the Government-General of Korea.

Yi Sang's had his primary and secondary education at Sinmyeong School (신명학교; 新明學校. 1917–1921), Donggwang School (동광학교; 東光學校. 1921–1922) and Posung High School (보성고등보통학교; 普成高等普通學校; 1922–1926. Donggwang School was merged into Posung High School in 1922.). He met his friend Koo Bon-Woong (구본웅; 具本雄) at Sinmyeong School. The Posung School record shows that he wanted to become an artist. However, because his uncle insisted, Yi chose to enter Gyeongseong Technical College (경성고등공업학교; 京城高等工業專門學校. 1926–1929) in 1926. Yi majored in architecture and graduated from the college with 1st place honors in 1928. His first known use of his art name Yi Sang (이상; 李箱) was in the graduation photobook. There is testimony that Yi's art name originated from the art box he received as a gift from Koo Bon-woong. Since the art box he received was made of plum wood, Yi Sang (李箱) is interpreted to mean 'plum wood box'. Additionally, in his work 'Wings', he expressed his art name as 'Ri Sang' rather than 'Yi Sang'.

In April 1929, with a recommendation from the college, he got a job as a public official (기수; 技手) in the architecture team of the Department of Domestic affairs (내무국 건축과; 內務局 建築課) of the Government-General of Korea. In November, he changed positions in the government to work as part of the building maintenance team of the Department of Secretariat and Accounting (관방회계과 영선계; 官房會計課 營繕係).

In December 1929, he became a member of the Joseon Architecture Society (조선건축회; 朝鮮建築會; Joseon Geonchukhoe), which mainly comprised Japanese architects in Korea. Yi won first and third prizes in a design contest for the cover of Joseon and Architecture (朝鮮と建築; 조선과건축; Joseongwa Geonchuk), a journal issued by the Joseon Architecture Society.

Career

Most of Yi's works were produced during the 1930s. In 1930, he serialized his first literature work (a medium-length novel) December 12th (십이월십이일; 十二月 十二日) on the Korean version of the magazine Joseon (조선; 朝鮮), which was a magazine issued by the Government-General of Korea to promote their colony policies.

In July 1931, Yi released six Japanese poems together on Joseon and Architecture: "A Strange Reversible Reaction" (異常ナ可逆反應; 이상한가역반응), "The Scenery of Broken Parts" (破片ノ景色; 파편의경치), "The Amusement of ▽" (▽ノ遊戯; ▽의 유희), "The Beard" (ひげ; 수염), "BOITEUX · BOITEUSE", and "The Empty Stomach" (空腹; 공복). On August 1931, he released a set of eight Japanese poems under the name "Bird's-Eye View" (鳥瞰圖; 조감도) on Joseon and Architecture. The title of each poem is "Two People ····1····" (二人····1····; 이인····1····), "Two People ····2····" (二人····2····, 이인····2····), "A Nervously Obese Triangle" (神経質に肥満した三角形; 신경질적으로비만한삼각형), "LE URINE", "Face" (顔; 안 or 얼굴), "Movement" (運動; 운동), "Confession of A Crazy Woman" (狂女の告白; 광녀의고백), "Entertainment Angel" (興行物天使, 흥행물천사). In October 1931, he released a set of seven Japanese poems under the name "Three-Dimensional Angle Blueprint" (三次角設計圖, 삼차각설계도). The title of each poem is "Memorandum on the Line 1" (線に関する覚書１, 선에관한각서1), ···, and "Memorandum on the Line 7".

In March and April 1932, Yi released two Korean novels: "Darkroom of a Map" (지도의암실; 地圖의暗室) and "Suspension of Business and Circumstances" (휴업과사정; 休業과事情) on the magazine Joseon. He used different pen names on these two pieces: "Bigu" (비구; 比久) for the former and "Bosan" (보산; 甫山) for the latter. In July 1932, he released a series of seven Japanese poems under the name "Building Infinite Hexahedral Bodies" (建築無限六面角體; 건축무한육면각체). The title of each poem is "AU MAGASIN DE NOUVEAUTES", "Rough Map Under Heat No.2" (熱下略圖 No.2; 열하약도 No. 2), "Diagnosis 0:1" (診断 0:1; 진단 0:1), "Twenty-two years" (二十二年; 이십이년), "The Publication Law" (出版法, 출판법), "Departure of Mr. Cha 8" (且８氏の出発; 차8씨의출발), and "Midday―Some ESQUISSE―" (真昼―或るESQUISSE―; 대낮―어떤ESQUISSE―).

In 1933, he released the following Korean poems: "A Flower Tree" (꽃나무), "This Kind of Poem" (이런시), "Mirror" (거울). The same year, Yi began coughing up blood from an infection of tuberculosis, which forced him quit his job as a public official doing architecture. He then opened a coffee house, Jebi, where he interacted with other writers and artists.

In 1934, Yi joined the Guinhoe (구인회; 九人會; lit. League of Nine), a literary organization formed on August 26, 1933 to pursue pure literature, as opposed to the KAPF (Korea Artista Proleta Federacio), an organization that pursued proletarian literature. The group recruited individuals associated with the cultural departments of daily newspapers, aiming for members who could withstand criticism from the KAPF. Mentioned individuals included Lee Tae-jun, Lee Moo-young, and Kim Ki-rim. To show its character as a literary circle, famous writers at the time such as Lee Hyo-seok, Jung Ji-yong, and Yoo Chi-jin joined the Guinhoe. However, although two individuals closely associated with the KAPF had established the Guinhoe to counter KAPF, the group's character gradually solidified into that of a simple social gathering. As a result, many of the early members of the group, including Kim Yoo-young, Lee Jong-myung, Lee Moo-young, and Lee Hyo-seok, withdrew. Park Tae-won and Yi Sang filled their vacancies. The Guinhoe then began to take on a direction different from its initial purpose. The increase in members with academic backgrounds, particularly those majoring in English literature, suggests that these individuals began to emerge as a force in Korean literature.

In 1934, Yi released the following Korean poems and essays: "보통기념", "Three States of Blood Calligraphy" (혈서삼태; 血書三態), "Crow's-Eye View" (오감도; 烏瞰圖), "History of the Cane" (지팡이 역사), "Soyeong Wije" (소영위제; 素英爲題), and "A Fall of Walks" (산책의 가을). "Three States of Blood Caligraphy" was a set of five essays, each titled "Oscar Wilde" (오스카 와일드), "Sensual Forgery" (관능 위조; 官能僞造), "Mr. Hyde" (하이드 씨), "An Evil Spirit's Appreciation" (악령의 감상)", and "The Third Blood Caligraphy" (혈서기삼; 血書其三}}". "Crow's Eye View" was a set of 15 poems, each titled from "Poem No.1" (시제일호; 詩第一號) to "Poem No.15" (시제십오호; 詩第十五號). Three poems from the series: "Poem No.8 Dissection" (시제팔호 해부; 詩第八號 解剖), "Poem No.9 Muzzle" (시제팔호 총구; 詩第八號 銃口), "Poem No.10 Butterfly" (시제십호 나비; 詩第十號 나비), had an additional title. Some of the poems from "Crow's-Eye View" were parodies of his early Japanese work, "Building Infinite Hexahedral Bodies".

In 1935, Yi had to close the Jebi due to financial difficulties, and he broke up with Geumhong. Cafe Tsuru and Coffee Shop 69 in Insa-dong were opened and transferred, and after managing Coffee Shop Mugi in Myeong-dong, he healed in Seongcheon and Incheon right after he closed it.

In 1936, Yi Sang edited the Guinhoe's magazine, Poetry and Novels (시와 소설; Siwa Soseol), published by Changmunsa under the aegis of Koo Bon-Woong. His "Street Exterior, Street Passage" (가외가전; 街外街傳; Gaoe gajeon) was published in this journal. His short story "Diary Before Death" (종생기; 終生記; Jongsaenggi) and his personal memoir "Monotony" (권태; 倦怠; Gwontae) were published posthumously in Tokyo.

In November 1936, Yi went to Japan. In February 1937, he was investigated by the Nishi-Ganda Police Station in Tokyo on ideological charges. After being investigated for about a month, he was released from prison due to worsening tuberculosis. Yi was hospitalized at the Tokyo Imperial University Hospital, and died on April 17 at the age of 28. His wife, Byun Dong-rim, moved to Japan immediately after hearing that Yi Sang was in critical condition. After Yi Sang died, she cremated his ashes and buried them in Miari Cemetery. Later, according to Byun, she had asked him what he wanted to eat, and he died soon after leaving the words, "Sembikiya's melon." Park Tae-won, a fellow writer and friend of Yi's, mentioned the following: "He loved girls so much, loved alcohol, loved his friends, and loved literature, but not a half of that love went for his body. His death is named as death from illness, but isn't the essence of this death suicide? Such suspicions become intense."

Literary relationships

Jung Ji-yong (鄭芝溶)

Jung Ji-yong is a founding member of the Guinhoe to which Yi Sang belongs. In 1933, he served as an editorial advisor to <Catholic Youth (가톨닉靑年)>, playing a major role in promoting Yi Sang's poems. With the help of Jeong Ji-yong, Yi sang published works such as "꽃나무" and "이런시" in Korean in <Catholic Youth>.

Park Tae-won (朴泰遠)

Yi Sang and Park Tae-won were born around the same time and both hailed from the four gates of Gyeongseong, now known as Seoul. This shared origin is an important clue to understanding their literary worlds.

Both Park Tae-won and Yi Sang were members of the Guinhoe (구인회; 九人會; lit. the Circle of Nine), which they joined in 1934. They first met at Dabang Jebi, a coffee house opened by Yi Sang in Jong-no 1(il)-ga. Their first meeting is estimated to have occurred in June or July 1933. Kim Ki-rim, another Guinhoe member, and Ko Un wrote that Jebi opened in July 1933, while Yi Sang's sister, Kim Ok-hee, mentioned June of the same year. The story of their first meeting is recounted in Park Tae-won's memoir for Yi Sang, "Yi Sang-ui Pyeonmo" (이상의 편모), written after Yi Sang's death. Park Tae-won was intrigued by Yi Sang as a poet and his poem "Movement" (운동; 運動).

Maintaining their relationship, Park Tae-won and Yi Sang collaborated with the newspaper "Joseon-Jungang-ilbo" to publish a series of Yi Sang's poems, "Crow's Eye View" (Ogam-do; 오감도; 烏瞰圖)", and Park's novel, "A Day in the Life of Novelist Mr. Gubo" (소설가 구보씨의 일일). Yi Sang also created illustrations for Park Tae-won's novel. Despite facing harsh criticism for the abstruseness of their literature, they continued their literary endeavors. After Yi Sang's admission to Guinhoe in the fall of 1934, they focused on the publication of the bulletin "Poet and Novel" (시와 소설).

They also shared literary themes in works like Yi Sang's poem "Movement" (운동; 運動) and Park Tae-won's short story "Bangranjang Juin (방랑장 주인; 芳蘭莊 主人)", both written in a single sentence. Park Tae-won's novels often repeat similar themes and patterns, one of which is "A Novel Report on Yi Sang's Private Life," including works such as "Aeyog" (애욕, 1934), "Bogo" (보고, 1936), "Yi Sang-ui Bilyeon" (이상의 비련, 1936), "Yeomcheon" (염천, 1938), and "Jebi" (제비, 1939).

The main character of the novel "Aeyog" (1934) is believed to be modeled after Yi Sang, hinted by Yi Sang's pen name "Hae-yung," who drew an illustration for "A Day in the Life of Novelist Mr. Gubo." "Jebi" (1939) is a novel based on the tea house 'Jebi' run by Yi Sang, illustrated by Park Tae-won.

Park Tae-won and Yi Sang were inseparable, sharing not only their literary endeavors but also their indulgences, depressions, and moments of decadence. Park Tae-won's house in Da-dong was a refuge for Yi Sang whenever he was beaten by Geum-Hong, who lived with him. However, their close relationship ended with Yi Sang's death in Tokyo. [1]

Kim Ki-rim (金起林)

Kim Ki-rim, a poet and a newspaper reporter at the Chosun Ilbo, was one of the founding members of Guinhoe. Yi Sang was initially introduced to Kim by Park Tae-won. During their first encounter, they discussed Jules Renard, Salvador Dalí, and René Clair. Kim became interested in Yi because of their shared aesthetic affinity for surrealism. Yi Sang designed the cover of Kim Ki-rim's poetry collection, "Gisangdo" (기상도).

Between 1936 and 1937, Yi Sang sent seven letters to Kim Ki-rim, which are still preserved today under the title 'To Kim Ki-rim'. During this period, Yi moved to mainland Japan and was close to death due to tuberculosis. These letters reflect Yi's everyday thoughts and experiences. For instance, in the fourth letter, Yi mentions René Clair, the French filmmaker, and criticizes his movie, "The Ghost Goes West." The letters also highlight their close relationship. Yi frequently discussed the progress of his works, such as "The Wings" (날개) and "Diary Before Death" (Jongsaenggi; 종생기; 終生記), requesting Kim's opinions on them. Additionally, Yi commented on a paper by Choi Jae-seo, a Korean literature critic, who criticized works like "The Wings (날개)".

After Yi Sang's death, Kim Ki-rim wrote a tribute titled "Memories of the Late Yi Sang" (고 이상의 추억). In this tribute, he recognized Yi's death as a "tragedy of a reduced-printed era," placing Yi's death within a historical context. In 1949, Kim Ki-rim collected Yi Sang's works and published the first collected works, "Yi Sang Seon-jip" (이상선집; 李箱選集).

Koo Bon-Woong (具本雄)

Koo Bon-Woong was a painter and art critic who graduated from the Taiheiyo Art School(太平洋美術 學校). He first met Yi Sang at Sinmyeong School. Koo, who had a hunchback, attended school intermittently due to health problems and ended up graduating alongside Yi Sang, who was four years younger. Teased because of his hunchback, Koo developed a keen interest in art. Similarly, Yi Sang, who also had a strong interest in art, became friends with Koo, supporting and respecting him. This marked the beginning of their relationship, which continued into adulthood.

In 1933, to care for Yi Sang, who had quit his job as a public official due to illness, Koo Bon-Woong took him to Baechon Hot Springs in Hwanghae Province. Baechon Hot Springs is also known as the place where Yi Sang first met Geum-Hong. After Yi Sang's health slightly improved, he and Geum-Hong returned to Seoul (Koo returned before them) and opened a coffee shop called "Jebi". It is said that Koo Bon-Woong's painting, "Still Object with a Doll" (인형이 있는 정물, 71.4 cm x 89.4 cm), was displayed in this café.

After Jebi closed down, Yi Sang had no means of livelihood. He eventually found work as a proofreader at Koo Bon-Woong's printing press. There, with Koo's assistance, Yi Sang founded a literary magazine called "Poetry and Novel" (시와 소설), featuring works from members of Guinhoe. Although only the inaugural issue was produced due to a lack of active participation from the members, Yi Sang's postscript in the magazine shows that Koo Bon-Woong was a fervent supporter of Yi Sang's artistic activities.

Furthermore, Yi Sang's last lover, Byun Dong-Rim, was the younger sister of Koo Bon-Woong's stepmother. This somewhat unusual relationship was due to the fact that Koo's stepmother was not significantly older than Koo. Yi Sang and Koo were close, often spending time together at 'Ugodang,' Koo's studio and office, as coworkers. Yi Sang frequently drew pictures there. When Yi Sang was struggling with a series of business failures, Koo got him a job at a publishing company, Changmunsa, founded by his father in 1935. Koo Bon-Woong painted his friend Yi Sang in a well-known work called "Portrait of a Friend" (우인상).

Relationships with women

In Yi Sang's poetry, women appear in various forms, but they commonly exhibit behaviors of fleeing from or becoming disconnected from the poetic speaker. This reflects Yi Sang's feelings of anxiety and alienation in his relationships with women. In his poems, women are always drifting away, leaving the speaker with a sense of loss and loneliness. This portrayal poetically expresses the complex relationships and inner conflicts Yi Sang experienced. The motifs of women in Yi Sang's poetry can be largely identified as three figures: Geum-Hong, Kwon Soon-ok, and Byeon Dong-lim. Particularly, women modeled after Geum-Hong tend to flee from the poetic speaker. Ultimately, the women depicted by Yi Sang can be interpreted as symbols of his deep-seated loneliness and sense of disconnection.

Geum-Hong (錦紅)

In 1933, 23-year-old Yi Sang first encountered Geum-Hong, who was a kisaeng (기생; 妓生), during a trip to Baechon Hot Springs (배천온천; 白川温泉) to recuperate from tuberculosis. They developed a romantic relationship and managed a coffee house called 'Jebi' on Jong-no 1st Street, Gyeongseong. Yi Sang designated Geum-Hong as the manager of the coffee house, and they lived together for an estimated two years. However, their relationship was tumultuous due to financial difficulties. Geum-Hong frequently stayed out, and Yi Sang would lash out at her by mentioning her previous life as a kisaeng. As a result, she would physically beat him and often run away from home, leading to their eventual breakup. Consequently, in September 1935, the coffee house Jebi closed down.

Their love story is depicted in Yi Sang's novel, 'Bongbyeolgi' (봉별기; 逢別記), which means 'A Story of Meeting and Parting'. Geum-Hong is also implicitly portrayed in his short story 'The Wings' (날개) under the name Yeon-shim-i (연심이), her real name. Furthermore, Yi Sang's poems reveal the dynamics between him and Geum-Hong. In the poems "危篤:追求" and "明鏡", Geum-Hong is always trying to escape from Yi Sang, which fills him with sorrow each time. However, in the poem "ㆍ素ㆍ榮ㆍ爲ㆍ題ㆍ" and the novel "The Wings", despite his sadness, Yi Sang does not deeply dwell on Geum-Hong's acts of infidelity and prostitution. These aspects highlight the unique nature of their relationship.

Gwon Sun-ok

After the failure of the coffeehouse Jebi, Yi Sang took over the café 'Tsuru' (Hangul: 쓰루, Kanji: 鶴) by mortgaging his parents' house. He recruited Kwon Soon-ok, who had worked as a waitress at another café, 'Angel'. Kwon Soon-ok was highly educated and had broad interactions with other writers, such as Jeong In-taek. While Yi Sang fell for her, their romantic relationship never fully developed. Jeong In-taek had a secret crush on her, leading to a love triangle. Jeong In-taek even attempted suicide to win her favor, and after this incident, Kwon Soon-ok and Jeong In-taek married. Ironically, Yi Sang presided over their wedding ceremony. Following Jeong In-taek's death, Kwon Soon-ok remarried Park Tae-won.

Byeon Dong-rim (卞東琳)

Byeon Dong-rim (변동림), a writer introduced to Yi Sang by Gu Bon-woong, became his wife. Yi Sang and Byeon Dong-rim met in 1936 through this introduction. Only three months into their marriage, Yi Sang left for Tokyo alone, where his health sharply deteriorated. He was transferred to Tokyo Imperial University Hospital in a severe state, worsened by a sudden arrest. Upon hearing the news, Byeon Dong-rim traveled to Tokyo within two days. After just four months of marriage, Yi Sang passed away in her presence.

Their feelings towards each other can be traced through Yi Sang's "Tokyo" (Donggyeong; 동경; 東京) and Byeon Dong-rim's "Moonlight Heart" (월하의 마음; 月下의 마음). According to Byeon Dong-rim's essay "Moonlight Heart," shortly before his death, Yi Sang reportedly said he wanted to eat "Senbikiya's melon." Byeon Dong-rim went to buy the melon to fulfill Yi Sang's final request, but sadly, Yi Sang did not get to eat it.

In later years, Byeon Dong-rim reflected on Yi Sang's death, stating, "He lived a most brilliant, enchanted life. The 27 years he spent on this earth were enough time for a genius to fully blossom and then fade away."

Legacy

Yi Sang is renowned as perhaps the most famous avant-garde writer of the colonial era. His work experiments with language, interiority, and the separation from oneself and the external world. His poetry, in particular, was influenced by Western literary concepts such as Dadaism and Surrealism. Yi's background in architecture also influenced his work, often incorporating the languages of mathematics and architecture, including lines, dots, number systems, equations, and diagrams.

His literary legacy is marked by his modernist tendencies, evident throughout his body of work. His poems reveal the desolate internal landscape of modern humanity. For example, "Crow's Eye View Poem No. 1" (오감도 시제1호) uses an anti-realist technique to condense themes of anxiety and fear. His stories dismantle traditional fiction forms to depict the conditions of modern life. The Wings, for instance, employs a stream-of-consciousness technique to express the alienation of modern individuals, who are fragmented commodities unable to connect with quotidian realities.

Yi Sang did not receive much recognition for his writing during his lifetime. However, his works began to be reprinted in the 1950s. His reputation soared in the 1970s, and the Yi Sang Literary Award was established in 1977. In 2007, he was listed by the Korean Poets' Association among the ten most important modern Korean poets. His most famous short story is "The Wings" ("Nalgae", Korean: 날개), and his poem "Crow's Eye View" is also well-known.

Yi Sang's works are complex and often use ambiguous expressions, sometimes employing words that do not conform to conventional grammar. Most of his early poems (including those published in "Joseon and Architecture" (朝鮮と建築), believed to be written until 1932) and parts of his Posthumous Note were written in Japanese. The translations may not fully capture the intended meaning of Yi Sang's original works. Therefore, to analyze his works accurately, it is preferable to understand them through the original texts rather than translations.

Gwangju Institute of Science and Technology(GIST) has a 'Yi Sang's Literature and Science' course, which specializes in the analysis of Yi Sang's literary works from the perspective of science and various languages.

Published Works

After his death, from 1937 to 1939, 16 of his posthumous works were released, including poems, essays, and novels. In 1956, nine more Japanese poems were found and their Korean translations were released. In the following years, more draft notes in Japanese, which are almost certainly thought to be Yi Sang's for several reasons, were found, and they were translated into Korean and introduced from 1960 to 1976.

Since 1960, a total of 26 works by Yi Sang have been discovered. Of these, 25 were published from Yi Sang's posthumous manuscripts acquired by critic Jo Yeon-hyeon. Regarding the discovery process, Jo Yeon-hyeon explained, "Some time ago, a student named Lee Yeon-bok from the night school at Hanyang University brought an old notebook to me. Although it was my first time meeting him, it was immediately evident that he was a literary enthusiast and particularly fond of Yi Sang. The notebook he presented was a draft book of Yi Sang's Japanese poems. Lee had found this notebook while visiting the house of his friend, Kim Jong-sun, who runs a furniture store. Kim's older brother had acquired the notebook, which had been used as waste paper, from an acquaintance who owned an antiquarian bookstore. About 90% of the roughly 100-page notebook was already damaged, with only about 10% remaining intact. Although Lee Yeon-bok was not proficient in Japanese, he was intrigued by the characters written in the notebook. He obtained the notebook and, after comparing it with various sources, including <李箱全集>, he surmised that it was an unpublished manuscript by Yi Sang and brought it to me."

Works in Korean

Poems

Year	Series	Title	Translated Title	Publisher
1933	-	꽃나무	A Flower Tree	가톨닉靑年
		이런시	This Kind of Poem
		一九三三, 六, 一
		거울	Mirror
		보통기념		월간매신
1934	Crow's Eye View (烏瞰圖)	詩題一號	Poem No.1	朝鮮中央日報
		詩題二號	Poem No.2
		詩題三號	Poem No.3
		詩題四號	Poem No.4
		詩題五號	Poem No.5
		詩題六號	Poem No.6
		詩題七號	Poem No.7
		詩題八號 解剖	Poem No.8 Dissection
		詩題九號 銃口	Poem No.9 Muzzle
		詩題十號 나비	Poem No.10 Butterfly
		詩題十一號	Poem No.11
		詩題十二號	Poem No.12
		詩題十三號	Poem No.13
		詩題十四號	Poem No.14
		詩題十五號	Poem No.15
	-	素榮爲題		中央
1935	-	정식		가톨닉靑年
		紙碑		朝鮮中央日報
1936	-	紙碑-어디갔는지모르는안해		中央
	易斷	火爐		가톨닉靑年
		아츰
		家庭
		易斷
		行路
	-	街外街傳		詩와小說
		明鏡		女聲
	危篤	禁制		Chosun Ilbo
		追求
		沈歿
		絶壁
		白晝
		門閥
		位置
		買春
		生涯
		內部
		肉親
		自傷
	-	I WED A TOY BRIDE		三四文學
1937	-	破帖	Torn Notebook	子午線 October
1938	-	(無題)	(Untitled)	貘(第3號) October
		(無題) (기이)	(Untitled)	貘(第4號) October

Long novels

Year	Title	Translated Title	Year	Publisher
1930	十二月 十二日	December 12	1930	朝鮮

Short novels

Year	Title (English Title)	Translated Title	Publisher	Remarks
1932	地圖의 暗室	Darkroom of a Map	朝鮮 March	With pen name '比久'
	休業과 事情	Shutdown & Reasons	朝鮮 April
1934	지팽이 轢死		月刊每申 March
1936	鼅鼄會豕	Ji-Ju-Whoe-Shi	中央 June	The title means "two spiders that met a pig"
	날개	The Wings	朝光 September
	逢別記	Bongbyeolgi	女性 December	The Title means "a writing of meet and separate"
1937	童骸	Child's Remains	朝光 February
	황소와 도깨비	The Bull and the Goblin	每日申報 March 5–9	Fable / Fairy tale
	終生記		朝光 May
1938	幻視記	Record of Illusions	靑色紙 June
1939	失花	Flower Loss	文章 March
	斷髮	Hair Cut	朝鮮 April
	金裕貞	Kim Yu Jeong	靑色紙 May

Essays

Year	Title	Translated Title	Publisher	Remarks
1934	血書三態		新女性 June
	산책의 가을	The autumn of a walk	新東亞 October
1935	현대미술의 요람	The cradle of modern art	每日新報 March 14th ~ March 23th
	山村餘情		每日新報 September 27th ~ October 11th
1936	문학을 버리고 문화를 상상할 수 없다	I can't imagine culture without literature	朝鮮中央日報 January 6th
	나의 애송시	My favorite poem	中央 January
	논단시감		朝鮮日報 January 24th ~ January 28th
	西望栗島		朝光 March
	早春點描		每日新報 March 3nd ~ March 26th
	편집후기		詩와 小說(Poetry and Novel) March
	女像四題		女性 April
	내가 좋아하는 화초와 내 집의 화초		朝光 May
	약수		中央 July
	EPIGRAM		女性 August
	아름다운 조선말	The Beautiful Korean Language	中央 September
	행복	Happiness	女性 October
	가을의 探勝處		朝光 October
	秋橙雜筆		每日新報 October 14th ~ October 28th
1937	십구세기식		三四文學 April
	공포의 기록	Records of Horror	每日新報 April 25th ~ May 15th
	권태		朝鮮日報 May 4th ~ May 11th
	슬픈이야기	A Sad Story	文章 June
	오감도 작자의 말	Remarks from the author of "Crow's Eye View"	文章 June	According to Park Tae-won(박태원)'s eulogy [Yi Sang's flagella(이상의 片貌], "It was written because 30 series of「烏瞰圖」 were discontinued into 15 series. It was not announced at the time."
1938	문학과 정치	Literature and Politics	四海公論 July
1939	실락원	Paradise Lost	朝光 February
	병상 이후		靑色紙 May
	東京		文章 May
	最低樂園		朝鮮文學 May

Letters, magazines, etc.

Year	Title	Translated Title	Publisher	Remarks
1936	동생 옥희 보아라	Read this letter sister Ohk-he	中央 September	Letter to send his sister Kim Ohk-he(金玉姬)
	김기림에게 2	To Kim Ki-rim (2)		Letter to send Kim Ki-rim
	김기림에게 3	To Kim Ki-rim (3)
	김기림에게 4	To Kim Ki-rim (4)
	김기림에게 5	To Kim Ki-rim (5)
	김기림에게 6	To Kim Ki-rim (6)
	김기림에게 7	To Kim Ki-rim (7)
	김기림에게 8	To Kim Ki-rim (8)
	안필승(안회남)에게			Letter to send Ahn Hoenam (安懷南)
	남동생 김운경에게	To my brother Kim Un-Gyeong		Letter to send his brother Kim Un-gyeong(金雲卿)
1936	아포리즘	Aphorism	詩와 小說(Poetry and Novel) March
1939			文章 July
-			京城高等工業 - 專門學校 Photo album

Works in Japanese

Poems

Year	Series	Title	Translated Title	Publisher
1931	-	異常ナ可逆反應(Original Text)		朝鮮と建築 July
		破片ノ景色(Original Text)
		▽ノ遊戯(Original Text)
		ひげ (李箱)(Original Text)
		BOITEUXㆍBOITEUSE(Original Text)
		空腹
	鳥瞰圖	二人····1····	Two People ····1····	朝鮮と建築 August
		二人····2····	Two People ····2····
		神経質に肥満した三角形	A Nervously Obese Triangle
		LE URINE
		顔
		運動	Movement
		狂女の告白	Confession of A Crazy Woman
		興行物天使
	三次角設計図 (Original Text)	線に関する覚書１		朝鮮と建築 October
		線に関する覚書２
		線に関する覚書３
		線に関する覚書４
		線に関する覚書５
		線に関する覚書６
		線に関する覚書７
1932	建築無限六面角体 (Original Text)	AU MAGASIN DE NOUVEAUTES	AT A DEPARTMENT STORE	朝鮮と建築 July
		熱河略図 No.2
		診断　０：１
		二十二年
		出版法
		且８氏の出発
		真昼――或るESQUISSE――
1940	-	蜻蛉	Dragonfly	乳色の雲
		一つの夜	A Night
1956		隻脚	One Leg	李箱全集
		距離(女去りし場合)	Distance (in case of leaving a woman)
		囚人の作った箱庭	A Prisoner's Garden
		肉親の章	Family Chapter
		内科	Internal Medicine
		骨片ニ関スル無題	No Title Related to Bone Fragments
		街衢ノ寒サ	Street's Cold
		朝	Morning
		最後	Last
1960		(無題)	(Untitled)	現代文學 November
		1931年(작품 제1번)	Year 1931(Work No.1)
1961		구두	Shoes	新東亞 January
		어리석은 석반		現代文學 January
1966		(無題)	(Untitled)	現代文學 July
		애야
1976		회한의 장		文學思想 June
		단장		文學思想 July
		與田準一	[[Jun'ichi Yoda]]
		月原橙一郞

Essays

Year	Title	Translated Title	Publisher
1935	船の歴史	The history of ships	新兒童 October
1960	얼마 안되는 변해		現代文學 November
	(無題)	(No title)
	(無題)
	이 아해들에게 장난감을 주라		現代文學 December
	모색
	(無題)
1961	습작 쇼오윈도우 수점		現代文學 February
1976	첫번째 방랑		文學思想 July
	불행한 계승
	객혈의 아침
	황의 기(작품 제2번)
	작품 제3번	Work No.3
1986	공포의 기록(서장)		文學思想 October
	공포의 성채
	야색
	단상
2000	낙랑 파라의 새로움	The Newness of Nakrang Para	韓國文學硏究

Letter, Magazine, etc.

Year	Title	Translated Title	Publisher	Remarks
1932	巻頭言1		朝鮮と建築 June	Presumed to be Yi Sang's work while participating in the magazine's editing
	巻頭言2		朝鮮と建築 July
	巻頭言3		朝鮮と建築 August
	巻頭言4		朝鮮と建築 September
	巻頭言5		朝鮮と建築 October
	巻頭言6		朝鮮と建築 November
	巻頭言7		朝鮮と建築 December
1933	巻頭言8		朝鮮と建築 May
	巻頭言9		朝鮮と建築 June
	巻頭言10		朝鮮と建築 July
	巻頭言11		朝鮮と建築 August
	巻頭言12		朝鮮と建築 October
	巻頭言13		朝鮮と建築 November
	巻頭言14		朝鮮と建築 December
1978	낙서	Scribble	李箱詩全作集 Art book	It is in the pictorial of the 全集(2). It reads, "Yi Sang's scribbles on the wall of Nakrang(낙랑). He soothes his anger here by drinking a drink." 'Nakrang(낙랑)' means a cafe called 'Nakrang Para(낙랑파라).' It also appears in the essay "The Newness of Nakrang Para(낙랑파라의 새로움)."
1976	낙서	Scribble	讀書生活 November	It is carried with Yi Sang's self-portrait on the inner cover of Jules Renard's 「The Power Notebook」. It was introduced by Im Jong-guk(임종국).

Works Translated into English

• Yi Sang: Selected Works (translated by Don Mee Choi, Jack Jung, Joyelle McSweeney, and Sawako Nakayasu), Seattle and New York: Wave Books, 2020. ISBN 9781950268085.
• The Wings, Seoul: Jimoondang Publishing, 2001. ISBN 89-88095-50-2.
• Three Poets of Modern Korea: Yi Sang, Hahm Dong-seon, and Choi Young-mi, Louisville: Sarabande Books, 2002. ISBN 1-889330-71-X
• Yi Sang, "Wings," translated by Walter K. Lew, in Modern Korean Fiction: An Anthology, eds. Bruce Fulton and Youngmin Kwon. NY: Columbia University Press, 2005. ISBN 0-231-13513-0
• Yi Sang, 20 poems, translated from the Korean by Walter K. Lew, from the Japanese by Edward Mark, in The Columbia Anthology of Modern Korean Poetry, ed. David R. McCann. NY: Columbia University Press, 2004. ISBN 0-231-11129-0
• Meetings and farewells : Modern Korean stories, Chong-wha Chung St Lucia QLD: University of Queensland Press, 1980. ISBN 0702215538
• The Wings : eBook I-AHN CREATIVE, 2015. ISBN 89-98659-02-6.

Yi Sang and education

In many of Yi Sang's works, there is information related to physics. However, given the historical background, it was difficult for Joseon people to learn advanced knowledge. During the time of Yi Sang's work, Joseon was under Japanese control, and to control Joseon, the Japanese government provided educational opportunities for Koreans based on the following educational philosophy.

"The primary goal of colonial education should be the widespread use of the native language (Japanese), and higher education should be limited to unemployment training to produce technicians...The basis for this is to prevent the self-awareness of the colonized people" - 『Education in Joseon (1923)』[2](p.52)

In other words, by suppressing advanced education, they prevented the production of intelligent people and thus "controlled the opportunity to develop the ability to think and act for themselves."

However, even these restrictions couldn't stop the passion for education among Koreans, and thus the Gyeongseong Technical College (equivalent to today's Seoul National University of Science and Technology, and today's Seoul National University is the top university in Korea) emerged. Of course, the percentage of Joseon people was not high, but Yi Sang was one of them.

Yi Sang was the seventh graduate of Kyungsung Technical College. One of the reasons why Gyeongseong Technical College is important is that in the first volume of "Gongwoo," a magazine created by graduates of the school, there is an article titled "Light has weight," which contains the relativity theory of Einstein. In other words, you can see how he came to know relativity, and in fact, there are many pieces in his works that imply that he knew relativity.

There are many other ways that Yi Sang could have learned about relativity in addition to the magazine Gongwoo. Relativity was a very hot topic in Joseon at that time, and lectures on the topic were often given, so it must have been quite accessible to an intelligent person like him.On November 14, 1922, and November 18, 1922, Hwang Jin-nam published a column in the <Dong-A Ilbo> introducing Einstein and the theory of relativity.
On August 22, 1928, <Joong-Woe Ilbo>, "Teach the Theory of Relativity."
etc...

However, it is quite cautious to assume that Yi Sang knew about 'quantum mechanics' . While it is certain that relativity appeared in Yi Sang's works, and it is almost definite that he knew about it, however, the same cannot be said for 'quantum mechanics'.

Quantum mechanics was first introduced to Joseon in 1936 in an article by Do Sang-rok, published in the monthly magazine "Jogwang"(1936. 03., 04., 월간지《조광》, 도상록). His article is an introduction to the causality, which is important in quantum mechanics. However, most of Yi's works were written before this article, so it is doubtful that Yi Sang was familiar with quantum mechanics. However, while quantum mechanics was not well studied in Joseon at this time, there were many more physicists in Japan than in Joseon, so it can be assumed that it was studied a lot in Japan, and that there was a lot of material written in Japanese.

Given that he was fluent in Japanese and read many Japanese-language magazines, it is quite possible that he learned about quantum mechanics from Japanese-language sources.

Therefore, when interpreting his work, it is worth considering not only relativity, but also quantum mechanics.

In popular culture

Yi Sang, a notable modernist writer from Korea, has inspired numerous contemporary cultural works across various media, including video games, musicals, music, and movies.

Films & TV Shows

• The Mystery of the Cube (건축무한육면각체의 비밀, 1999). Directed by Yoo Sang-wook.
• The Wings of Lee Sang (이상의 날개, 1968). A 59-minute romance short film produced by the Korea Art Film Company. The film was directed by Choi In-hyeon and features actors Shin Sung-il, Nam Jeong-im, Moon hee and Choi Bul-am.
• My dear KeumHong (금홍아 금홍아, 1995). A 96-minute feature film produced by Taeheung Film Company. Directed by Kim Yoo-jin, the film stars Kim Kap-soo, Kim Soo-chul, Lee Ji-eun, and Yoon Jeong-bin.
• Yi Sang and more (이상 그 이상; 李箱 그 以上, 2013). <Yi Sang and more> is the eighth installment of the 70-minute MBC drama festival season 1, which aired on MBC from Nov. 28, 2013. The director is Choi Jung-kyu, actor Cho Seung-woo plays Yi Sang, and other actors such as Park Ha-sun, Jung Kyung-ho, and Han Sang-jin appear.

Musicals

• Smoke(스모크, 2017). Produced by Double K Entertainment, draws inspiration from Yi Sang's "Crow's Eye View." It explores the lives of three characters who represent different facets of Yi Sang's persona. The musical's narrative and lyrics include direct references to Yi Sang's literary works, and it delves into the psychological and existential struggles depicted in his writings.
• Fan Letter(팬레터, 2016). First released in 2016, <Fan Letter> is a 160-minute musical produced by Live. The song was written by Han Jae-eun and composed by Park Hyun-sook. Based on the 1930s-era anecdotes of "Yi Sang," "Kim Yoo-jung(김유정)," and the "Guinhoe(구인회, 九人會)".
• L'art reste(라흐헤스트, 2022). First released on September 6, 2022, <L'art reste> is a 110-minute musical produced by the Hong Company. The musical was directed by Kim Eun-young. The lyrics were written by Kim Han-sol, and Moon Hye-sung and Jung Hye-ji composed the song. "L'art reste" means "art remains" in French. It is based on a true story about a Western painter, Byeon Dong-rim, her first husband Yi Sang, and her second husband, Kim Hwan-ki.
• Kkood bye, Yi Sang (꾿빠이, 이상, 2017). Organized by the Seoul Arts Center, <Kkood bye, Yi Sang> is based on the 2016 original novel of the same name.

Other

• A character named Yi Sang features in Project Moon's role-playing game Limbus Company. This character is directly inspired by the real-life poet and embodies the enigmatic and avant-garde spirit of the original author. In the game, Yi Sang is portrayed as a talented architect, mirroring the author's real-life career as an architectural engineer during the colonial period. The character's dialogues often reference Yi Sang's poems, such as "The Wings" and "Mirror," reflecting the profound themes of time and existence found in his works. A group by the name of "The Nine People Association" also appears in the game, which is inspired by the Guinhoe. Several characters in the game are modeled after historical figures who were part of the original group, including those who engaged in pro-Japanese activities like Yu Chi-jin and Park Tae-won, who appear as antagonists.
• Shin Haegyeong, a contemporary musician, frequently draws on Yi Sang's literary themes in his music. His stage name and several album titles are direct references to Yi Sang's works. For instance, his name is taken from Yi Sang's real name, Kim Hae-kyung. His album "My Reversible Reaction" is inspired by Yi Sang's poem "A Strange Reversible Reaction." At the end of the music video "And then", a phrase from Yi Sang's novel Bonbyeolgi, "속아도 꿈결, 속여도 꿈결" appears directly. His music often captures the melancholic and introspective tone of Yi Sang's poetry, creating a modern dialogue with the poet's legacy.
• A specialized GPT, trained on the works and life of Yi Sang, has been developed to provide detailed information about the cultural content with the Yi Sang motif. This AI referred to as "문화 컨텐츠 속 이상" (Yi Sang in Cultural Content), assists users in exploring Yi Sang's literary contributions and their impact on modern media.

See also

• Yi Sang Literary Award
• Crow's Eye View
• The Wings
• Chijuhoesi
• A Flower Tree
• Mirror (Yi Sang poem)
• Bongbyeolgi

Further reading

• Lee, Byung-Soo (2013). "A Study on the Expression of French and Hypermodernity in the Poetry of Yi Sang". French Culture and Arts Research. 45: 129–152.

• Kim, Jung-Soo (2007). "A Study on the Significance of the Lame Mirror in Yi Sang's Literature". Korean Modern Literature Research. 22: 145–174.

• Sung, In-Soo. "Yi Sang's "The Play of the △, 1" through the Texts ▽, △, 1: Contexts". Korean Language and Literature. 163: 455–488.

• Sung, In-Soo. "Interpretation of the Cross in Yi Sang's Poem "Boite · Boiteuse"". Korean Language and Literature. 166: 291–327.

• Kim, Dae-Woong; Lee, Sang-Ok. "A Study on the Temporal Consciousness in Yi Sang's Poetry". Eomunhak. 133: 305–329.

• Kwon, Hee-Cheol. "The Issue of Time in Yi Sang's Literature". Korean Modern Literature Research. 50: 149–185.

• Lew, Walter K.; Henry H. Em; et al. (April 1995). "Portfolio: Yi Sang (1910–1937)". Muae 1 (1). New York: Kaya: 70–149. ISBN 0702215538.

• Im Hon-yong (1996). "Yi Sang". In Korean Culture & Arts Foundation (ed.). Who's who in Korean literature. Seoul: Hollym. pp. 518–520. ISBN 1-56591-066-4.

External links

• Review of Wings at KTLIT
• (korean) Works related to Yi Sang at Wikisource
• Site of Yi Sang's old house