WINNER OF THE 2020 NATIONAL BOOK AWARD FOR POETRY

"Don Mee Choi's urgent DMZ Colony captures the migratory latticework of those transformed by war and colonization. Homelands present and past share one sky where birds fly, but 'during the Korean War cranes had no place to land.' Devastating and vigilant, this bricolage of survivor accounts, drawings, photographs, and hand-written texts unearth the truth between fact and the critical imagination. We are all 'victims of History,' so Choi compels us to witness, and to resist."--Judges Citation

Woven from poems, prose, photographs, and drawings, Don Mee Choi's DMZ Colony is a tour de force of personal and political reckoning set over eight acts. Evincing the power of translation as a poetic device to navigate historical and linguistic borders, it explores Edward Said's notion of "the intertwined and overlapping histories" in regards to South Korea and the United States through innovative deployments of voice, story, and poetics. Like its sister book, Hardly War, it holds history accountable, its very presence a resistance to empire and a hope in humankind.

Les mer
A powerful work of cultural memory that recovers voices from Korea's heartbreakingly violent postcolonial history.

Sky Translation

Wings of Return
-Ahn Hak-sŏp #1
-Ahn Hak-sŏp #2
-Ahn Hak-sŏp #3
-Ahn Hak-sŏp #4
-Ahn Hak-sŏp #5

Planetary Translation

The Orphans
-Orphan Cheo Geum-jeom
-Orphan Heo Jeom-dal
-Orphan Kim Kyong-nam
-Orphan Kim Kap-sun
-Orphan Cheong Cheong-ja
-Orphan Wu Gi-myo
-Orphan Yi Jeong-seon
-Orphan Kim Seong-rye
-Orphan Nine
-Who am I?

The Apparatus

Interpellation of Return

Mirror Words
-Ruoy Ycnellecxe
-Who are you?
-Your Excellency
-Era uoy evila?
-Sky Similes for Snow Geese
-(Blue x 300!)

(Neo) (=) (Angels)

Notes

Acknowledgements

Les mer

Choi's hybrid structure allows her, in some sense, to have it both ways—to look at her subjects while simultaneously, and paradoxically, showing that some subjects are just too big to see in full: war, your parents' life before and without you, your government and its decisions.
—Kathleen Rooney, The New York Times Sunday Book Review

Playful and complex . . . Choi's poetry operates within a tradition of Korean-American experimental poets that includes Theresa Hak Kyung Cha and Myung Mi Kim. Choi's zany take on militarism and the Korean diaspora may seem absurdist, but it is an inventive and daring waltz that upends what is commonly understood as the 'Forgotten War.'

Publishers Weekly

Formally, Don Mee Choi is an inheritor of Theresa Hak Kyung Cha, whose seminal Dictee (1982) has had a major impact on contemporary innovative American poetry. Yet Choi innovates on Cha's decades-old example. Choi's work releases new-media energy; it moves at fiber optic speed as it to struggles to find terms for our 21st century experience of globalized media, especially as such media affects our sense of history, commodity, violence, politics, terror, and freedom.
—Joyelle McSweeney, Montevidayo

Don Mee Choi writes about violence and injustice in modalities that are neither sentimental, obvious, or pornographic.
—Forrest Gander

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The Apparatus

 

IN THE PENAL COLONY: "It's a remarkable piece of apparatus" however "the explorer did

not much care about the apparatus" and noted "These uniforms are

too heavy for the tropics, surely" nonetheless "the officer" said

"but they mean home to us; we don't want to forget about home"

however "the officer" phonated "Have you ever heard of our

former Commandant?" still "A pity you never met the old

Commandant!" anyhow lingually "here stands his apparatus before

us" and withal "The lower one is called the 'Bed,' the upper one

the 'Designer,' and this one here in the middle that moves up and

down is called the 'Harrow'" after all "the officer was speaking

French" though utterly "neither the soldier nor the prisoner

understood a word of French" even so "the explorer" noted again

"It was all the more remarkable, therefore, that the prisoner was

nonetheless making an effort to follow the officer's explanations"

yet verbally "The Bed and the Designer were of the same size."

 

IN THE NEOCOLONY: "Horrific!" "(the translator who made herself as lowly as she

could)" reuttered in Korean "discarded language that no one needs,

surely" however "the investigator" in turn added phonetically "The

U.S. military!" "[The neocolonizer!]" yet "the prisoner said he

understood Japanese" noted "(the translator who didn't know a

word of it, and equally foreign to English—hence lowly)"

regardless "(the investigator)" sonated "The Japanese military!"

"[The former colonizer!]" and recounted "The military apparatus"

"The intelligence apparatus" "The police apparatus" even so

"What? Precisely this: that the upper floors could not 'stay up' (in

the air) alone, if they did not rest precisely on their base"

"(Althusser)" but then "(the translator)" politely paraphrased in

translation "there was no Bed to begin with" "soldiers who didn't

know a word of English" "only had to use their innate muscles to

dig deeper holes and trenches" "a primitive apparatus, surely"

"commies, surely" then ratted on "while the US military apparatus

provided extra-man-power machine guns and essential trucks to

transport the commies to their rightful digs" "Rat-a-tat-tat!" "Ra-atat-

tat!" In other words "[commie genocide]." And "[before the

war the US-backed Commandant, Syngman Rhee, kept a list of

300,000 commies in order to eradicate them]"—"[of course we

couldn't count every single civilian who was killed]"—"[some

were chained to rocks and drowned in the sea]"—"[the so-called

commies were mostly farmers, elders, women, children who lived

in villages beneath so-called commie mountains where the anticolonial

guerilla fighters hid during the day and came down at

night to collect provisions]" "(the investigator)" patiently spelled

out as she kept drawing "extraordinary circles" while "(the

translator)" could only helplessly flutter her ears. Anyhow, "The

State apparatus, which defines the State as a force of repressive

execution and intervention 'in the interest of the ruling classes [and

the neocolonizer] in the class struggle conducted by the

bourgeoisie and its allies against the proletariat [the neocolonized],

is quite certainly the State, and quite certainly defines its basic

'function'" enunciated "(Althusser)."

 

IN THE PENAL COLONY: "Does he know his sentence?" "(the explorer)"

"No" "(the officer)"

"He doesn't know the sentence that has been passed on him?"

"(the explorer)"

"No" "(the officer)"

"There would be no point in telling him. He'll learn it on his body"

"(the officer)"

"Whatever commandment the prisoner has disobeyed is written

upon his body by the Harrow" "(the officer)"

"HONOR THY SUPERIORS!" "(the Harrow)"

 

IN THE NEOCOLONY: (HONOR THY SKY!) "the old wisdom"

(YOU EVIL BITCHES!) "the neocolonial wisdom"

(HONOR THY KING!) "the old wisdom"

(YOU SCUMS OF SOCIETY!) "the neocolonial wisdom"

(HONOR THY HUSBAND!) "the old wisdom"

(YOU!) "the neocolonial wisdom"

(HONOR THY SON!) "the old wisdom"

(Before the woman was released, that is to say, after she was

clubbed nonstop for an entire month she received orders to bathe at

a creek in a remote area. When she took off her clothes, the same

ones she was wearing the day she was captured for no apparent

reason and put into a so called "mind-heart-soul" reform camp

under the command of a new Commandant [one more U.S.-backed

dictator a.k.a. "Your Excellency"] [for there is never a shortage of

them]—after all the police had to fill a certain quota of women

[300 out of 60,000]—the woman went into shock from what she

saw. Her whole body was blue! There wasn't a single part of her

body that was not blue from the savage beatings. She thought she

was the only blue one, but the woman next to her was also blue!

The woman in front of her was, again, blue! And the woman

behind her was totally blue!) "the investigator"

(BLUE x 300!) "the translator"

IN THE PENAL COLONY: (The batons energized by muscles alone lack the technology

and sophistication of the Harrow but nonetheless it should be

understood as an instrument of writing) "the translator"

(Are you saying blue can be translated?) "the USA"

(Yes, blue can be translated as BLUE x 300, without the

exclamation mark, if need be) "the translator"

("LOST IN TRANSLATION" is an old wisdom) "the translator"

("TRANSLATOR, TRAITOR" rhymes yet undoubtedly an old

wisdom) "the translator"

("WE DON'T WANT TO FORGET ABOUT HOME" is entirely

universal, therefore, remains untranslatable) "the translator" [who

was terribly homesick even at home—the translator is without a

uniform, mind you]"

("In order to advance the theory of the [neocolonial] State) (I shall

call this reality by its concept: the [neocolonial] ideological State

apparatuses") "Althusser"

(And in order to advance the theory of translation I translate "the

State" as "the [neocolonial] State" and "the ideological State

apparatuses" as "the [neocolonial] ideological State apparatuses"

and "the USA" as "the united status of apparatus" considering

ample "reality" has already been offered to the curious reader [not

to dismiss "the USAs"] [plurality of reality propels translation]

[difference propels theory] [memory propels art] [which may all be

beside the point]) "the translator"

("But now for what is essential. What distinguishes the ISAs from

the (Repressive) State Apparatus is the following basic difference:

the Repressive State Apparatus functions 'by violence', whereas

the Ideological State Apparatuses 'function by ideology'")

"Althusser"

IN THE NEOCOLONY: "(…)" "(e e e)" "(…)" "(ideology)" "(…)" (Mr. Ahn)

"(ideology)" "(ideology is a system of the ideas and

representations which dominate the mind of a man or a social

group)" "(ideology)" "(before Freud)" "(is for Marx an imaginary

assemblage)" "(bricolage)" "(a pure dream empty and vain)"

"('day's residues')" "(It is on this basis)" "(ideology)" "(has no

history)" "(since history is outside it)" "(ideology)" "(can and

must)" "(be related directly to)" "(Freud's)" "(that the unconscious

is eternal)" "(i.e. that it has no history)" "(if)" "(eternal)"

"(means)" "(not transcendent)" "(but)" "(omnipresent)" "(transhistorical)"

"(and therefore)" "(I shall adopt Freud's expression)"

"(word for word)" "(and write)" "(ideology is eternal)" "(exactly)"

"(like)" "(the unconscious)" "(the eternity of the unconscious)"

"(is not)" "(unrelated)" "(to the )" "(eternity of ideology)" "(in

general)" (Althusser)

IN THE NEOCOLONY: "(…)" "(e e e)" "(…)" "(I was on Planet e)" "(…)" (Mr. Ahn)

"(Ideology has a material existence)" "(ideology)" "(always exists

in an apparatus)" "(ideology)" "(=)" "(an imaginary relation to real

relations)" "(imaginary relation)" "(is)" "(itself endowed with a

material existence)" (Althusser)

(e e e) (=) (ideology) (=) (imaginary) (=) (eternity) (the translator)

IN THE NEOCOLONY: (eliminate) (eradicate) (obliterate) (the National Security Law

apparatus)

(will you change your political view or not?) (old Your

Excellency)

(will you change your political view or not?) (new Your

Excellency)

"(oe)" "(ae)" "(ie)" "(e)" "(e)" "(e)" (Mr. Ahn)

IN THE PENAL COLONY: 10. Have you EVER been a member of, or in any way associated

with the Community Party? (old INS apparatus)

10. Have you EVER been a member of, or in any way associated

(either directly or indirectly) with: A. The Communist Party? B.

Any other totalitarian party? C. A terrorist organization? (new

USCIS apparatus)

(chorus of allegiance: EVER, EVER, EVER)

A. Eternity

B. Eternity

C. Eternity

IN DMZ COLONY: I'll leave it up to your imagination

A. 이

B. 이

C. 이

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Produktdetaljer

ISBN
9781940696959
Publisert
2020-05-21
Utgiver
Vendor
Wave Books
Høyde
228 mm
Bredde
171 mm
Aldersnivå
G, 01
Språk
Product language
Engelsk
Format
Product format
Heftet
Antall sider
152

Forfatter

Om bidragsyterne

Born in Seoul, South Korea, Don Mee Choi is the author of Hardly War (Wave Books, 2016), The Morning News Is Exciting (Action Books, 2010), and several chapbooks and pamphlets of poems and essays. She has received a Whiting Award, Lannan Literary Fellowship, Lucien Stryk Translation Prize, and DAAD Artists-in-Berlin Fellowship. She has translated several collections of Kim Hyesoon's poetry, including Autobiography of Death (New Directions, 2018), which received the 2019 International Griffin Poetry Prize.