Kim Dongni

2.1. Birth and Family Background

Kim Dongni was born Kim Sijong on November 24, 1913 (lunar calendar, corresponding to December 21, 1913, Gregorian calendar), in Gyeongju, Gyeongsangbuk-do, Korea, Empire of Japan. He was the youngest of three sons and two daughters born to Kim Imsu (김임수_{Kim Imsu}^Korean) and Heo Imsun (허임순_{Heo Imsun}^Korean). His eldest brother, Kim Beombu (김범부_{Kim Beombu}^Korean), a respected scholar of Chinese classics and a philosopher, significantly influenced Kim Dongni's extensive reading habits and his aspiration to become a writer.

2.2. Childhood and Education

Kim Dongni's childhood was characterized by severe poverty, with hunger being a constant presence. He once recounted drinking leftover liquor from his father's bowl to alleviate his hunger. He attended Gyeseong Middle School in Daegu before transferring to Kyungshin Middle School in Keijō (present-day Seoul). However, due to challenging family circumstances, he dropped out of school in 1928 (or 1929 according to some accounts) to dedicate himself entirely to reading and writing. Despite his truncated formal education, he immersed himself in a vast array of books, encompassing philosophy, world literature, and Eastern classics, which profoundly shaped his intellectual and literary development.

2.3. Literary Debut and Early Career

Kim Dongni began his literary journey at the young age of sixteen, publishing several poems in various newspapers. He formally debuted as a poet in 1934 with the publication of his poem "White Heron" (백로_Baengno^Korean) in the Chosun Ilbo. The following year, he officially entered the fiction scene when his short story "A Descendant of Hwarang" (화랑의 후예_{Hwarangui huye}^Korean) was selected in the JoongAng Ilbo's New Year's literary contest. Following this success, he used his prize money of 50 JPY to enter Dasolsa Temple and later Haeinsa Temple, dedicating himself to creative writing. During this period, he also formed friendships and engaged with other literary figures such as Lee Ju-hong, Heo Min, Choi In-wook, Jo Yeon-hyun, and Hong Gu-beom.

2.4. Activities During the Japanese Colonial Period

The period of Kim Dongni's literary debut coincided with a dark era for Korean writers under Japanese colonial rule, marked by severe suppression of Korean language and culture. Despite these challenges, Kim Dongni's representative works emerged during this time. Initially, his 1936 short story "Mountain Fire" (산화_Sanbul^Korean), published in the Dong-A Ilbo's New Year's literary contest, exhibited strong proletarian themes. However, in response to the suppression of proletarian literature, Kim Dongni shifted his focus towards "pure literature," removing direct social criticism and accusation from his literary work and instead exploring the deeper, underlying consciousness of oppressed farmers, often incorporating shamanistic elements.

In 1937, he co-founded the literary magazine Poet Village (시인부락_Siinburak^Korean) with Seo Jeong-ju and Kim Dal-jin. The same year, he established "Gwangmyeong Academy" (광명학원_{Gwangmyeong Hagwon}^Korean) in Dasolsa Temple's missionary hall to educate children. Kim Dongni notably refused to join pro-Japanese cultural organizations such as the Korean Writers Association (조선문인협회_{Joseon Munin Hyeophoe}^Korean) and the National Literary Alliance (국민문학총맹_{Gukmin Munhak Chongmaeng}^Korean) in 1940. Instead, he published critical essays like "The True Meaning of Pure Literature" (순수문학의 진의_{Sunsu munhagui jinui}^Korean) and "New Generation Literary Spirit" (신세대문학정신_{Sinsedae munhak jeongsin}^Korean), asserting the purity of literature against pro-Japanese collaboration. In retaliation, Japanese authorities censored and entirely deleted his stories Sonyeo (소녀_Sonyeo^Korean) and Hahyeon (하현_Hahyeon^Korean) in 1940. In 1942, Gwangmyeong Academy was forcibly closed, and his eldest brother, Kim Beombu, was detained. Despairing over these events, Kim Dongni ceased writing and wandered through Manchuria in 1942.

2.5. Post-Liberation and Korean War Era

Following Korea's liberation in 1945, Kim Dongni quickly aligned himself with the nationalist movement amidst the escalating left-right ideological conflicts. In 1946, he co-founded the Korean Youth Writers Association (한국청년문필가협회_{Hanguk Cheongnyeon Munpilga Hyeophoe}^Korean) with Jo Ji-hun and became its chairman. He critically engaged with left-wing writers like Kim Byeong-gyu and Kim Dong-seok, asserting that literature subservient to political party objectives contradicted his belief in literary purity. His literary theories significantly influenced the post-liberation Korean literary scene.

During the Korean War and its aftermath, Kim Dongni expanded his thematic concerns to encompass the political clashes and profound suffering experienced by people during the conflict. He wrote "war literature" that explored the human condition amidst the chaos. He served in various capacities during this period, including as the head of the culture department for the Kyunghyang Shinmun in 1947 and as the editor-in-chief for the Minguk Ilbo in 1948. He also became the chief editor of the pure literature magazine Munye (문예_Munye^Korean) in 1949 and served as a lecturer at Seoul National University's College of Arts and Korea University's College of Liberal Arts.

2.6. Later Life and Death

Kim Dongni continued to be an influential figure in Korean literature throughout his later years. He became a professor at Seorabol Arts College in 1953 and was appointed a member of the National Academy of Arts of the Republic of Korea in 1954. He served as chairman of the Korean Writers' Association (한국문인협회_{Hanguk Munin Hyeophoe}^Korean) in 1970 and as dean of the College of Arts at Chung-Ang University in 1972. In 1982, he became the chairman of the Buddhist Children's Literature Association and, in 1986, the chairman of the Dangun Founding Monument Establishment Promotion Committee. He was made honorary chairman of the Korean Writers' Association in 1989.

In 1990, Kim Dongni suffered a stroke, which led to a decline in his health. He passed away on June 17, 1995. He was buried alongside his second wife, Son Sohui. In 1999, he was posthumously selected as one of the "Korean Artists Who Lit Up the 20th Century" (20세기를 빛낸 한국의 예술인_{20segi-reul bitnaen Hangug-ui yesulin}^Korean) by the Korean Association of Art Critics, recognizing his enduring legacy. The Dong-ri Mok-won Literary Museum was later established to commemorate his literary works and life, alongside his close friend, the poet Park Mok-wol.

3.1. Literary Philosophy and Ideology

Kim Dongni was a staunch advocate for "pure literature," a movement that emphasized the intrinsic artistic value of literary works, independent of political or ideological agendas. He consistently opposed what he termed "ideological literature," believing that art should not be subservient to party politics or social movements. His critical essays, such as The True Meaning of Pure Literature (순수문학의 진의_{Sunsu munhagui jinui}^Korean, 1946) and The Theory of National Literature (민족문학론_{Minjok munhangnon}^Korean, 1948), articulated his philosophy, arguing for artistic freedom and the exploration of universal human existence. He saw literature as a means to delve into the fundamental questions of life and death, fate, and the human spirit, rather than a tool for social engineering or political propaganda. This stance significantly influenced the direction of modern Korean literature, fostering a focus on artistic integrity and depth.

3.2. Major Themes and Style

Kim Dongni's works are permeated by recurring motifs that reflect his deep engagement with Korean spiritual and cultural traditions. A central theme is the concept of fate, often depicted as an inescapable force that shapes human lives. His narratives frequently explore the collision between traditional Korean spiritual beliefs, particularly shamanism, and imported foreign cultures like Confucianism, Christianity, and Buddhism. He examines how individuals grapple with predetermined destinies and the tension between rebellion against and eventual acceptance of their fate.

His early works, such as "Portrait of a Shaman" (무녀도_Munyeodo^Korean, 1936), "The Post Horse Curse" (역마_Yeongma^Korean, 1948), and "The Legend of Yellow Earth" (황토기_Hwangtogi^Korean, 1937), heavily draw on elements of traditional myth and folklore to explore these spiritual conflicts. "The Post Horse Curse" portrays a man's struggle against and ultimate resignation to his destiny as a wanderer. "Portrait of a Shaman," later expanded into the novel Eulhwa, vividly depicts the tragic conflict between a shaman mother and her Christian son, foreshadowing the decline of shamanism and the rise of newly introduced Christianity through the mother's suicide.

After the Korean War, Kim Dongni broadened his thematic scope to include the profound suffering of people caught in political strife. Works like "Heungnam Evacuation" (흥남철수_{Heungnam cheolsoo}^Korean, 1955), based on the actual retreat of UN forces from Hungnam during the war, delve into the conflict between democracy and communism. "Dance of Existence" (실존무_Siljonmu^Korean, 1955) narrates a love story between a North Korean man and a South Korean woman, abruptly ending with the reappearance of the man's North Korean wife. These stories demonstrate his attempt to universalize elements of Korean tradition and spiritual identity by transposing them onto contemporary realities. "The Cross of Shaphan" (사반의 십자가_{Sabanui sipjaga}^Korean, 1955), a fictional account of a man crucified alongside Jesus, combines political conflict with a fatalistic outlook and a critique of Western culture. In contrast, "A Life-sized Figure of the Buddha" (등신불_Deungsinbul^Korean, 1961) suggests a more compassionate image of God who embraces human suffering, offering a spiritual alternative to the distant God presented in "The Cross of Shaphan." His style is often characterized by a stark realism, sometimes bordering on violence and trauma, particularly in stories like "Loess Valley" and "The Tableau of the Shaman Sorceress" (another name for Munyeodo).

3.3. Major Works

Kim Dongni's extensive body of work spans short stories, novels, poetry, and critical essays, establishing him as a versatile and prolific writer.

3.4. Works in Translation

Kim Dongni's works have been translated into several languages, allowing for international readership and critical engagement.

• Ulhwa (을화_Eulhwa^Korean)
  • The Shaman Sorceress (English)
  • ULHWA the Shaman (English)
  • ULHWA, la exorcista (Spanish)
  • Ulhwa, die Schamanin (German)
  • 乙火 (Chinese)
  • La Chamane (French)
• The Cross of Shaphan (사반의 십자가_{Sabanui sipjaga}^Korean)
  • The Cross of Shaphan (English)
  • La Croix de Schaphan (French)
• Short Stories
  • A Descendant of the Hwarang in A Ready-made Life: Early Masters of Modern Korean Fiction
  • Greedy Youth in Collected Short Stories from Korea
  • Wild Rose (찔레꽃_Jillekkot^Korean) translated by Shin Geon in Selected Korean Novels (1940)
  • Cave Dwelling Unit (혈거부대_{Hyeolgeobudae}^Korean) translated by Kajii Taku in Selected Modern Korean Literature 2 (1974)
  • A Life-sized Figure of the Buddha (등신불_Deungsinbul^Korean) in 13 Korean Modern Literature Writers compiled by Koyama Kōryū (1981)
  • Portrait of a Shaman (무녀도_Munyeodo^Korean) translated by Ōmura Masuo in Selected Korean Short Stories (1984)
  • Heungnam Evacuation (흥남철수_{Heungnam cheolsoo}^Korean) translated by Jang Jang-gil in Selected Korean Short Stories (1988)
  • Two Reservists (귀환장정_{Guihwan jangjeong}^Korean) translated by Kang Sang-gu in Modern Korean Literature 5 (1992)

5.1. Critical Reception and Controversies

Kim Dongni's firm stance as a right-wing writer and an advocate of "pure literature" often placed him in opposition to politically driven literary movements. His consistent critique of ideological literature, particularly left-wing literary groups like KAPF (Korean Artists Proletarian Federation) during the Japanese colonial period and their successors after liberation, generated significant debate within the Korean literary community. He argued that literature should transcend political agendas and focus on universal human experiences and artistic integrity. While this position solidified his reputation as a defender of artistic freedom, it also led to controversies regarding the perceived political leanings of his work. Critics have noted that some of his stories, such as "Loess Valley" and "The Tableau of the Shaman Sorceress" (Munyeodo), while rich in traditional themes, also feature significant trauma and violence, often culminating in conflict or tragedy. These elements contribute to a complex critical reception, acknowledging his profound thematic explorations alongside their intense narrative depictions.

5.2. Literary Legacy

Kim Dongni's enduring influence on Korean literature is profound. He is credited with establishing a distinct literary tradition that explored the depths of the Korean spiritual world, blending indigenous beliefs with universal humanistic concerns. His works, characterized by a unique fusion of traditional mysticism and humanist realism, provided a powerful counter-narrative to the prevailing ideological literature of his time. He meticulously crafted narratives that delved into the complexities of fate, human suffering, and the clash of cultures, thereby enriching the thematic scope of Korean fiction.

His contributions are commemorated through institutions like the Dong-ri Mok-won Literary Museum in Gyeongju, which celebrates his legacy alongside that of his close friend, the poet Park Mok-wol. Kim Dongni's literary philosophy and his body of work continue to be studied and admired for their artistic merit, their exploration of fundamental human questions, and their role in shaping the identity of modern Korean literature.

6.1. Marriages and Family

Kim Dongni was married three times. His first marriage was to Kim Wol-gye (김월계_{Kim Wol-gye}^Korean) in 1939. This marriage ended in divorce in 1948. From this union, he had six children: five sons and one daughter. His sons are Kim Jae-hong (김재홍_{Kim Jae-hong}^Korean, born 1941), a literary critic; Kim Pyeong-woo (김평우_{Kim Pyeong-woo}^Korean, born 1945), a lawyer who famously served as a defense attorney during the impeachment trial of President Park Geun-hye; Kim Yang-woo (김양우_{Kim Yang-woo}^Korean); Kim Chi-hong (김치홍_{Kim Chi-hong}^Korean); and Kim Gi-hong (김기홍_{Kim Gi-hong}^Korean). His daughter is Kim Bok-sil (김복실_{Kim Bok-sil}^Korean).

In 1953, Kim Dongni married his second wife, fellow writer Son Sohui (손소희_{Son So-hui}^Korean, 1917-1987). They remained married until her passing in 1987. Later that same year, he married his third wife, also a novelist, Seo Yeong-eun (서영은_{Seo Yeong-eun}^Korean, born 1943). Kim Dongni was eventually buried next to Son Sohui.