Kim Kirim

2.1. Early Life and Background

Kim Kirim was born on April 5, 1907, in Haksung, North Hamgyong Province, which was then part of Korea under Japanese rule. (Some sources indicate his birth date as May 11, 1908.) His childhood name was 김인손_{Kim In-son}^Korean, and he used the art name Pyeonseokchon (편석촌_{Pyeonseokchon}^Korean).

He attended Immyeong Primary School starting in 1914. In 1921, he left Posung Middle School in Seoul to continue his studies at Rikkyo Middle School in Tokyo, Japan. Kim later pursued higher education, graduating from Nihon University with a bachelor's degree in literary arts in 1930. In 1936, Kim entered the Department of English at Tohoku University located in Sendai, graduating in 1939 with a thesis on the theory of I. A. Richards. Following his return to Korea after his initial studies, he began his literary career as a reporter in the arts and science department of the Chosun Ilbo, a major national newspaper. In 1931, he briefly returned to his hometown to focus on writing while cultivating an orchard named Moogokwon.

2.2. Debut and Early Activities

Kim Kirim made his debut in the literary world in 1930 by publishing several poems, including "Away to the New Life," during his time as a journalist at the Chosun Ilbo. He further established himself as a literary critic in 1931 with the publication of his reviews, "Pierrot's Monologue" and "The Technique, Perception, and Reality of Poetry." These early works marked his active entry into both poetry and literary criticism.

2.3. Poetry and Modernism

Kim Kirim's poetic endeavors were central to the development of Korean modernism. In 1936, he released his first poetry collection, The Weather Chart (기상도_Gisangdo^Korean), which showed the influence of T. S. Eliot's seminal work, "The Waste Land." His second collection, Wind Speed of the Sun (태양의 풍속_{Taeyang-ui Pungsok}^Korean), published in 1939, further showcased his distinct intellectual style and intricate wordplay.

Kim's poetry was characterized by its intellectualism and a conscious pursuit of new poetic spirits, moving away from the sentimental romanticism prevalent in the 1920s. He believed in the "compressibility of poetry," emphasizing rationality and a precise, pictorial approach to language. He also advocated for "Total Poetics" (전체시_jeonchesi^Korean), a theory that called for a balance between modernist techniques and a critical social awareness, ensuring poetry reflected the "spirit of the times." His poems often criticized modern capitalist civilization by integrating ideas and senses.

2.4. Literary Criticism and Theory

As a literary critic, Kim Kirim played a crucial role in introducing Western literary theories to Korea. He notably brought concepts like Imagism and intellectualism into the Korean poetic discourse. His influential critical works include Poetics (시론_Siron^Korean), published in 1947, which is regarded as a pivotal collection of theories that transformed the landscape of Korean literature in the 1930s. Another significant theoretical work was Understanding Poetry (시의 이해_{Siui Ihae}^Korean), published in 1950, which was informed by the psychological theories of British literary critic I. A. Richards, on whom Kim had written his thesis at Tohoku University.

Kim actively promoted the works of contemporary writers, helping to introduce prominent figures such as Yi Sang, Baek Seok, and Jeong Ji-yong to the wider literary community through his critical essays and papers.

2.5. Literary Group Activities

Kim Kirim was actively involved in several literary associations that shaped the Korean literary scene. In September 1933, he was a founding member of the Circle of Nine (구인회_Guinhoe^Korean), a literary association based in Seoul. He collaborated with renowned Korean writers including Yi Sang, Lee Hyo-seok, Park Taewon, Kim Yu-jeong, and Cho Yong-man within this group. His role in the Circle of Nine was crucial in integrating modernism into the literature of the era and promoting intellectualism alongside other writers such as Lee Yang-ha and Choi Jae-seo.

After Korea's liberation from Japanese colonial rule, Kim joined the progressive Chosun Writers' Union (조선문학가동맹_{Joseon Munhakga Dongmaeng}^Korean) in 1945. However, he later withdrew from the union around 1948, following his relocation to South Korea.

3.1. During the Japanese Colonial Period

During the Japanese colonial period, Kim Kirim maintained a prolific literary output and an active journalistic career. He continued to work as a reporter and later as the head of the arts department at the Chosun Ilbo until the newspaper's forced closure by the Japanese colonial government in 1940. His literary works during this era included not only poetry but also three novels and plays, such as the mid-length novel The Land beside a Railway (1935-1936), though these received less attention compared to his poetry and criticism.

In 1942, after the closure of the Chosun Ilbo, Kim returned to his hometown area and took up a position as an English teacher at Gyeongseong Middle School. When the English curriculum was abolished, he transitioned to teaching mathematics. Notably, the poet Kim Kyu-dong was one of his students during this period. Throughout this era, Kim used his critical voice to critique prevailing literary trends, advocating for a more intellectual and engaged approach to literature.

3.2. Post-Liberation and Division

Following Korea's liberation from Japanese colonial rule in January 1946, Kim Kirim relocated from the northern part of the Korean Peninsula, then under Soviet influence, to the southern part, crossing the 38th parallel. This move was not without personal cost; his books and property were reportedly confiscated, leading to a period of poverty. In June 1947, during the formation of the South Korean government, he again crossed the border to bring his family members who were still in Pyongyang. He successfully brought three of his children to South Korea first, with his wife and youngest son joining them in the spring of 1948.

After settling in South Korea, Kim secured teaching positions at Chung-Ang University and Yonsei University as a lecturer. He later became an assistant professor at Seoul National University, where he played a significant role in establishing the New Culture Research Institute, serving as its director. During the post-liberation period, Kim actively sought to align literature with the demands of the time, publishing works that emphasized the interconnectedness between literature and reality. He strongly advocated for writers' social involvement, viewing it as the practical application of his "Total Poetics," encouraging poets to articulate the concerns of the public within community life.

3.3. Korean War Abduction and Death

The outbreak of the Korean War in 1950 had a tragic impact on Kim Kirim's life. He was reportedly abducted by the state political security department of North Korea during the conflict. The exact time and whereabouts of his death have remained unknown for many years. However, some accounts, particularly from North Korea, claim that he died on January 12, 2000, in North Korea due to complications from diabetes.

4.1. Critical Reception

Kim Kirim's work received varied critical assessments. He was recognized for his early and relatively accurate understanding of Western modernist literary theory, influenced by figures such as T. S. Eliot, T. E. Hulme, and I. A. Richards. His first poetry collection, The Weather Chart (1936), was noted for its innovative integration of ideas and senses and its critique of modern capitalist civilization. However, it also faced criticism for being overly experimental, sometimes lacking a clear, unified theme, and exhibiting a fragmentation that occasionally resulted in a perceived lack of awareness regarding the rhythm and musicality of language. Critics suggested that in his attempt to convey visual impressions through language, Kim might have inadvertently overlooked these poetic elements.

Despite these criticisms, his later works, particularly The New Song (1948), were acknowledged for suggesting a new direction in establishing a national identity in the post-liberation era, even though some critics felt it lacked artistic maturity. Overall, his critical works were seen as a turning point in Korean poetry, thanks to his successful introduction of Anglo-American Imagism and intellectualism.

4.2. Social and Ideological Impact

Kim Kirim's influence extended beyond purely aesthetic concerns, significantly impacting discussions on social engagement and the role of intellectuals in society. He held a strong conviction that poetry should embody the "spirit of the times" and that poets, as part of the intelligentsia, had a responsibility to convey societal values to the public. He was critical of purely pictorial poetry that lacked firm ideas, considering it another form of purism.

His advocacy for literature's active engagement with reality, particularly after Korea's liberation, underscored his commitment to his theory of "Total Poetics." This theory emphasized finding a balance between modernist techniques and critical social awareness. Kim's ideas encouraged poets to speak for the public and actively participate in community life, thus contributing to the broader discourse on the role of intellectuals and their impact on Korean society and subsequent literary movements. His work represents a conscious effort to bridge the gap between artistic innovation and social responsibility.

5.1. Poetry Collections

• The Weather Chart (기상도_Gisangdo^Korean, 1936)
• Wind Speed of the Sun (태양의 풍속_{Taeyang-ui Pungsok}^Korean, 1939)
• The Sea and the Butterfly (바다와 나비_{Bada-wa Nabi}^Korean, 1946)
• The New Song (새노래_{Sae Norae}^Korean, 1948)

5.2. Critical and Theoretical Works

• Introduction to Literature (문학개론_{Munhak Gaeron}^Korean, 1946)
• Poetics (시론_Siron^Korean, 1947)
• The Sea and the Body (바다와 육체_{Bada-wa Yukche}^Korean, 1948)
• Academy and Politics (학원과 정치_{Hakwon-gwa Jeongchi}^Korean, 1950), coauthored with Yu Jin-ho and Choi Ho-jin, and Lee Geon-ho.
• Understanding Poetry (시의 이해_{Siui Ihae}^Korean, 1950)
• New Lecture on Syntax (문장론신강_{Munjangron Singang}^Korean, 1950)

5.3. Notable Poems

Among his individual poems, "The Sea and the Butterfly" (바다와 나비_{Bada-wa Nabi}^Korean), published in the literary magazine Women in 1939, stands out. This poem is frequently included in Korean middle and high school literature textbooks as a representative work of intellectualism. It symbolically contrasts the colors blue and white and the concepts of the sea and the butterfly to illustrate both longing and frustration for a new world. The sea often represents the harsh reality of the colonial era or the new, overwhelming civilization, while the fragile butterfly symbolizes intellectuals struggling to cope with the external world. The poem's "pictorial modernism" was considered a novel attempt in the Korean literary sphere at the time. Other notable poems include "Road" (길_Gil^Korean) and "Window" (유리창_Yurichang^Korean).

The poem "The Sea and the Butterfly" is often presented as follows:
Because nobody told her how deep the water is,
The white butterfly is never afraid of the sea.
She descents, thinking it is a blue radish farm,
Then jadedly returns like a princess
With her callow wings soaked by the waves.
A blue crescent moon is chilly at the waist of the butterfly
Who is sad because the March sea hasn't bloomed.

Korean original:
바다와 나비
아무도 그에게 수심(水深)을 일러 준 일이 없기에
흰나비는 도무지 바다가 무섭지 않다.
청(靑)무우 밭인가 해서 내려갔다가는
어린 날개가 물결에 절어서
공주(公主)처럼 지쳐서 돌아온다.
삼월(三月)달 바다가 꽃이 피지 않아서 서글픈
나비 허리에 새파란 초생달이 시리다.

5.4. Translations

• Introduction to Science by John Arthur Thomson (과학개론_{Gwahak Gaeron}^Korean, 1948)