WHITE PINE PRESS
an independent literary publisher
Spring Mountain: The Complete Poems of Hŏ Nansŏrhŏn - Translated by Ian Haight and T'ae-young Hŏ
$18.00, ISBN 978-1-945680-80-9
Complete collection of poems by Nansŏrhŏn, a 16th century sequestered noblewoman and one of Korea’s first feminists in literature, considered by many Korean scholars to be Korea’s greatest poet.
Nansŏrhŏn’s writes frequently in the Korean han style of “deep sighs,” a thematically-styled poetry reminiscent of the Chinese “women poets of anguish,” practiced by writers such as Li, Ch’ing-chao (1084-1151). In this style, hardships that cannot be overcome but only endured are named and lamented: the death of children, abandonment by husbands, and destruction of households from war are a few examples. She did not lose the means to express her feelings, however, and her poetry remains as testament to the process of her responses to her life.
The feminism of Nansŏrhŏn begins with her education and the act of writing poetry. If a Korean noblewoman of this period wrote about progressive themes that challenged social norms, she had to express the ideas by using personas and troping traditional formal structures. Poetry written in this manner could then be defended by the noblewoman as simply practicing variations on poetic tradition, despite the subtextual commentary on abandonment, experiences or opinions on sequestering, larger questions about socialized gender roles and identity, or what it means to be an artist.
“What a thrill it is to discover the writings of the 16th-century Korean poet, Nansŏrhŏn (White Orchid), a noblewoman who created an enduring and subversive body of work that led Chinese literati to believe she was a Taoist immortal. Like Mozart, she was a child prodigy who from the age of eight composed masterpieces in a variety of intricate forms—and then died young, at twenty-seven, perhaps by her own hand. Like her tutelary spirits, the T’ang dynasty poets Li Bai, Du Fu, and Wang Wei, she invented new ways of apprehending the world, in her case a world as circumscribed as theirs was vast: “Powder my cheeks,” she writes, “braid and set my long hair—hard tears near the river’s reeds.” In Spring Rain: The Complete Poems of Nansŏrhŏn, elegantly translated by Ian Haight and T’aeyong Hŏ, her tears make unforgettable music.”
—Christopher Merrill, author of Flares
Ian Haight’s collection of poetry, Celadon, won Unicorn Press’ First Book Prize. With T’ae-yong Hŏ, he is the co-translator of Spring Mountain: Complete Poems of Nansŏrhŏn and Homage to Green Tea by the Korean monk, Ch’oŭi, both forthcoming from White Pine Press. Other awards include Ninth Letter’s Literary Award in Translation, and grants from the Daesan Foundation, the Korea Literary Translation Institute, and the Baroboin Buddhist Foundation. Poems, essays, interviews, reviews, microfiction and translations appear in Barrow Street, Writer’s Chronicle, Hyundai Buddhist News, Full Stop, MoonPark Review and The Poetry Review (UK). For more information please visit ianhaight.com.
T’ae-yong Hŏ has been awarded translation grants from the Daesan Foundation and Korea Literature Translation Institute. With Ian Haight, he is the co-translator of Borderland Roads: Selected Poems of Kyun Hŏ—finalist for KLTI’s Grand Prix Prize—and Magnolia and Lotus: Selected Poems of Hyesim—finalist for ALTA’s Stryk Prize. Working from the original classical Korean hanmun, T’ae-yong’s translations of Korean poetry have appeared in Agni, New Orleans Review, and Prairie Schooner.