Hoon Kim (Author) Munhakdongne 2022-08-03
Hardcover 308 pages 128*188mm (B6) 415g ISBN : 9788954699914
book introduction
Depth and emotion beyond 『Song of the Sword』
A lifelong task that Kim Hoon had to write
The novel Harbin, a novel by Kim Hoon, who is called 'the best writer of our time' and 'writer of writers', has been published. 『Harbin』 is a special work that Kim Hoon made as a life task throughout his life as a writer. The author has had the idea of writing a novel about Ahn Jung-geun's short and intense life from his youth, and spent a long time deeply understanding the 'human Ahn Jung-geun' in order to handle the energy emitted by Ahn's movements in writing. And in the summer of 2022, after intense and desperate writing, the result was finally released to the world.
In Harbin, Kim Hoon's writing style, in which the life of a real person, which is easy to summarize, is reconstructed with a thorough imagination rather than a historical record, shines. Such a narrative naturally reminds us of Kim Hoon's masterpiece 『Song of Swords』. If 『Song of Swords』 depicts the turbulent inner side of Admiral Yi Sun-sin, which was overshadowed by his achievements as a master, 『Harbin』 lifts the shadow of a hero from Ahn Jung-geun. and brings back his hottest and most confusing time to the present.
Kim Hoon's gaze, focusing on the inner side of a feeble human facing the fate of going through difficult times, weaves deeper and more mysterious scenes in Harbin. In the novel, the wave of imperialism, symbolized by Hirobumi Ito, and the pure passion of youth, symbolized by Ahn Jung-geun, collide, the cause and ethics of a human who faces the felony of murder, collide, and the piety of Ahn Jung-geun as a Catholic and the worldly human. hate collides This work, which sharply deals with the complex conflicts that take place on so many different levels, and raises the level of perspective on the character Ahn Jung-geun, is not insufficient to be introduced as Kim Hoon's new representative work.
An era full of violence and barbarism,
Kim Hoon-sik's hard-boiled depicts the short and intense lives of young people.
Unlike the existing books dealing with Ahn Jung-geun, which focused on recording the biography of a great man from beginning to end, Kim Hoon focused on the moment Ahn Jung-geun shot Ito on October 26, 1909 and the brief days before and after Ahn Jung-geun and Ito. Each follows a path to Harbin. In Harbin, the most intense days of Ahn Jung-geun's life are vividly reconstructed with dramatic tension.
The spirit of the young people who could not only look at the weakening country at the end of the Korean War is boiling over, and the dark times when the people who ran into the world with their bare bodies collapsed empty are also hard-boiled with Kim Hoon's unique short sentences. In this tragic situation, the cause pursued by Ahn Jung-geun and the human fear he feels contrasted more effectively. It is an unfamiliar aspect that has not been relatively noticed in the past, as he is willing to sacrifice himself and others for the sake of peace in the East, but he often hesitates because of his identity as the eldest son, head of a family, and a believer who was baptized in the Catholic Church.
At the far end of this world, Willem is praying, and at the far end on the other side, Ito stroking a white beard, a vision of dead bodies piled up in the endless fields in between floated above the ashes. The corpses were connecting the two extremes like a stepping-stone.
… … Will the priest be here?
Ahn Jung-geun endured the words (pp. 66-67).
The moment Ahn Jung-geun decides to sniper Ito is filled with the thrill of a mixture of chance and fate. A piece of newspaper flows into the boarding house of Ahn Jung-geun, who was wandering around Gando and Primorsky Krai while suffering from a gloomy future, and on it is a picture of Emperor Sunjong cleverly directed by Duke Ito to downgrade the status of the Korean Empire and show off the power of Japanese imperialism. have. Ahn Jung-geun, who sensed the ambition of Japanese imperialism implied in the photo, immediately made up his mind and embarked on the final journey of his life to Harbin, where Ito will visit.
Ahn Jung-geun immediately visits his comrade Woo Deok-sun, who was with him in the voluntary service, and Woo Deok-soon, who met Ahn Jung-geun, also understands Ahn Jung-geun's intentions and decides to accompany him without hesitation. The collaboration of two young men who share the same purpose without hesitation is conveyed through a concise conversation, leaving a heavy impression.
—You shoot a pheasant and shoot Ito with the remaining bullets.
Woo Deok-soon laughed silently. A faint smile spread across his face.
—It’s funny, but it happened. Isn't it the same as aiming and shooting?
—Have you shot a lot of guns?
—I didn't shoot much. I'm not a hunter, but Ito is bigger than a pheasant, so it shouldn't be difficult.
Ahn Jung-geun laughed out loud.
—I guess so. That's right. I thought it would be difficult because Ito's size was so small.
—That's a bad idea.
The two looked at each other and smiled. The laughter was hazy and the sound ended in darkness (p. 115).
Newspaper reports and trial records left behind by Japanese prosecutors and judges investigating Ahn Jung-geun and his party, who carried out the murder, are also used in the right place to enhance the sense of realism of the novel. It is one of Kim Hoon's specialties to read the tragedy of human history from behind extremely refined public documents. These documents, which seemed dry on one side, are exquisitely placed in the context of the novel and read again as a desperate record that testifies to the hot scene of the time.
—Are you following the orders of Ann?
-not. I am under no obligation to take orders from An. Also, even if there is an obligation to receive orders, this is not something that can be done by orders. I did it with my heart.
—Gong Ito is a high-ranking official with many attendants and bodyguards. Did you think you would be able to succeed in the assassination?
—It is a matter of becoming one of a person's resolutions. He believed that if he had a firm determination, he could succeed no matter how many guards he had. (p. 232)
These techniques are completely tense to the point that they do not allow for novel adaptations, and Ahn Jung-geun and Woo Deok-sun's answers are simple and accurate, leaving no room for other interpretations. Kim Hoon leaves these records and reads the language of youth that is freely uttered only to reveal his beliefs. The images of young people who devoted their short lives to what they thought was right evokes complex and subtle emotions such as longing, sadness, and regret.
difficulties in keeping the beliefs and
The pure light emitted by those who overcame it
In the novel, as important as the conflict between Ahn Jung-geun and Ito, is the conflict between Father Willem, who baptized Ahn Jung-geun, and Bishop Mutel, who leads the Korean church. Ahn Jung-geun, who was sentenced to death in a trial based on the Japanese Criminal Code, hopes to be able to confess his sins to God before his death. Willem tries to give Ahn Jung-geun the sacrament of confession, and Mutel opposes Willem's will to prevent the roots of Catholicism that have barely settled in Korea from swaying. The confrontation between Willem, who strives to save a human soul, and Mutel, who paradoxically colludes with the world for the sake of the safety of the church, adds to the conflict between the sacred and the profane, creating a richer texture of the novel.
Like Ahn Jung-geun, Willem does not yield to Mutel's authority and goes to prison to meet Ahn Jung-geun according to his beliefs. Such courage of Willem creates a scene that leads Ahn Jung-geun's rough soul to a peaceful rest.
Ahn Jung-geun bent forward and said in a low voice. Willem leaned forward and listened. Ahn Jung-geun's voice gradually became quieter. The head of the condemned man and the head of the priest came close. Ahn Jung-geun's voice sounded like breathing. The prisoners didn't hear anything. The voice cut off, and there was a long silence. Willem confessed to Ahn Jung-geun in silence (pp. 273-274).
Ahn Jung-geun, portrayed by Hoon Kim, makes his way through an era where there is no hope. In the process, Ahn Jung-geun's youthful ambition and hopes and illusions that he can change the world crumble along with his life. The wall that Ahn Jung-geun had hit seems to be still alive, even after more than 100 years have passed since then. Young people are still struggling to find an invisible path, and sometimes they are asked to abandon their personal values and beliefs by compromising with the current trend. Therefore, Ahn Jung-geun's life, facing the huge world alone, transcends the times and evokes sympathy and lamentation.
At the end of the book, the 'late period' unfolds the consolidation of humiliation and treachery that those left behind after Ahn Jung-geun's execution were executed. The changes caused by Ahn Jung-geun's lonely struggle and the tragedies that have continued despite this are written in the form of a later story in a calming way, touching the reality outside the novel and giving another reverberation. 『Harbin』 does not discriminate right or wrong about the path chosen by Ahn Jung-geun and others in order to realize the cause of peace in the East. However, the figure of many people in the book who tried to keep their beliefs shines purely in the famous scenes created by each of them.
About the author
Kim Hoon (Author)
Born in Seoul in 1948. He has published novels 『Song of the Sword』 and 『A Horse that Runs Beyond the Moon』, a collection of novels 『Lonely Alone』, and a collection of prose 『Writing with a Pencil』.
Awards: 2013 Catholic Literary Award, 2007 Daesan Literary Award, 2005 Hwang Soon-won Literary Award, 2004 Lee Sang Literary Award, 2001 Dongin Literary Award
Hoon Kim (Author) says:
Ahn Jung-geun, a young Korean man, was alone in the face of violence and barbarism on a world-historical scale that had prevailed throughout the era. His cause was 'Oriental Peace', and the physical force he secured was a single pistol. A single magazine loaded with seven rounds of live ammunition and a 'forcibly borrowed (or stolen)' cost of 100 rubles were all. At that time he was a young man of thirty-one.
(…)
Ahn Jung-geun cannot be confined within his era. Ahn Jung-geun, who is 'unemployed' and 'catcher', is constantly talking to the fate of the weak and strong human world. Ahn Jung-geun speaks and repeats. Ahn Jung-geun's gun is no different from his words.
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