During the 1930s, Yi T’aejun became a popular writer in Korea with his charming stories that depicted daily life. However, as World War II unfolded, Yi’s writing took a political turn, leading to his defection to North Korea in 1946. His books were subsequently banned in South Korea for 40 years. “Dust,” a collection of Yi’s short stories selected and translated by Janet Poole, offers insight into the evolution of his work over time.
Initially, Yi’s writing had a sentimental tone, celebrating the simplicity of everyday life and the country’s past glory. For example, in “Evening Sun,” a character named Maehŏn is captivated by the beauty of light on a woman’s face, evoking a sense of nostalgia and admiration for the past. However, this romantic nostalgia contrasts with the harsh reality of Korea under Japanese colonial rule during the 1930s.
Yi’s transformation from a contemplative writer to a political activist was influenced by events like the closure of Korean vernacular press in 1940. Poole’s selection of stories illustrates the gradual shift in Yi’s perspective as he navigates the changing political landscape. His alter-ego Hyŏn evolves from a writer with no fixed ideology to one embroiled in the complexities of post-liberation Korea.
As Korea achieves independence, Yi’s writing reflects a sense of urgency and a call for national unity. The transition is evident in the evolving tone of his sentences, signaling a departure from poetic musings to practical considerations for the nation’s future. Eventually, Yi’s work takes a propagandist turn, as seen in the story “Dust,” where he portrays a bleak picture of post-liberation Seoul under American influence.
Yi’s later works, characterized by anti-American sentiments, led to his eventual exile in North Korea. His writing, once admired for its melancholic beauty, ultimately became a liability, marking a tragic end to his literary career. Yi’s fate serves as a cautionary tale of how ideological shifts can impact an artist’s legacy, turning cherished stories into historical artifacts overshadowed by the politics of the time.
