Human Acts

  Human Acts

  A Novel

  HAN KANG

  Translated from the Korean and

  introduced by Deborah Smith

  Contents

  Title Page

  Introduction

  1: The Boy. 1980

  2: The Boy’s Friend. 1980

  3: The Editor. 1985

  4: The Prisoner. 1990

  5: The Factory Girl. 2002

  6: The Boy’s Mother. 2010

  EPILOGUE: The Writer. 2013

  Acknowledgements

  Copyright

  Introduction

  In early 1980, South Korea was a heap of dry tinder waiting for a spark. Only a few months previously Park Chung-hee, the military strongman who’d ruled since his coup in 1961, had been assassinated by the director of his own security services. Presiding over the so-called ‘Miracle on the Han River’ – South Korea’s rapid transformation from dirt-poor and war-shattered into a fully industrialised economic powerhouse – had gained Park support from some quarters, though numerous human rights abuses meant he was never truly popular. Recently, he’d succumbed to the classic authoritarian temptation to institute increasingly repressive measures, including scrapping the old constitution and having a new one drawn up making his rule a de facto dictatorship. By 1979 things were fraying at the edges, and Park’s declaration of martial law in response to demonstrations in the far south was, to some, a sign that something had to give.

  But the assassination was no victory for democracy. Instead, into Park’s place stepped his protégé Chun Doohwan, another army general with firm ideas on how a people should be governed. By May, Chun had used the excuse of rumoured North Korean infiltration to expand martial law to the entire country, closing universities, banning political activities, and further curtailing the freedom of the press. After almost two decades of Park Chung-hee, South Korean citizens recognised a dictator when they saw one. In the southern city of Gwangju, student demonstrations had their numbers swelled by those for whom the country’s ‘miraculous’ industrialisation had meant back-breaking work in hazardous conditions, and for whom recent unionisation had led to greater political awareness. Paratroopers were sent in to take over from the police, but their brutality against unarmed citizens resulted in a still greater turnout in support of the civil militias. Together, they managed a brief respite during which the army retreated from the city centre.

  Shoot-outs, heroism, David and Goliath – this is the Gwangju Uprising as it has already been told in countless films, and a lesser writer might have been tempted to start with such superficially gripping tropes. Han Kang starts with bodies. Piled up, reeking, unclaimed and thus unburied, they present both a logistical and an ontological dilemma. The alternation in the original between words whose meanings shade from ‘corpse’ or ‘dead body’ to ‘dead person’ or simply ‘body’ reflects a status of uncertainty reminiscent of Antigone. In the Korean context, such issues can also be connected to animist beliefs and the idea of somatic integrity – that violence done to the body is a violation of the spirit/soul which animates it. In Gwangju, part of the magnitude of the crime was that the violence done to these bodies, and the manner in which they had been dumped or hidden away, meant they were unable to be identified and given the proper burial rites by their families.

  The novel is equally unusual in delving into the complex background of the democratisation movement, though Han Kang’s style is always to do this obliquely, through the experiences of her characters, rather than presenting a dry historical account. There is the class element, much of which floats beneath the surface of the novel; because the recently unionised factory girls were some of the most vocal and visible agitators for change, the authorities were able to paint the uprising as a Communist plot sparked by North Korean spies, thus legitimising their brutal crackdown. In the chapter entitled ‘The Prisoner’, I paid special attention to diction in the hope that this would flag up the subtle politics of a working-class torture survivor being pressured into revisiting traumatic memories for the sake of a university professor’s academic thesis. And there is also gender politics, with ‘The Factory Girl’ featuring a women-only splinter group from the main union, set up to address the fact that female workers were treated more unfairly even than the men.

  Another striking feature of the uprising is regionalism. It was no accident that the first rumblings, and the worst violence, were felt in the far south of the Korean peninsula, a region which has a long history of political dissent, and of under-representation in the central government. It also goes some way to explaining why the uprisings were suppressed with such brutality, and why the government was able to cover up the precise details and statistics of this suppression for so long. It wasn’t until 1997 that the massacre was officially memorialised, and casualty figures remain a contentious issue even today. Disputing the official figures was initially punishable by arrest and, despite being far lower than the estimates by foreign press, these have still not been revised. In terms of mentality if not geography, Gwangju was sufficiently far from Seoul to seem ‘off the mainland’ – the same kind of mental distance as that from London to Northern Ireland at the time of the Bloody Sunday massacre.

  Born and raised in Gwangju, Han Kang’s personal connection to the subject matter meant that putting this novel together was always going to be an extremely fraught and painful process. She is a writer who takes things deeply to heart, and was anxious that the translation maintain the moral ambivalence of the original, and avoid sensationalising the sorrow and shame which her home town was made to bear. Her empathy comes through most strongly in ‘The Boy’s Mother’, written in a brick-thick Gwangju dialect impossible to replicate in English, Korean dialects being mainly marked by grammatical differences rather than individual words. To me, ‘faithfulness’ in translation primarily concerns the effect on the reader rather than being an issue of syntax, and so I tried to aim for a non-specific colloquialism that would carry the warmth Han intended. Though I did smuggle the tiniest bit of Yorkshire in – call it translator’s licence.

  One of this translation’s working titles was ‘Uprisings’. As well as the obvious connection to the Gwangju Uprising itself, a thread of words runs through the novel – come out, come forward, emerge, surface, rise up – which suggests an uprising of another kind. The past, like the bodies of the dead, hasn’t stayed buried. Repressed trauma irrupts in the form of memory, one of the main Korean words for ‘to remember’ meaning literally ‘to rise to the surface’ – an inadvertent, often hazy recollection which is the type of memory most common in Han Kang’s book. Here, chronology is a complex weave, with constant slippages between past and present, giving the sense of the former constantly intruding on or shadowing the latter. Paragraph breaks and subheadings have been inserted into the translation in order to maintain these shifts in tense without confusing the reader.

  In 2013, when Park Chung-hee’s daughter Park Geunhye was inaugurated as President, the past rose up and ripped the bandage off old wounds for Gwangju-ites like Han Kang. Her novel, then, is both a personal and political response to these recent developments, and a reminder of the human acts of which we are all capable, the brutal and the tender, the base and the sublime.

  DEBORAH SMITH

  1

  The Boy. 1980

  ‘Looks like rain,’ you mutter to yourself.

  What’ll we do if it really chucks it down?

  You open your eyes so that only a slender chink of light seeps in, and peer at the gingko trees in front of the Provincial Office. As though there, between those branches, the wind is about to take on visible form. As though the raindrops suspended in the air, held breath before the plunge, are on the cusp of trembling down, glittering like jewels.

  When yo
u open your eyes properly, the trees’ outlines dim and blur. You’re going to need glasses before long. This thought gets briefly disturbed by the whooping and applause which breaks out from the direction of the fountain. Perhaps your sight’s as bad now as it’s going to get, and you’ll be able to get away without glasses after all?

  ‘Listen to me if you know what’s good for you: come back home, right this minute.’

  You shake your head, trying to rid yourself of the memory, the anger lacing your brother’s voice. From the speakers in front of the fountain comes the clear, crisp voice of the young woman holding the microphone. You can’t see the fountain from where you’re sitting, on the steps leading up to the municipal gymnasium. You’d have to go around to the right of the building if you wanted to have even a distant view of the memorial service. Instead, you resolve to stay where you are, and simply listen.

  ‘Brothers and sisters, our loved ones are being brought here today from the Red Cross hospital.’

  The woman then leads the crowd gathered in the square in a chorus of the national anthem. Her voice is soon lost in the multitude, thousands of voices piling up on top of each other, a soaring tower of sound rearing up into the sky. The melody surges up to a peak, only to swing down again like a pen dulum. The low murmur of your own voice is barely audible.

  This morning, when you asked how many dead were being transferred from the Red Cross hospital today, Jin-su’s reply was no more elaborate than it needed to be: thirty. While the leaden mass of the anthem’s refrain rises and falls, rises and falls, thirty coffins will be lifted down from the truck, one by one. They will be placed in a row next to the twenty-eight that you and Jin-su laid out this morning, the line stretching all the way from the gym to the fountain. Before yesterday evening, twenty-six of the eighty-three coffins hadn’t yet been brought out for a group memorial service; yesterday evening this number had grown to twenty-eight, when two families had appeared and each identified a corpse. These were then placed in coffins, with a necessarily hasty and improvised version of the usual rites. After making a note of their names and coffin numbers in your ledger, you added ‘group memorial service’ in parentheses; Jin-su had asked you to make a clear record of which coffins had already gone through the service, to prevent the same ones being brought out twice. You’d wanted to go and watch, just this one time, but he told you to stay at the gym.

  ‘Someone might come looking for a relative while the service is going on. We need someone manning the doors.’

  The others you’ve been working with, all of them older than you, have gone to the service. Black ribbons pinned to the left-hand side of their chests, the bereaved who have kept vigil for several nights in front of the coffins now follow them in a slow, stiff procession, moving like scarecrows stuffed with sand or rags. Eun-sook had been hanging back, and when you told her, ‘It’s okay, go with them’, her laughter revealed a snaggle-tooth. Whenever an awkward situation forced a nervous laugh from her, that tooth couldn’t help but make her look somewhat mischievous.

  ‘I’ll just watch the beginning, then, and come right back.’

  Left on your own, you sit down on the steps which lead up to the gym, resting the ledger, an improvised thing whose cover is a piece of black strawboard bent down the middle, on your knee. The chill from the concrete steps leaches through your thin tracksuit bottoms. Your PE jacket is buttoned up to the top, and you keep your arms firmly folded across your chest.

  Hibiscus and three thousand ri full of splendid mountains and rivers …

  You stop singing along with the anthem. That phrase ‘splendid mountains and rivers’ makes you think of the second character in ‘splendid’, ‘ryeo’, one of the ones you studied in your Chinese script lessons. It’s got an unusually high stroke count; you doubt you could remember how to write it now. Does it mean ‘mountains and rivers where the flowers are splendid’, or ‘mountains and rivers that are splendid as flowers’? In your mind, the image of the written character becomes overlaid with that of hollyhocks, the kind that grow in your parents’ yard, shooting up taller than you in summer. Long, stiff stems, their blossoms unfurling like little scraps of white cloth. You close your eyes to help you picture them more clearly. When you let your eyelids part just the tiniest fraction, the gingko trees in front of the Provincial Office are shaking in the wind. So far, not a single drop of rain has fallen.

  The anthem is over, but there seems to be some delay with the coffins. Perhaps there are just too many. The sound of wailing sobs is faintly audible amid the general commotion. The woman holding the microphone suggests they all sing ‘Arirang’ while they wait for the coffins to be got ready.

  You who abandoned me here

  Your feet will pain you before you’ve gone even ten ri …

  When the song subsides, the woman says, ‘Let us now hold a minute’s silence for the deceased.’ The hubbub of a crowd of thousands dies down as instantaneously as if someone had pressed a mute button, and the silence it leaves in its wake seems shockingly stark. You get to your feet to observe the minute’s silence, then walk up the steps to the main doors, one half of which has been left open. You get your surgical mask out from your trouser pocket and put it on.

  These candles are no use at all.

  You step into the gym hall, fighting down the wave of nausea that hits you with the stench. It’s the middle of the day, but the dim interior is more like evening’s dusky half-light. The coffins that have already been through the memorial service have been grouped neatly near the door, while at the foot of the large window, each covered with a white cloth, lie the bodies of thirty-two people for whom no relatives have yet arrived to put them in their coffins. Next to each of their heads, a candle wedged into an empty drinks bottle flickers quietly.

  You walk further into the auditorium, towards the row of seven corpses which have been laid out to one side. Whereas the others have their cloths pulled up only to their throats, almost as though they are sleeping, these are all fully covered. Their faces are revealed only occasionally, when someone comes looking for a young girl or a baby. The sight of them is too cruel to be inflicted otherwise.

  Even among these, there are differing degrees of horror, the worst being the corpse in the very furthest corner. When you first saw her, she was still recognisably a smallish woman in her late teens or early twenties; now, her decomposing body has bloated to the size of a grown man. Every time you pull back the cloth for someone who has come to find a daughter or younger sister, the sheer rate of decomposition stuns you. Stab wounds slash down from her forehead to her left eye, her cheekbone to her jaw, her left breast to her armpit, gaping gashes where the raw flesh shows through. The right side of her skull has completely caved in, seemingly the work of a club, and the meat of her brain is visible. These open wounds were the first to rot, followed by the many bruises on her battered corpse. Her toes, with their clear pedicure, were initially intact, with no external injuries, but as time passed they swelled up like thick tubers of ginger, turning black in the process. The pleated skirt with its pattern of water droplets, which used to come down to her shins, doesn’t even cover her swollen knees now.

  You come back to the table by the door to get some new candles from the box, then return to the body in the corner. You light the cloth wicks of the new candle from the melted stub guttering by the corpse. Once the flame catches, you blow the dying candle out and remove it from the glass bottle, then insert the new one in its place, careful not to burn yourself.

  Your fingers clutching the still-warm candle stub, you bend down. Fighting the putrid stink, you look deep into the heart of the new flame. Its translucent edges flicker in constant motion, supposedly burning up the smell of death which hangs like a pall in the room. There’s something bewitching about the bright orange glow at its heart, its heat evident to the eye. Narrowing your gaze even further, you centre in on the tiny blue-tinged core that clasps the wick, its trembling shape recalling that of a heart, or perhaps an apple seed.r />
  You straighten up, unable to stand the smell any longer. Looking around the dim interior, you drag your gaze lingeringly past each candle as it wavers by the side of a corpse, the pupils of quiet eyes.

  Suddenly it occurs to you to wonder: when the body dies, what happens to the soul? How long does it linger by the side of its former home?

  You give the room a thorough once-over, making sure there are no other candles that need to be changed, and walk towards the door.

  When a living person looks at a dead person, mightn’t the person’s soul also be there by its body’s side, looking down at its own face?

  Just before you step outside, you turn and look back over your shoulder. There are no souls here. There are only silenced corpses, and that horrific putrid stink.

  At first, the bodies had been housed not in the gymnasium, but in the corridor of the complaints department in the Provincial Office. There were two women, both a few years older than you, one wearing a wide-collared school uniform and the other in ordinary clothes. You stared blankly, forgetting for a moment why you’d come, as they wiped the bloodied faces with a damp cloth, and struggled to straighten the stiff arms, to force them down by the corpses’ sides.

  ‘Can I help you?’ the woman in school uniform asked, pulling her mask down below her mouth as she turned to face you. Her round eyes were her best feature, though ever-so-slightly protruding, and her hair was divided into two braids, from which a mass of short, frizzy hairs were escaping. Damp with sweat, her hair was plastered to her forehead and temples.

  ‘I’m looking for a friend,’ you said, holding out the hand which you’d been using to cover your nose, unused to the stench of blood.

  ‘Did you arrange to meet here?’