Category: Poems of Korea

Poems written since I came to Korea, or, in many cases, about Korea or Korean things.

  • Bones

    In the old days, Tiger’s den was littered with bones;
    remnants of long-ago feasts and forgotten mistakes.
    Long ago, he’d curl up in the chill of night,
    letting the bones dig into his body as he slept.

    He’d think to himself, if only some dog or bear
    would come and steal away these bones, clean up
    this damned den. And random beasts passed through
    leaving more bones, till his den became a graveyard.

    Finally fed up, night by night a single bone removed
    he’d bear it out between his vicious teeth,
    each day sleeping a little bit cozier, until
    there were none left, and his den was left bare.

    A few weeks passed, in this immaculate state,
    before the walls of his newly-clean den echoed
    a chittering sound from just beyond the cave,
    a chittering voice from just at the edge of his life.

  • Prediction

    Walking, wondering: which one could it be?

    Conservative pant-suit and mother’s pearls?
    Jeans and jiggle and purple shriek of hair?
    You cannot sample or say, one of each,
    please. You are distracted: you recognize
    the shoulders of a lost lover in this stranger’s,
    or a certain movement of the head in another’s.

    Each single glance you make is a kind of haunting:
    the world you’d lived in, old dreams of tomorrow,
    dreams without the sinking sump of a barren ocean,
    or a hole in the sky so big your arm fits through.
    The future is a girl hidden on a crowded subway
    train, in a corner, watching us all patiently,
    whom nobody notices, waiting to arrive at last.

    Walking down the length of the train, dodging
    people hawking cheap electronics in a foreign
    tongue, eyes turned out across the Han river,
    hoping they’re not talking about coming wars,
    or exhaling beneath their breaths, the next great plague;
    maybe, just perhaps, they’ll mumble us to utopia.
    Then you realize she might not be on this train at all.

    — Gord Sellar, 29 October 2003, Seoul


    This is just a little poem I wrote in my head one morning, and I spent a chunk of time fixing it, getting things closer to right. I don’t usually talk about what poems are about, but for my second-language readers it helps… I’ve been thinking a lot lately about, prediction, I guess…. about writing about the future, like I do in my SF writing, and about thinking about the future. What does it mean to think about the future? Is the future what we really think about when we think about the future? I think we often think of the past, or of things we are afraid of or things we love or have loved, or hate or have hated. In science fiction, the future is usually a kind of special imaginary description of the present or the recent past, dressed up in science-fiction clothing.

    How tenuous and chancy, this whole endeavour of considering the future! The future is almost always something we don’t expect… and yet when it comes, we often say we knew it would happen. And we’re usually lying. One thing we can be sure of is that the future will surprise us… sooner or later, anyway.

     

  • DaDeumie SoRi

    At last. I think perhaps I understand,
    standing at this bus’s rest-stop half
    the way to Seoul; sweet guitars abloom
    in my ears, and coffee steam a haze
    around my face, standing, silently
    staring. The woman absently sweeps
    the floor, puts coffee on, bringing out
    the breads, arranges the newspapers,
    turns around the doorway’s closed sign.
    Someone else’s drabbest morning chores
    from outside, fascinate. Some strange
    mesmerism is at work in these dull things:
    irreplaceable, necessary. Imagine…
    the world’s things, every one where it belongs.

    — Gord Sellar,
    Published in Diet Soap #4


    The DaDeumie is a traditional tool of the traditional Korean housewife. In the times preceding the use of modern heated irons, clothes were pressed by beating them with the DaDeumie, a pair of unweildy wooden sticks that were used in a method somewhat reminiscent of a drummer practicing patterns on a snare drum… a constant tok-tok-tok-tok-tok sound of the cloth muffling the impact of the wood against the stone beneath was the result. As the Korean word for “sound” is SoRi, this sound was called the DaDeumie SoRi. According to a a student and friend of mine, this sound was famously described by a scholar or poet as one of the five most beautiful sounds in Korea. When I first heard this, I was shocked at the idea that a rather cumbersome and taxing physical task that wives were stuck performing could be beautiful. But now, I think I understand a little… the question of whose work, and how it is performed, is less the issue of beauty than the fact that when done it is a part of that dream we humans have to have a well-ordered world around us, and well-ordered selves within, so that the inner and outer tranquility and order are a tinned reflection of one another; nobody can say which reflects which, but the harmony is apparent to all, just the same.

    By the way, I have tried the DaDeumie, and let me tell you, those housewives must have been strong and had great endurance.

    Oh, and, let it be known this is only the second draft of this poem. I may change it later. But my friend Sun Hwa asked to see it, so I have posted it.

  • Iksan Haiku

    epicurean,
    made our way through streets not paved
    for boots the size of ours

    — Gord Sellar, 11 August 2003.


    This poem just kind of came to me tonight, as I pack the last big piles of photos and papers for my move to Jeonju. I will miss Iksan, really I will, no matter how much I may like Jeonju and no matter how good for me the move might actually be in terms of needing a change. I had to cheat a little on the meter, but… anyway, I think it captures the way some of my favorite foreigners live in Iksan…

  • The Prison Camp

    We want to prove to ourselves that we are lovers on the grand scale, tragic heroes; not just ordinary privates in the huge army of the bereaved, slogging along and making the best of a bad job.
    – C.S. Lewis, A Grief Observed

    The songs are spangled with the consonants
    of numbers, dates not written down, commands
    that were, most of the time, unsaid. And we
    sing them, humping sacks of sand uphill.

    Each of us has, tucked into a boot or taped
    inside his helmet, a story penned out in
    an uneven hand. To be sent back home in case
    some unfortunate thing should come to pass.

    There is, in this, some thing gone far askew.

    We want to march our colors, met with cheers,
    to wipe the bleary mud off both our boots,
    stand on a rock and decant our sufferings
    and dare not, for we have seen other scars

    on other bodies. Fingers blown away.
    The weary bleary wounds that fail to heal.
    The ones that heal too well, and are forgotten
    and we disbelieve, for wounds are meant to ache.

    We look on faces caked and cracked and so
    we have no epics left to write. Instead,
    We sing whatever song the others start,
    and keep at it, and soon enough, it’s done.

    And this is good… for otherwise, nothing
    would get done in this camp. The fires of
    the guard would grow cold long before the dawn,
    and darkness would claim far too many souls.

    I started out like that, a while ago:
    just moved my lips in time with all the words;
    but soon, I found that I was singing too,
    in tune, at least, if off their time and faith.

    They’re much too small, the atoms of the world.
    The oldest sit and wait, as we slog by;
    we think, They are entitled to a rest,
    they look as if they are about to die.

    We hump the sacks of sand right up a hill,
    drop one or two and watch them roll back down.
    Okay, we say, there’s lots more left to bring,
    a bag or two more won’t kill nobody.

    At night, some rig together tents and sleep
    arm in arm, and touch others’ wounds;
    and others of us sit awake and watch,
    pretending not to hear the sleepers’ sounds.

    Look at the soil: is it just meant to sit,
    so simple? Not like in the photographs.
    When rain falls, tunks against our helmets, soft,
    we wonder, Is that how it’s meant to sound?

    And then, from time to time, we heard the shriek
    beyond the places we’re able to go,
    of something wicked, maybe in the sky,
    of something, but we’ve no idea what.

    The wretched wire that lines the fencing can’t,
    we vividly dream sometimes, be real. Let’s
    Try walk through it, shan’t we?
    And we try; so,
    more wounds, more bleeding. Nor the first time, no.

    We dig through soil. Its dark and loamy soothe
    makes us impatient. Faster with the spoons!
    The quiver in us till a mine goes off
    above; the tunnel wrecked; the dull retreat.

    The random few with wild eyes plot away,
    tuck into pockets bolts and screws and nuts.
    They squirrel boards away beneath the floor,
    and piecemeal, mad construction underway,

    Old men in the camp chuckle, talk about
    the last time any fool tried that way out.
    They do not care to hear. The best of them
    have no more faith at all. We will not fall,

    they say through tears, and hammer, quietly.
    They bind the bands of wood out, smooth curvings
    planed to the style of hope that is in fashion
    in this rank old place. I must admit,

    I almost prayed for their success. I did
    not, but I dreamed their hope at night;
    a strange and wooden bird took to the sky
    and climbing higher, piercing clouds apart.

    The weeks passed inchwise. We began to think,
    would we die of this interment? Or could
    we find a way to see the walls as windows,
    and find some means to make this prison good?

    Nobody has ever slept enough in here.

    One morning I awoke. It lay in flames,
    already, all consumed. The young men blamed
    the old, the children screamed, the old men sighed,
    and then we slowly named the men who died.

    We picked them out between the smoking ribs
    of the failed craft. I thought them rather daft.
    If that were the way out, then I should think,
    we’d have got out of here before now, no?

    The smoke curled up. It stays clear in my mind,
    the strange and sweet absurdity of that;
    the tendrils made me think of atoms and
    the gravity that we cannot escape,

    which holds us as an elderly sister might.

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