For over half a century, The Korea Times has nurtured aspiring translators through its Modern Korean Literature Translation Awards, celebrating the efforts of translators who connect Korean literature with global audiences. Last week's 55th award ceremony was made even more significant by a historic achievement in October — Han Kang became the first Korean writer to win the Nobel Prize in literature, a recognition that elevates not only her work but also the universal appeal of Korean storytelling.
The Swedish Academy honored Han "for her intense poetic prose that confronts historical traumas and exposes the fragility of human life." Her works, such as "Human Acts," which delves into the Gwangju Democratic Movement of May 1980, underscore this universality. While rooted in a specific moment in Korea's march toward democracy, the book's themes of resistance, suffering and human dignity have found global relevance, with readers connecting Gwangju's tragedy to places like Gaza and beyond.
Deborah Smith, who translated Han's works into English and shared the 2016 Man Booker International Prize for "The Vegetarian," emphasized this interconnectedness and pledged to donate her royalties to support Palestinian liberation, inspired by the readers' engaged and empathetic responses.
This universality is also evident in the growing diversity of translated Korean literature. At this year's awards, we saw a record number of applications and a wide array of literary works selected by translators, which are uniquely Korean but also speak to shared human experiences.
An example is this year's Grand Prize-winning translation of Kim Cho-yeop's "Why Don't the Pilgrims Come Back," translated by Wingshun Pang. Kim, a scientist-turned-writer, is renowned for crafting imaginative worlds that reframe ordinary life through fresh perspectives. The story, part of her 2019 collection "If We Cannot Move at the Speed of Light," has already garnered international acclaim, with the Chinese edition earning science fiction awards and an official English translation underway.
Other prominent writers such as Chung Se-rang, Kim Ae-ran and Kim Soom have also been loved by translators and readers across the globe alike for their works tackling universal issues while maintaining a distinct cultural voice. For me, witnessing translators' choices each year is an opportunity to discover new voices and talents, expanding not only the reach of Korean literature but also our understanding of its richness.
Historically, Korean literature often centered on themes of war and family, shaped by the nation's experiences of Japanese colonization, the Korean War and rapid economic growth. Today, a new generation of Korean writers is breaking away from these traditional narratives, crafting stories that resonate universally by addressing contemporary issues and experiences. This shift highlights how Korean literature is evolving, garnering appreciation worldwide for its ability to reflect universal values and contemporary life.
Another notable aspect of this literary evolution is the changing recognition of women, spearheaded by Han, whose voices have long been marginalized in Korea's mainstream literature. Traditionally, men have dominated the narrative, their epic novels seen as representative of Korea's collective historical experience. In contrast, women writers such as Park Wan-seo and Han, with their focus on individual stories, have often been undervalued within domestic literary criticism. Yet these very works — narratives that amplify hidden, overlooked or disparaged experiences — are striking a chord with international audiences. Their focus on the intimate and the personal reveals universal values, resonating deeply with readers across cultures.
Han's Nobel Prize win marks the dawn of a new era, not only for Korean literature but for a broader understanding of the universality of its stories. It reminds us that literature, at its core, is about connection — about bridging divides and illuminating the shared humanity in our diverse experiences. As writers, translators and readers continue to bring Korean literature into the global spotlight, we find ourselves entering an exciting chapter, one where Korean stories are not just local treasures but global beacons of understanding and empathy.
Kwon Mee-yoo is editor of K-Culture Desk.