Margins
Seo-u book cover
Seo-u
2018
First Published
4.17
Average Rating
120
Number of Pages

Thou b The epicenter of ghost stories that began with "rumors of rumors of rumors" - In July 2018, "K-Fiction" Ganghwa road was elected as a "room" in the New Years edition of the Kyunghyang Newspaper in 2012 and started to work. He has been awarded the 8th Young Artist Award in 2017 and the 22nd Hankyoreh Literary Award in 2017. He is also active in publishing "Good People" and "Others" and is constantly creating works related to womens issues such as womens abhorrence, This womans voice is steadily loved by an experiment called thriller. Ganghwa-gil sees once again the character of anxiety and fear shared by the Korean womens public through "Seo-woo". After a while, the women who took a taxi to Jihyun-dong suddenly disappeared, and the me living in Jihyun-dong rushes in a taxi. As soon as I got into a taxi, I began to come up with various memories and nightmares of my childhood, and from then on, the taxi driver could not understand the unknown question I start to throw it to me. Oh Hye-jin Cultural researcher explains in the commentary of "Suwoo" that Gwanghwal is the victim, the victim, the mop, the idiot, the witch, the lie, And "Rape", which are typical images of women who have been stationed and consumed. In the extension of this, in the society where the existence condition of the woman belonging to the lower class of the city is the object of social stigma and the pixel of the ghost story, the hero of "Suwoo" never passes the psychopath in the fundamental sense, And that it can not even be a "genuine evil" in the world of thrillers established by this eruption.

Avg Rating
4.17
Number of Ratings
6
5 STARS
33%
4 STARS
50%
3 STARS
17%
2 STARS
0%
1 STARS
0%
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Author

Kang Hwagil
Author · 4 books
강 화길 (Kang Hwagil) is a young Korean writer best known for her 2017 novel Dareun Saram (‘Others’) which won her the Hankyoreh Literature Award as well as a Young Authors’ Prize. She was heralded by the Hankyoreh panel as a ‘new voice’ and received much praise for her fearlessly honest portrayal of Korean society, carrying a confrontational message. A champion of feminist writing in her own right, Kang is often mentioned in one breath with Cho Namjoo, whose Kim Jiyoung, Born 1982 brought gender equality and #MeToo to the forefront of South-Korea’s national debate, following its publication in 2016. Kang’s hit novel, like Cho’s, seems to have struck a chord also by way of its unembellished style. She excels in sparse, almost understated prose, leaving the reader to appreciate, in its purest form, the gravity of what is being said.
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