An audacious story of three Korean women bravely explores art, feminism and female desire
On the cusp of turning 30, photographer Jin Han finds herself at a crossroads in her life. Professionally, she feels uninspired at work and is unable to find any of her recent work worth keeping. Personally, her marriage is falling apart. Jin’s husband of 11 years is unable to fulfill her masochist’s sexual desires. She is also feeling betrayed by his sudden change of heart – his desire to embrace parenthood, a feeling that Jin does not share.
It is during this tumultuous time that Jin has a chance meeting with an alluring ballerina on hiatus due to her injury. Korean by birth, this woman goes by the name Lidija which was chosen to seem “a little more Slavic”, like the dancers she idolises. Jin finds herself confiding her desires in her since, unlike her husband, Lidija has “no existing high opinion of me that I might lose”. They both find a unique connection with each other which sets them on a path laden with euphoria and chaos.
The writing is tactile and incorporates vivid visual imagery. “Bold obliques of Lidija’s clavicles, raised as if taking flight.” However certain narrative choices make the story appear contrived. The characters frequently keep calling each other by name in dialogue, which probably was a ploy to anchor the reader in but ends up disengaging them. The baroque prose at times strays into incoherence and discursiveness.
delves into queerness and how it is perceived by older generations as “alien, a foreign blight. One striking white people, but not Koreans.
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