Book Introduction I have my own color and the Earth has its own color This is the tenth poetry collection from Green Snail Poetry Series. It is the third poetry collection for children by poet Yoo Ha-jung, who has recently been actively creating works ranging from poetry and fairy tales to picture books. Yoo Ha-jung’s unique ideas and expressions, which set her apart from traditional children’s poetry, leave a strong impression. Alongside this, the humorous and delicate emotional illustrations by painter Kim Soon-young add even more charm to this poetry collection. [Reference: YES24] About the Author Yoo Ha-jung began writing after debuting in 2013 with [Children and Literature] and continues to walk steadily, albeit slowly. She majored in modern literature in university and earned a doctoral degree. Currently, she teaches studen ts at Chungnam National University and researches content creation processes. She won the 1st Hyeam Children's Literature Award in the fairy tale category. Her works include co-authored books Data at Twelve and Sli Will Return, poetry collections Zebra Magician and Cloud Belly Button, and the illustrated poetry book Ttotto Tree. [Reference: YES24]

Introduction A cultural guidebook on the diverse practices of contemporary artists addressing climate change, decolonization, and anti-globalization. In today’s world, where exploitation, poverty, and violence are widespread, what are art and artists doing—and what can they do? This book introduces contemporary artists who critically engage with our present-day planet Earth—often referred to as the Anthropocene—and with the ways human and nonhuman life exist on this planet. These are art practices like “countless wandering little lights,” approaching sites of suffering and listening to the voices of those beings and communities that have been ignored. The author reflects deeply on the meanings of these attitudes and actions, conveying them in clear and accessible prose grounded in careful observation. In this book, the benchmark for contemporary art is the year 1989. That year saw events that reshaped global political, social, and cultural landscapes—the fall of the Berlin Wall, the Tiananmen Square protests, and the emergence of the World Wide Web—and the art world was likewise profoundly affected. However, rather than treating contemporary art simply as a chronological period, the book understands it as a distinctive set of artistic phenomena shaped by three major shifts of contemporaneity: globalization, decolonization, and climate change. The author focuses especially on artists in the early third millennium (2001–3000) who move beyond notions of aesthetic autonomy and individual freedom to pursue social justice and ecological flourishing, creating “rebellious laboratories of imagination” across diverse media. The word pascha in the book’s title is a Greek transliteration of an ancient Hebrew term meaning “to pass over” or “to cross.” It evokes people who do not simply pass by the world before their eyes but instead draw near and willingly cross through it. It is also significant as the first book by a Korean author to address contemporary art within the framework of geoaesthetics in the Korean language. The book is recommended to general readers and researchers interested in contemporary art and planetary issues, as well as to those who reflect on the counter-political role of art. [Reference: YES24] About the Author The author graduated from the College of Theology at Catholic University of Busan and from the Graduate School of Fine Arts at Hongik University. Following the theological aesthetics methodology of Hans Urs von Balthasar (1905–1988), one of the leading theological thinkers of the 20th century, the author earned degrees with a 2008 study on the Apostles’ Creed phrase descensus ad inferos (“he descended into hell”), and in 2018 with research on the arabesque as a formative principle in the work of Henri Matisse (1869–1954), a pioneer of modernist art, along with a study of Yve-Alain Bois’s analysis of archetypal drawing. The author also co-translated Raymund Schwager’s Original Sin as the Cultural Matrix Today (2008). Centering on research at the intersection of art and the political, social, ecological, educational, and religious spheres, the author continues to foster interdisciplinary dialogue and encounters for future generations while contributing to a culture of peace. They have written several critiques on European contemporary artists and published DAVID ALTMEJD: Growing Objects (2019), a monograph grounded in new materialism, and Henri Matisse, Building God’s House: The Birth of the Vence Rosary Chapel and the Life of an Artist (2019), on the meeting of religion and art. The author serves as an editor for the Korean branch of Vatican News, the official media of the Holy See. They are also a founding member and editor of Mindpost, an alternative media outlet for people with mental disabilities, and monitor trends in prejudice and hate speech in reporting on incidents involving people with mental disabilities for the National Mental Health Welfare Support Group.  [Reference: YES24]

Book Introduction A child steps into a storage room. Click—the light turns on, and shadow play begins. A butterfly flutters into the air, and in one corner a flower starts to bloom. In the forest, a wolf leaps about, and the child, now a princess, meets an elephant. Before long, reality transforms into a world of shadows, where the child and animals share a joyful time together. Then, at the sound of someone calling, “Time for dinner,” the world returns to reality. This picture book uses children’s favorite activity—shadow play—to spark imagination and invite readers to wonder what story is unfolding. Shadow Play contains no dialogue; it simply contrasts images of a child at play with the child’s shadow. Yet the lively scenes of the child and the animals brought to life through shadows naturally inspire readers to imagine the sounds and stories for themselves.  [Reference: YES24] About the Author The author studied painting and book art in Korea and the UK and has published picture books in many countries around the world. Through works that make use of the physicality of books and the format of wordless picture books, the author captures children’s playfulness and energy on the page. They also run the independent publishing house White Rabbit Press. They are the first Korean creator to win the Hans Christian Andersen Award in the illustrator category (2022). Summer Is Coming received a Special Mention in the Fiction category at the 2022 Bologna Ragazzi Award, as well as a New York Times Best Illustrated Children’s Book Award and a Boston Globe–Horn Book Honor. The River received the Korean Publishing Culture Award and the Inchon Award, among others. [Reference: YES24]

Book Introduction Bread made by kneading clouds? A Cloud Bread story that blends whimsical imagination with the warmth of family love! On a rainy morning, a small cloud gets caught on a tree branch. The children pick the cloud and carefully bring it to their mother. Their mom kneads the soft, cotton-like cloud into dough and bakes bread with it. After eating the freshly baked cloud bread, the mother and children begin to float lightly like clouds. The children then decide to take some bread to their father, who rushed out to work without even having breakfast. This heartwarming story of family love, mixed with playful imagination, meets a unique visual world. Carefully crafted semi-three-dimensional illustrations and gentle lighting add to the charm of the picture book. Cloud Bread earned author Baek Heena the “Illustrator of the Year” award at the 2005 Bologna Children’s Book Fair. Over time, the book has gained increasing recognition and continues to be loved by readers. It has been published in Japan, Taiwan, France, China, Germany, Norway, and other countries, delighting children around the world. It was also adapted into an animated series broadcast on KBS1 and is scheduled to air in several European countries. [Reference: YES24] About the Author Baek Heena was born in Seoul in 1971. She studied Educational Technology at Ewha Womans University and Animation at the California Institute of the Arts. Drawing on her animation background, she creates picture books known for distinctive characters and engaging storytelling. She first gained major recognition in 2005 when Cloud Bread was selected for the Bologna International Children’s Book Fair’s “Illustrator of the Year.” In 2012 and 2013, Jangsu Bath Fairy won both the Korean Publishing Culture Award and the Changwon Children’s Literature Award. In 2018, Magic Candies was selected for the IBBY Honour List, and the Japanese edition (Amedama) won the 11th MOE Picture Bookstore Award. This award is given to the “most sellable picture book,” chosen by votes from around 3,000 bookstore staff across Japan. In 2019, it also won both the Translated Picture Book category and the Readers’ Award at the 24th Japan Picture Book Awards, hosted by the Japan School Library Association and Mainichi Shimbun. The Readers’ Award is especially meaningful as it is decided by votes from children, teachers, teacher-librarians, and picture book professionals. In 2020, she received the Astrid Lindgren Memorial Award—often called the Nobel Prize of children’s literature—bringing her worldwide recognition. The award committee praised her, saying, “Baek Heena is reinventing the picture book medium. Her enchanting world of picture books captivates, surprises, delights, and moves us.” Her works have been introduced internationally in countries including Japan, China, Taiwan, France, the United States, and Canada, earning her a growing global fanbase. Her books as both writer and illustrator include I Am a Dog, The Strange Guest, Magic Candies, Strange Mom, The Fly I Tasted in a Dream, Jangsu Bath Fairy, Bbyak’s Mom, Last Night, Moon Sherbet, Pink Ribbon, The Boy Who Went to Find the North Wind, and Cloud Bread. [Reference: YES24]

جزء، الرواية الأولى للكاتبة نوي يون كيم، هي العمل الثاني لدار نشر أوميل. إنه عمل أدبي يقوم بتفريغ أجزاء من القصة أو إعادة تفسيرها تدريجيًا مع توسيع جوانب أخرى لملء سردها. تحاول الرواية خلق نفسها من خلال استبعاد الأحداث لصالح الأوصاف، واستكشاف موضوعات تهدف إلى الهروب من حدودها الخاصة، والتجريب مع موضوعات تتحول بين كونها موضوع الكتابة وموضوع الكاتب، وتقديم شخصيات تتحرك بشكل مستقل عن الراوي الذي يراقب الرواية، وإعادة التفكير في المساحة المادية للكتاب - الصفحات التي تحتوي على النص. تنتقل تأملات الراوي في المكان إلى تأملات في الزمن، بينما تمتد اعتباراته للرواية إلى أفكار حول المعارض والعروض والمسرح والسينما. من خلال هذه التأملات الواسعة، تتكشف الرواية كحركة عبر مجالات أدبية متعددة. يبدأ النثر والشعر والدراما في التداخل، وتظهر القصص بشكل متقطع داخل بنية غير خيالية. تتبنى أجزاء النص بعضها البعض بطريقة دائرية، تتدحرج إلى الأمام بينما توسع القصة. "جزء" هي عمل يمارس كونه رواية بينما يوجد خارج حدوده التقليدية، ويتحول تدريجيًا إلى رواية في حد ذاته. نبذة عن الكاتبة نوي يون كيم شاعرة. قدمت وثائق بالتعاون مع يونغ وان جيون في عروض ومعارض مثل "المشي الأدبي" و "البلاغة: الزخرفة والانحراف" و "الخاتمة" و "الفضاء". ألّفت أعمالًا منها "ممحاة ورق الرسم البياني" و "جزء" و "بدون عنوان بدون وثيقة"