Book Introduction "Fiery poems that delve into the inner world of lonely beings!" "A tribute of respect and reverence to all life in the world!" A poet who bears the pain of his era and society with his whole body. Jeong Il-geun, a poet who has gently touched our lives with precise lyrical language, has released his new poetry collection The Love Method of Tongue Flowers. Jeong Il-geun debuted by publishing poems in Silcheon Munhak (Practical Literature) in 1984 and winning the Hankook Ilbo New Year's Literary Contest in 1985. Through his collections such as the series Classroom with a View of the Sea, Letters from Jeong Yak-yong in Exile, and Gyeongju Namsan, he has sought ways to restore humanity damaged by capitalism. The Love Method of Tongue Flowers is the poet’s fourteenth collection, written over forty years to reclaim the ‘kind and clear’ human heart. Since his first collection in 1987, Jeong Il-geun has consistently published a new book roughly every three years, and his accumulated effort is deeply embedded throughout this latest volume, which stands as a tribute of respect and reverence to all living things in the world. The 63 poems in The Love Method of Tongue Flowers faithfully represent the poet’s ontological reflections and poetic aspirations born from them. The self-reflective stance Jeong Il-geun shapes in this collection clearly asserts a strong will not to remain a distorted being in an absurd world. The sincerity of Jeong Il-geun’s poetry lies beyond the normative responses of social ethics; it integrates the laws of nature into a way of life, making them the origin of existence. In this respect, his poetic utterance can be seen as a reflection of ‘Gorae (孤來)’, a silence-passing mode of being. The poet, who embodies the pain of his time, society, and world, gently recites the gifts life offers us while carefully examining the inner world of lonely beings enduring “the long winter, cold and silent hours of empty hands” (from Love in November—Like Singing). [Reference: YES24] About the Author Born in Jinhae, Gyeongnam, the city of cherry blossoms, Jeong Il-geun made his literary debut in 1984 while attending university, publishing in the mook Silcheon Munhak (Issue No. 5). He won the Hankook Ilbo New Year’s Literary Contest for poetry in 1985 and the Seoul Shinmun New Year’s Literary Contest for sijo (Korean traditional poetry form) in 1986. His poetry collections include Classroom with a View of the Sea, Letters from Jeong Yak-yong in Exile, Gyeongju Namsan, On Waiting, Salt Saint, and The Love Method of Tongue Flowers. He also published sijo collections such as Mantra, Mantra and selected poems in The Sea Where Flowers Fall, The Whale Where Flowers Bloom and Flower Arrangement. He has received literary awards named after poets Sowol, Yeongrang, Jihoon, Yi Yuksa, and Kim Daljin. Jeong Il-geun has worked as a reporter for Kyunghyang Shinmun and Munhwa Ilbo, taught as a lecturer at Ulsan University, served as a professor at Gyeongnam National University, and currently lectures on poetry creation as a distinguished professor at Gyeongnam National University. [Reference: YES24]

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]

Book Introduction The first short story collection by novelist Park Ji-young, who gained attention with her novel Workshop for Solitary Deaths, a story about a secret workshop for people preparing for solitary death, has been published by Minumsa. The collection, This Month’s Neighbor Fee, includes eight stories spanning from her debut work in 2010, How to Save the Earth with a Vacuum Cleaner, to the 2023 Hyundai Literary Award-winning story Cuckoo, My Companion Rice Cooker. The stories, crossing over more than a decade, explore the relationships formed by lonely people in a chaotic world through numerous connections, each in their own way. If Workshop for Solitary Deaths began with the invitation, “Would you like to start the solitary death workshop?”, then the central question running through This Month’s Neighbor Fee is, “Have you paid this month’s neighbor fee?”   [Reference: YES24] About the Author Began her literary career in 2010 through the Chosun Ilbo New Year's Literary Contest. She has published the short story collections This Month’s Neighbor Fee and Teresa’s Confusion, as well as the novels His Excessively Private Monday, Workshop for Solitary Deaths, The Cupcake Armed Revolution, and The Rise and Fall of the Bok Mi-young Fan Club.  [Reference: YES24]

Book Introduction "Through each other’s gaze, we can see more." An encounter between a novelist who lives and breathes film and a translator who loves cinema Scenes of life recreated through conversations about movies The prose collection The Scene I Love Came to Me, co-written by novelist Seo Ije and translator Lee Jisoo, has been published. Seo Ije, a novelist who majored in film, captured the sensory transition from film to digital in her debut collection Towards 0%. Lee Jisoo, a translator who loves movies, has translated numerous works by leading Japanese directors such as Hirokazu Koreeda and Miwa Nishikawa. This book is a “story without a full stop” exchanged beyond the frame by two people deeply connected with cinema. Their seemingly unlikely first meeting happened when Seo Ije hosted a book talk for Lee Jisoo’s translation of Words of Kiki Kirin. The scenes and conversations of that day stayed vividly in their minds, eventually inspiring them to write a book collecting memories about “movies, movie theaters, and people entwined with film.” Under a single theme, they exchanged essays one by one, experiencing the time spent watching films and the messages conveyed by films through each other’s eyes. Starting from cinema, the twenty essays traverse scenes from their lives to arrive at the present. From childhood, when they watched films “not even knowing the word ‘movie,’” to the excitement of rushing to the theater after school during adolescence; from college years when their love for movies turned into making films themselves, to the office life where they begrudgingly went to see movies with their boss—films appear as witnesses throughout their past. By sharing moments and memories related to film, the two show how our individual narratives can become richer. I only recently realized that what I wanted to see through movies was not the story but the gaze. In other words, I wanted to see the world as others see it. —From the Epilogue  [Reference: YES24] About the Author Born in Seoul in 1991. Graduated from Seoul Institute of the Arts, Department of Film. Made her literary debut in 2018 by winning the [Literature and Society] New Writer Award for the novella A Line for Celluloid Film. She has published the story collection Towards 0% and received awards including the Young Writers’ Award, Today’s Writer Award, and the 45th Yi Sang Literary Award.  [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]