BERLIN 28.6.2019

Don Mee Choi

The westerly wind blows across a patch of desert outside my apartment window facing north: the Deutschland Radio, the ever-spinning ring of Mercedes Benz, and the metal fences set up for the construction of new housing. Only the fences remind me of home—the endless barbed wire across the waist of a nation. A cooler temperature expected this morning before the heat wave arrives in a day. On 28.6.1950, in Seoul, three days after the war had begun, my father washed his face and looked up at the stars on a clear night, then decided to head out to the city center. The photos of the war had yet to appear in the nation’s newspapers. No one was on the road. The East Gate was still standing, but the police station was empty. The tracks shone under the stars but there were no trams to be seen. I merely merrily washed my face and looked out to the ring of Benz lit at dawn, and finally caught a strand of remote signal from my father. V6. V frequently stands for violence and virtue. An understatement, perhaps. I didn’t know what to make of 6, except that 6 persists as June, and that it comes after number five, which has been discreetly established as 5=O in a glossary of translingual puns. As my father did seventy years ago to his unborn daughter, I channeled onto the most remote canyons of the desert—Are you OK, ROK? I’m childless, so I have no choice but to channel onto the desert of memory.

In my future city of two Koreas, I began reliving the acute feelings of separation from home. I would shake them off by midmorning, by pacing in my spacious apartment, then they’d return again the following day. The incessant chirping of the sparrows perched on tall birch trees outside my balcony only heightened my grief. This inexplicable ailment, which began in Hong Kong when we left South Korea during the dictatorship, had magnified over the years, then it had somewhat subsided as I settled, often numbing myself with work involving translation after translation. The unexpected return of my childhood grief prompted me to search for the remote waves of my father, my other universe. The ring of Benz was a radar of some sort. Like a compass, it operated magnetically and, not surprisingly, it also had tremendous capacity for sonic sensitivity. It didn’t take me long to detect the exact location. I spotted my father on a bridge, once again. This time he was standing on Glienicker Brücke, between Berlin and Potsdam. The fate of Korea’s waist was decided at the 1945 Potsdam Convention, by Churchill, Stalin, and Truman. From where I stand, facing north, the geopolitics of division have long been eroded by incessant wind, vanished or buried beneath the sand. Korea’s waist remains fatefully inconsequential. My father waved to me across a vast distance, from his present dimension: We are still not OK!

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Born in Seoul, South Korea, Don Mee Choi is the author of the KOR-US trilogy: Mirror Nation (Wave Books, 2024), the National Book Award winning collection DMZ Colony (Wave Books, 2020), and Hardly War (Wave Books, 2016). She is a recipient of fellowships from the MacArthur, Guggenheim, Lannan, and Whiting Foundations, as well as the DAAD Artists-in-Berlin Program. Her most recent translation of Kim Hyesoon’s poetry collection, Phantom Pain Wings (New Directions, 2023), received the 2023 National Book Critics Circle Award for Poetry.

Cover of Mirror Nation by Don Mee Choi

"Choi has demonstrated her dutiful attention to language in her previous work as a translator and poet, but what compels me in this collection is her sustained, universal critique of violence in and beyond national bounds."
—Anabelle Johnston

"The rewards across the three volumes in concert manifest not only through the cumulative effects of evidentiary fragmentation collaged in documents and reflections and photographs, but the collisions of tones, both typographical and textual."
—Rebecca Morgan Frank

"Choi, at the end of Mirror Nation, understands that she, too, is a divided country, a political person and a family person, one person who is consumed with history and grief and another person who stops to marvel at sparrows and swans."
—Terry Pitts

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