On 10th December 2024, Han Kang will be awarded the Nobel Prize in Literature, making her the second South Korean and the first Asian woman to receive this honour. Known for her focus on South Korea’s complex history of violence, oppression, and resistance, Kang’s win resonates powerfully with progressives, as President Yoon Suk-yeol’s conservative government grapples with acknowledging her achievement without undermining its own policies.
South Korea’s history is marked by regimes aligned with external imperial forces, particularly Japan and the US. Under Japanese colonial rule (1910-1945), Korea’s resources and labour were exploited for Japan’s imperial agenda. The independence movement spanned all strata, with left-wing groups advocating not only for liberation but also for agrarian reforms and workers’ rights. Following Japan’s defeat in 1945, Korea was divided along the 38th parallel, with the US occupying the South. The US-backed military government suppressed democratic and labour movements, culminating in events like the Jeju Uprising of 1948, where thousands were killed in pro-democracy protests. Political leaders such as Syngman Rhee maintained power through anti-communist policies and heavy reliance on U.S. support, with elites, landlords, and military leaders controlling political and economic life. This control led to a political landscape marked by repression, which continued under successive regimes. Events like the Gwangju Uprising in 1980 epitomised the struggle against these forces, as citizens opposed the military dictatorship. Although democratic reforms followed in 1987, economic and political power remained concentrated among elites, leaving progressive movements to continue advocating for social and economic equity.
Han Kang’s work captures the pain and trauma of these suppressed democratic movements. Her novels, Human Acts (2014) and We Do Not Part (2021), focus on historical events where ordinary citizens rose and were violently crushed. Human Acts centres on the Gwangju Uprising, narrating the brutal repression of this pro-democracy movement through the experiences of different characters connected to the massacre. The novel exposes the trauma inflicted by the state, emphasising the need to remember these struggles to achieve collective healing. The book also addresses the erasure of memory, a recurring theme in Kang’s work, as conservative elites in South Korea continue to distort historical narratives to justify oppressive actions.
In We Do Not Part, Han revisits South Korea’s violent history, notably the Jeju massacre of 1948, when the US-backed government aimed to eliminate leftist influences. This massacre left more than 30,000 civilians dead and has deeply impacted Korean society. The novel follows Kyungha as she plans a memorial installation with her friend Inseon. We Do Not Part delves into the trauma, blurring the lines between history and memory in a style that combines surrealism and survivor testimonials. Themes of oppression and resistance are also present in Kang’s earlier work, The White Book (2016): the Warsaw uprising of 1944/45 with its huge human and material cost forms a stark backdrop.
The impact of Han’s work is especially significant given that two-thirds of South Korea’s population supports the political status quo. Local novelist Kim Kyu-nah, for instance, criticised the award, accusing Han of “distorting history” and implying her gender influenced the decision, comments reflecting the ongoing conservative push to undermine critical historical narratives.
Han’s work extends beyond recounting South Korea’s past: it invites readers worldwide to examine the roots of state violence and the lasting wounds of oppression. Her most famous work, The Vegetarian (2007), won the International Booker Prize in 2016 and delves into themes of alienation and resistance against oppressive societal norms. It tells the story of Yeong-hye, a woman who refuses to consume meat, and withdraws from social norms. This radical expression of alienation illustrates the oppressive forces within South Korean society, especially its patriarchal structures. Yeong-hye’s rejection of society’s diktat highlights the internalised violence and disconnect experienced by many individuals under oppressive regimes. This theme of alienation is especially resonant for women in South Korea, who often face systemic discrimination and inequality, with women earning about 70% of men’s wages and holding few political roles.
Kang’s Greek Lessons (2011) explores alienation through the lens of two protagonists who suffer profound personal losses, one losing her ability to speak and the other his sight. Both characters experience a growing sense of detachment from society. Their shared loss and anonymity suggest a broader societal disconnection. The protagonist’s search for language and truth, rooted in her youth and a desire for certainty, illustrates the disconnect between personal experience and societal forces. This novel, like The Vegetarian, portrays the individuals’ isolation without rigorously examining the societal roots of their suffering, yet both hint at a shared empathy among individuals facing similar disconnection.
In contemporary South Korea, historical revisionism is rampant. Far-right figures undermine the significance of events like the Gwangju Uprising, censor expression, and rehabilitate controversial leaders like Chun Doo-hwan. Against this backdrop, Han Kang’s Nobel Prize represents a triumph for those who fight for democracy, truth, and remembrance. Her work not only chronicles past events, but actively encourages readers to engage with the forces that shape history and society. Through her narratives, Han forges a literary space that insists on the importance of remembering past struggles.
Han Kang’s award is more than a recognition of literary talent: it testifies to her dedication to justice and truth. Her work offers readers a lens to view the alienation, repression, and resilience that define imperialist society. By doing so, Han Kang’s Nobel Prize honours her commitment to humanity and challenge to the forces that seek to silence historical truth.
I would like to thank Soonhyung Hong for proving invaluable assistance in the research for this article.
