“a site of perpetual farewell and return”: Hauntological Returns and the Geopolitical Poetics of Don Mee Choi’s Hardly War, DMZ Colony, and Mirror Nation
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South Korean poet and translator Don Mee Choi’s recently completed trilogy—including Hardly War (2016), DMZ Colony (2020), and Mirror Nation (2024)—explores personal and collective histories and different notions of return. This article traces the motif of return in the beginning of the three books in relation to Derridean hauntology. Don Mee Choi’s trilogy—in which she explicitly defines her poetics as geopolitical—portrays a hauntological engagement with the past by evoking and rewriting supposedly forgotten personal and collective histories. Furthermore, the article reflects on how this relates to Don Mee Choi’s practices of writing and translation. The article focuses on how returns to the past are formally represented in the trilogy through repetition in the form of intertextual references, quotations, parallelisms, specific imagery and symbols. The motif of return, therefore, serves as a lens through which the spectral elements of anachronism, haunting and mourning can be traced.
Abstract
South Korean poet and translator Don Mee Choi’s recently completed trilogy—including Hardly War (2016), DMZ Colony (2020), and Mirror Nation (2024)—explores personal and collective histories and different notions of return. This article traces the motif of return in the beginning of the three books in relation to Derridean hauntology. Don Mee Choi’s trilogy—in which she explicitly defines her poetics as geopolitical—portrays a hauntological engagement with the past by evoking and rewriting supposedly forgotten personal and collective histories. Furthermore, the article reflects on how this relates to Don Mee Choi’s practices of writing and translation. The article focuses on how returns to the past are formally represented in the trilogy through repetition in the form of intertextual references, quotations, parallelisms, specific imagery and symbols. The motif of return, therefore, serves as a lens through which the spectral elements of anachronism, haunting and mourning can be traced.