Im Hwa Before and After Japan
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Im Hwa (林和) — pioneer poet, critic and literary historian as well as reviled collaborator and accused spy—is one of the prominent colonial-period authors whose careers remain controversial because twentieth-century Korean history itself still is. Although a wolbuk (越北) writer whose work languished under erasure until post-Park Chung-Hee democratization in the ROK, critical reading of Im in neither the North nor the South halted entirely after his Pyongyang mass show-trial and execution in 1953. Building on early work by Kim Yun-Sik (金充植) in the ROK, Ōmura Masuo (大村益夫) in Japan, and many younger scholars in the U.S., my contribution within my larger project on pro-Japan Korean intellectuals under Japanese rule, is the history of Im’s reception in postwar Japan, where the legacies of shinnichi/chinil (親日) writers animate their own involved, ongoing anxieties over the unresolved historical consensus of the empire’s record of voluntary and involuntary complicity. I focus on Matsumoto Seichō’s (松本清張, 1962–63) biographical novel of Im, Poet of the North (Kita no shijin, 北の詩人). Instrumental in propagating a far from disinterested portrait of Im that still circulates in Japan fifty years after its publication, Poet of the North is evidence of how one writer’s reputation, already distorted by a lifetime spent initially under imperialism and then Stalinism, continues to be manipulated in Japan amid combined colonial revisionism and Cold War politics.
Abstract
Im Hwa (林和) — pioneer poet, critic and literary historian as well as reviled collaborator and accused spy—is one of the prominent colonial-period authors whose careers remain controversial because twentieth-century Korean history itself still is. Although a wolbuk (越北) writer whose work languished under erasure until post-Park Chung-Hee democratization in the ROK, critical reading of Im in neither the North nor the South halted entirely after his Pyongyang mass show-trial and execution in 1953. Building on early work by Kim Yun-Sik (金充植) in the ROK, Ōmura Masuo (大村益夫) in Japan, and many younger scholars in the U.S., my contribution within my larger project on pro-Japan Korean intellectuals under Japanese rule, is the history of Im’s reception in postwar Japan, where the legacies of shinnichi/chinil (親日) writers animate their own involved, ongoing anxieties over the unresolved historical consensus of the empire’s record of voluntary and involuntary complicity. I focus on Matsumoto Seichō’s (松本清張, 1962–63) biographical novel of Im, Poet of the North (Kita no shijin, 北の詩人). Instrumental in propagating a far from disinterested portrait of Im that still circulates in Japan fifty years after its publication, Poet of the North is evidence of how one writer’s reputation, already distorted by a lifetime spent initially under imperialism and then Stalinism, continues to be manipulated in Japan amid combined colonial revisionism and Cold War politics.
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