Welcome to the second part of Analrealism vol. 1! Just like in the first part, I am thrilled to introduce the playful, adventurous, and original works of the Analrealists. If you are wondering what in the world this bizarre-sounding project is, I briefly explained it in the last issue’s Editor’s Note, which I am quoting here for your convenience.
What is “analrealism?”
What does it mean for an anus, a deep, invisible void, to be real?
Readers may ask these questions when they pull up the front page of this and the following issues. Nonetheless, these questions are pointless because analrealism is a simple parody of Roberto Bolaño’s visceralrealism, which, in turn, was a fictional twist of infrarealism. As you will see, Analrealism vol. 1 is the embodiment of effortless parodies that defy the conventional definition of literary genres and appropriate styles.
In Issue 5, we will continue to introduce this frisky yet skillful spirit by featuring the genres we have never published before: a novella and literary criticism. Nonetheless, as you will be able to tell after reading the first several lines, these are not your typical literary works. In Keum Jungyun’s “The Man Who Only Lives Today,” Keum introduces his novel that has never been written. In “Quote–Text,” Kang Dong Ho discusses the act of quoting to contemplate what Analrealism is and who Analrealists are. The Man Who Became a Flamingo, which we introduce in five different posts due to its volume, does not conform to the ordinary construction of narrative. That said, we left nonsensical sentences or bizarre imagery as they are in order to capture the cognitive dissonance they create. Our belief is that translators must deliver the reading experience of Korean readers have, rather than forcefully making the text sensical or beautiful (in a conventional sense).
Before I end, I cannot emphasize enough how hardworking our translators, reviewer, and copyeditor were. Unlike multiple works of short stories, I could not distribute a novella to multiple contributors for stylistic consistency. Therefore, they ended up with the workload five times heavier than usual, yet they managed to get through it with pure talent and passion. In particular, Beth Hong translated two pieces of literary criticism and The Man Who Became a Flamingo from “Nuclear Power Plant” to “Diary – May 15.” Archana Madhavan translated the same piece from “Diary – May 16” to the end (the translator who worked on the first several chapters decided to remain anonymous). Eugene Kim reviewed literary criticism and parts of Flamingo. Chantelle Mitchell copyedited all of them.
In addition, I want to thank Analrealists, who trusted us and shared their works with us for Issues 4 and 5. While I already thanked them in the previous issue, it is never enough to appreciate their generosity.
Shyun Jeong Ahn
Bak Solmay, Hong Sanghee, Hwang Yein, Kang Dongho,
Keum Jungyun, Jeong Jidon, Oh Han Ki, Yi SangWoo
Summer 2019’s contributors
Shyun Jeong Ahn