This week has been a wack. (Also, long time no write. I’ve given up on proper farewells and greetings in this space.) There have been a few online lectures to attend via Zoom, which ended up being a very sleepless series of hours for my unadjusted night brain, and a quiz I should have done and seen the end of if not for a technical error I found out relatively too late. Contacted people, saw tears brimming inside my eye socket, decided it is going to be a waste anyway. Time is ticking. There have also been some paperworks to finish that I’m not excited to be a part of, but nevertheless have to tend to because no ghost would want to stress themselves out organizing dozens of PDF files to upload on Google Form. I have been soothing the rough edges by reading and compulsively acquiring new ones. I finished Folklorn not a long time ago, before that The Seas, and am planning on reading another one starting today because I need to quiet down the voices, the screams, the wails. I started two different books, haven’t managed to continue because my concentration is scattered and I don’t currently have the capacity to form cohesion even through a stranger’s story. Maybe we’ll just talk about books I’ve read so far.
First off, the aforementioned Folklorn and The Seas. I picked up Folklorn knowing it has Korean elements, but didn’t know that instead of taking place in South Korea or North Korea, it’s prominently set in Sweden. I don’t think I have read any other book that is so pronouncedly Swedish. Also, I hadn’t been prepared for all the science elements that took off the book almost from the get-go, because as it turned out our protagonist is a scientist and we started her journey when she was part of a team of researchers collecting data in Antarctic. It’s also about, yes, folklore and mythology, retelling, the inheritance of stories, the stories we receive and perceive and create and re-create for ourselves and others. Some things I love: we have a romance here that is sweet, intelligent, and mature (side note: we need more non-young people in love depicted in contemporary non-romance literature, like in this book where our protagonist is in her thirties and her eventual partner is in his forties); I love the conversations of mental health between the protagonist and her brother, about the chronic effect of experience of displacement and unbelonging to your sense of being and perception, how that can seamlessly seep into how you care for yourself and other people; I also very dearly am fond of the portrayal of motherhood and parenthood, of girlhood and coming of age, of being born a girl in the world with its set of tales about what that has meant for others who have been born like you, about the perpetual grieving that comes almost naturally with being a girl/woman/mother of all kinds; and finally, language, especially the part where the romanization of the Korean terms are catered to how they are written in Korean letters (for instance, Ah-bbah instead of the more generic Appa) . This book is jam-packed aside from being very enjoyable, mostly because I’m very easily endeared by the voice and thought process of our protagonist and the way she processes her anger, disappointment, yearning, and love for both scientific grounding and imaginative realm. It’s also filled with history, the way the same themes can emerge from places a world away, the way we write ourselves down and pass it for generations, the way we have striven not to be forgotten. I could go on and on about this book, but I’m mostly only left with immense gratitude for it to have accompanied me for the past few days with my wrecked, wrecked mood.
The Seas is also, in some way, a story about stories. It’s about the experience of being in love while being in a body of being where love is experienced as unattainable, about the way we make sense of why we have lived the way we are, about how we shapeshift through the years and hurt. It is at times very sweet and charming, and other times incisive about the kinds of ways being a girl can render you invisible, dangerous, unbearable, and fatal. I love the ways it makes me think of seas, of blueness, of islands, of being isolated, of puberty and how it is unlike anything, of being trapped in an insidious cycle of multiple discomforts of the mere instance of existing in the world. I loved reading it, felt like a dream, a dreamless nap, a melody. It has made me grow keen on descriptions of nature, so I’m looking forward to picking up more books specifically capturing this feeling. I also think I enjoy the vagueness of the book because I’m already in love with the protagonist so early in the story that I’m willing to go through this journey with her, even if it feels like sleepwalking through hallucinations. She is on the brink of young adulthood, with a specific brand of precociousness and observant tendency that made me think of my own youth. Some examples of passages: If they asked me I’d tell them, “We live here because we hate the rest of you.” Though that isn’t always true, it is sometimes; [...] stares into my eyes long enough that velocity, the force which a body approaches or recedes from another body, hits me hard. It pushes me towards him by my sternum with everything it has; Still somehow I manage to walk through our house and think we aren’t trash; [...] imagine that when you arrived at that page, instead of being five inches wide it is one hundred and ninety-eight feet wide. So wide that when you turn the page it crushes you, pins you underneath it. You would never make it to here; It’s funny to hear her tell stories about how much she loved me as a baby because I think it has gotten harder for her to love me the older I get; I spend most of my time here waiting. Waiting to grow up; I continue with the story. “I fell and fell and fell until I was so deep in love that love resembled a well, steep sides with no way out [...]”. It feels both soft and harsh at the same time, both romantic and deadly. I loved it.
Before those two, I read Ponti. I loved it so, so much. I picked it up after watching some clips and reading articles about Girl from Nowhere, which is a Thailand TV show about a girl named Nanno who keeps transferring to different high schools, all the while having herself surrounded by people worth getting revenge towards (also, with multiple trigger warnings on all things you can ever think of). I was understandably in a drunk-dazed state of wanting to explore more stories about young girls and schools, which then I picked Ponti after roughly hoping it would fit this headspace I was in. It did fit, and it was so much more than that. It moves between different perspectives and timelines, but the first protagonist we are introduced to is the one I’m most feeling attached to. She’s jaded, tired, always sleepy, and is washed out of dimensions. She’s moving through her life like she’s being fogged, and she’s not particularly looking forward to anything. School is boring, the students and teachers are cliche, nothing is enough for her to want to keep being here. This is also the first time around I picked up a book set in Singapore, and I love the descriptions of heat and humidity, of bad odor and bad food, of mosquitos and skin and marks, of feeling like existing is being boiled uselessly on Earth. It also reminded me a lot of Plain Bad Heroines, especially during the first few segments, things about: being a part of B-rated horror movies and having a lukewarm history of fame, coming to terms with never understanding and in turn understood by the person who’s the closest to you, and being in an everlasting state of unfulfillment. It also tackles weird, intense, and eventually estranged friendship that started, bloomed, and ended in a blink of an eye, the kind that seems to only affect young girls, and usually in two. It also has a sense of magic realism, curses and hauntings, karma and prayers, and the things you shed as you grow up in distress. It was genuinely frustrating reading this book, being enamoured by it, and not having anyone to share it with, not having anyone to also see how this rather unusual book is making me feel and think a lot of different things.
On another note, I’ve been drowning myself in Highlight’s and Oh My Girl’s new albums. Highlight, especially, has been making me cry whilst I watched all of their performances and activities. It’s been too long and it has accumulated, prickled my eyes. Their newest The Blowing is so, so good, and the fact that the members Lee Gi-kwang and Son Dong-woon have actively participated in the composition, production, and writing of the songs just make it all seem more bittersweet, more sweet than bitter. My current favorite song, apart from the title track Not The End because that song slaps, is Hey yeah or Bam-iya in Korean, meaning “night” literally. Love, love this song. Meanwhile, whilst all of Oh My Girl’s newest Dun Dun Dance B-sides are far too perfect for me, Dear you is quite phenomenal. It’s making me very sad, soaking my heart with rain, and embracing it in warmth and fragrance. It’s quite wonderful, all of these. It’s been a while since I’ve been excited about anyone’s musical release and promotion, but this month has been generous on that note. Fangirling has never been more engrossing. Other things I’m obsessed with: some Korean dramas such as Taxi Driver, Doom At Your Service, reading fanfictions of Hospital Playlist’s Winter Garden OTP (also the alternate universe version where the actors playing the roles are falling in live on and off set), learning more of warming up to fantasy books (read Unbroken earlier this month and it changed me), and just an unhealthy amount of reading. I’m glad I’m alive, accessing stories and narratives, being able to allow myself to be okay again, or at least to be here and stay whilst time is tick tick ticking. I’m kind of not okay at the moment, but it’s temporary and will pass. I’m going to start a new book very soon. I’m thankful for books, eternally. Always, always thankful for words.



















