Kim Young-ha's first full-length novel after 9 years since "Memories of a Murderer". Set in the not-too-distant future, it follows the journey of a boy whose life has been shaken up all of a sudden. Cheol, who lived a pleasant and peaceful ...
Kim Young-ha's first full-length novel after 9 years since "Memories of a Murderer". Set in the not-too-distant future, it follows the journey of a boy whose life has been shaken up all of a sudden. Cheol, who lived a pleasant and peaceful life with his father, a researcher at a famous IT company, is suddenly taken to a camp one day and encounters a world of chaos filled with raw emotions for the first time in his life, facing a mental and physical crisis. At the same time, he meets those excluded from society like himself, feels a vivid sense of belonging for the first time, and develops warm friendships. Cheol sets out with them to escape the camp and return home, but unavoidable questions await on the journey. The scene where the characters in 『Goodbye』 argue over the proposition ‘It is better not to be born’ forms a logical mirror image of the message of 『I have the right to destroy myself』, which made Kim Young-ha's name known to the world. The image of the main character going through identity confusion while asking ‘Am I who I used to know’ is a familiar scene in Kim Young-ha’s novels. Kim Young-ha's themes of memory, identity, and death are newly woven against the background of the near future in Farewell. What has changed is that humans, as mortal beings, are inclined more deeply toward the problem of death that they must face. The issue of identity, which was a key theme in the manuscript, has significantly decreased in importance through the adaptation. Instead, the dialectic of birth and death, meeting and parting penetrates the entire work.
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