We Do Not Part

[Han Kang’s] empathy for vulnerable, often female, lives is palpable, and reinforced by her metaphorically charged prose . . . She has a unique awareness of the connections between body and soul, the living and the dead, and in a poetic and experimental style has become an innovator in contemporary prose

[Han Kang’s] empathy for vulnerable, often female, lives is palpable, and reinforced by her metaphorically charged prose . . . She has a unique awareness of the connections between body and soul, the living and the dead, and in a poetic and experimental style has become an innovator in contemporary prose

A masterpiece . . . We Do Not Part is both act of witness and a beautiful poetic object . . . It is a rare privilege to read a masterpiece so recently crafted, to know that the new prose you are reading (too fast!) will endure. We Do Not Part is an astonishing book

Han Kang offers a devastating indictment of her country’s past . . . The novel conjures a dreamlike feel amid its potent tales of suffering and cruelty, all leading to a final section that is simply stunning. Han pulls off a masterful meditation on what it’s like to be assaulted by an “endless spew of blood-soaked memories”. In that finale, I was stopped short by the grace of one dazzling page, with its cascade of memorable images. These include a description of mental collapse as hundreds of fuses in one’s head blowing one by one, and a woman sleeping all day in a hospice, who reminds Khungha of “a sea where the high tide lasts forever”. Han ends her magnificent novel on a beautifully beguiling note

With patience and acute insight, [Han Kang] explores both the breadth and brutality of human cruelty, and the profound capacity of our species for tenderness . . . We Do Not Part strikes a match in the darkness, insists on the strength of sisterhood, and makes us believe that even the smallest of lives, the pulse of a bird’s heart, should matter

Han’s work – itself a radical form of outreach and connection, an attempt to feel into the painful lives of strangers – is highly original and moving. Although she refuses to look away from human cruelty, it is her glimmers of hope that are most affecting . . . There is, perhaps, no novelist working today who seems so devoted to interrogating the epistemic problem of suffering

One of the greatest living writers . . . She is a voice for women, for truth and, above all, for the power of what literature can be

A courageous and gifted writer whose work has truly global resonance . . . [Han Kang’s] writing is nuanced, supple and precise

Bold and revelatory, disquieting and subversive, Han’s style is both spare and lyrical

A chilling reminder of the terrible invisibility of people and events that are removed from us in space and time

Exquisite. Han’s radiant intensity, her singular ability to find connections between body and soul, and to experiment with form and style, are what make her one of the world’s most important writers

Han Kang (Author)
Han Kang was born in 1970 in South Korea. In 1993 she made her literary debut as a poet and published her first short story in 1994. She won the Man Booker International Prize for The Vegetarian and was shortlisted for The White Book . In 2024, Han Kang was awarded the Nobel Prize in Literature ‘for her intense poetic prose that confronts historical traumas and exposes the fragility of human life’.

Among other major awards and prizes she is the winner of the Prix Medicis Etranger 2023 for the French edition of We Do Not Part . She taught in the department of creative writing at the Seoul Institute of the Arts for eleven years before leaving in 2018 to focus on writing. She is the fifth writer to contribute to the ongoing Future Library project in Oslo, Norway.

e. yaewon (Translator)
e. yaewon translates from and into Korean. Most recently, she translated Hwang Jungeun's dd's Umbrella and Maggie Nelson's The Argonauts and co-translated Han Kang's Greek Lessons and Samuel Beckett's Selected Shorter Plays .

Paige Aniyah Morris (Translator)
Paige Aniyah Morris divides her time between the United States and Korea. Recent translations include works by Pak Kyongni, Ji-min Lee, and Chang Kang-myoung.