Recently, the rise of literary communities on social media—particularly BookTok—has introduced a new generation of readers to a wide range of voices from around the world. One of the books that gained popularity in this digital wave is The Vegetarian by South Korean author Han Kang, yet, her work extends far beyond the trends of social media. Beneath the recent fame lies a body of literature marked by profound emotional depth, political courage, and a fearless examination of the human condition.
To engage with Han Kang’s writing is to step into a world where silence speaks volumes, pain lingers beneath the surface, and resistance is expressed through quiet, deliberate acts. Her body of work consistently explores themes of violence, memory, and the fragility of life. For her, writing serves as a deeply meaningful act of protest—a way of bearing witness to human suffering and confronting the forces that seek to silence it.
Born in Gwangju in 1970, Han Kang relocated with her family to Seoul just four months before the outbreak of the pro-democracy uprisings in May 1980—an event that would become a pivotal moment in South Korea’s modern history. This historical trauma, particularly the Gwangju Uprising and its aftermath, often permeates her fiction, either overtly or through haunting undertones, reflecting her commitment to unearthing painful truths and preserving collective memory through literature.
“Human Acts” AND “THE VEGETARIAN”
In her book Human Acts, Han Kang portrays the Gwangju Massacre, using historical fiction to explore the trauma and collective memory of those affected. Through this powerful narrative, she emphasizes the urgent need to listen to silenced voices. The novel recounts the violence endured by civilians on May 18 1980, shedding light on the brutal crimes committed by the government and the lasting impact these events have had on the survivors’ daily lives.
Han Kang’s courageous and deeply introspective prose has distinguished her as a powerful literary voice, while also drawing the ire of conservative administrations that blacklisted her work for its political resonance. One of her most internationally acclaimed novels, The Vegetarian, was even banned in certain school libraries for allegedly offering “harmful content for youth”. The story, which follows a woman who refuses to eat meat after experiencing a disturbing nightmare, becomes a haunting meditation on how far a person can reject violence without losing their own humanity.
Although her stories are rooted in South Korea’s historical and cultural context, Han Kang’s works resonate globally due to their critical tone and universal themes. She compels readers to examine the very structures of society, posing uncomfortable yet essential questions: Why must things be this way? Whose voices are deemed worthy of being heard? What does it truly mean to be human?
THE NOBEL PRIZE
Her writing is, more often than not, an act of questioning. And this literary interrogation is a key reason why her Nobel Prize is so significant—it recognizes the power of literature not only as art, but as a force for social and political reflection. Awarding this honor to a South Korean woman who writes about distinctly South Korean experiences—after decades in which the prize has largely centered on European perspectives—broadens the scope of global literature. It reaffirms the role of storytelling in challenging dominant narratives and reimagining how we see the world.
Her award, as a woman, amplifies the female voice in traditionally conservative spaces. As Euny Hong writes for The New York Times, “Even when literature is dominated by men, the strongest voices often come from the most oppressed.”
Given that only 18 women have ever been awarded the Nobel Prize in Literature, Han Kang’s victory underscores the vital importance of persevering to claim spaces that have historically been denied to women. Her recognition not only validates the contributions of women writers but also serves as a powerful reminder of the ongoing struggle for gender equality in the literary world.
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The article above was edited by Mariana do Patrocínio.
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