VOL.74/2024.09

 

Publishing Group Sangsang

Creating synergies that push the boundaries of publishing with imagination

 

2024.09.02

 

Imagination has always had more power than we expected. And when it comes to creating works, imagination is an essential element. Publishing Group Sangsang laid the foundation for publishing right here. With a strong presence in the field of poetry for children, Sangsang has also been prominent in a variety of other genres, including poetry, fiction, and humanities, and is striving to create new genres. The expansion of genres at Sangsang, which began by establishing children’s poetry as a genre that can be read by adults as well as children, is also broadening the horizons of the Korean publishing market as a whole.

 

 

It’s a pleasure to have you with us on K-Book Trends. Please introduce Publishing Group Sangsang to our international readers along with the meaning of the company’s name.

 

Hello, everyone. I’m Kim Jae-Moon, CEO of Publishing Group Sangsang. Since we first opened in May 2010, we have published works of writers that have left big footprints in the history of Korean literature, such as poet Ahn Do-Hyun, poet Choi Seung-Ho, and writer Lee Man-Gyo. The name “Sangsang” came from our aim to make books that unlimitedly exhibit the power of “imagination (sangsang in Korean).” We strive to create books that open up a wide range of areas for imagination and creativity. We publish poetry, children’s poetry, fiction, and humanities books in areas like film, art, and history.

 

Publishing group Sangsang has been publishing in the fields of literature, art, history, and humanities until 2020, when it expanded into the field of children’s poetry. How did you decide to focus on the field of children’s poetry, and what do you hope to achieve with it?

 

We thought that children’s poetry was the future of children. As poems naturally reflect the spirit and culture of their country, we believe that children’s poetry also has the power to enrich our children’s future. In particular, we thought that children’s poetry collections published in paper books were necessary because they make children think about the meaning of the lines and create a space for imagination. So, we have been making a lot of efforts to focus on the field and to find good writers. We believe that if we can find good writers and continue to publish good children’s poetry collections, it will be very helpful for children’s growth. Children who read the collections closely will grow up to be adults with imaginative and creative thoughts and warm hearts. We believe that if they grow up to be good adults, their positive influence will surely spread throughout our society. We are confident that quality children’s poetry collections will make our society healthier and brighter.

 

You said that children’s poetry “gives dreams to children and finds back the mind of a child to adults.” What is the role of children’s poetry that Publishing Group Sangsang pursues, and what do you think is its charm?

 

No one becomes an adult without having been a child, which means that every adult has a child’s mind at heart. But, in today’s fast-paced society, such a mind can easily get lost, and adults who have lost that mind have a hard time communicating with children. Children may look at such adults and think, “I can’t talk to adults!” Or they may look at pessimistic adults and think their future is bleak.
But, children’s poetry can be fuel for the imagination of children, and a means for adults to regain the mind of a child that has long since been lost. By reading children’s poetry, children will discover the power of imagination and see how it can be made concrete in language. In other words, they will develop the ability to command the power of words. Adults with hardened ideas will be able to have the flexibility to communicate with children on the same level through the astonishing imagination of children’s poetry. This is why children’s poetry is a genre that can be read by both children and adults, breaking down barriers to communication between the two. That’s what we think is most appealing about children’s poetry: it fosters children’s imagination and allows adults to communicate with them.

 

 

Children’s poetry collections encourage children
to think about the meaning of lines and create a space for imagination.

 

 

It’s true that children’s poetry represents a small part of Korean literature. What are some of the specific efforts and projects you are working on to establish children’s poetry as a literary genre?

 

For sure, children’s poetry is a narrow field compared to children’s stories. Korean children’s stories win international awards and sell more copies than children’s poetry, which means that many people are reading them. However, it seems that it is not yet considered a mainstream form of children’s literature. It appears that children’s poetry is still perceived as a simple text only for children to read.
In order to establish children’s poetry as a literary genre, we felt that it was necessary to break down the old perception of children’s poetry. We thought it was important to make readers realize that it is not just a simple, cheerful genre that only kids read, but that it is a genre that both children and adults can read and enjoy together. We are making various efforts in this regard, such as uploading interviews with authors and holding talks. A representative example of this is the selection and compilation of “The Best Children’s Poems.”

 

You have been running the “The Best Children’s Poem” project for 3 years now. What are the selection criteria, and what is the meaning and value of the project?

 

The Best Children’s Poem reviews new poetry published in Korea over the course of the year, ultimately selecting around 60 pieces to be included in the collection. Five selection board members distribute magazines, read them thoroughly, and select 20 to 30 poems each, which are then shared and voted on over several rounds of meetings to arrive at the final selection. In 2023, there were a number of children’s poetry pieces that did a great job of capturing the complexity of thought, and showed new and unique forms of expression that had not been seen before. We think that such works are part of “good children’s poems” in the sense that they are opening up new areas of children’s poetry.
If we compile the best of the poems published during the year into a collection, readers are able to see the unique styles of the poets at a glance. We also thought that it would be a good map to highlight the changing trends of children’s poetry on a year-by-year basis. Not only would it be a good resource to summarize the history of children’s poetry, but it would also serve as a foundation to show the direction that children’s poetry in Korea should go in the future. It would also be a chance to break the idea that children’s poetry is a simple and easy genre only for children.

 

 

Among the poems selected as the “The Best Children’s Poem,” are there pieces that you would like to introduce to international readers in particular?

 

Since it is a compilation of the best of the best poems published throughout the year, we think that any of the works presented in The Best Children’s Poem are worthy of introduction. Among them, we would like to highlight Alien’s Nose by Kwon Young-Sang (The Best Children’s Poem 2023), Kkotmari Kkotmali by Lee Ahn (The Best Children’s Poem 2022), and Because I Spin by Yoo Kang-Hee (The Best Children’s Poem 2023).
Alien’s Nose starts with the fun idea of an alien whose “nose” crash-landed on a face. Korean idioms using the word “nose (코)” such as “high-nosed (콧대가 높다),” “snort (코웃음을 친다),” “sniff (콧방귀를 뀌다),” “hum (콧노래를 부르다),” “tip of the nose is sour (코끝이 시큰거려),” and “nose is turning yellow (코가 노래진다)” fuel the whimsical imagination. This poem is written from the point of view of children, who may find some of the idioms unfamiliar. The subjects are funny, and international readers who are unfamiliar with Korean will be able to easily understand the children’s point of view of unfamiliarity and wonder.
Kkotmari Kkotmali is a poem about “kkotmari (trigonotis),” a very common plant in Korea that is so small that you wouldn’t even know it was there if you weren’t looking closely. The piece epitomizes the charm of Korean children’s poetry, from the language play with the similar pronunciation of “kkotmari” and “kkotmali” (meaning ‘flower’s name’ in Korean) to the delicacy with which it conveys beauty in sensory language that is easy to overlook.
Because I Spin is a compelling piece that features the child narrator’s confident attitude - it is not that “I spin/because the Earth rotates,” but that “the Earth rotates/because I spin.” It’s also interesting how a “top,” which is naturally associated with the word “spin,” is unexpectedly introduced as the subject of the poem, making it easy for children to relate to it. The imaginative use of the verb “spin” to connect “earth,” “top,” and “me” also stands out. The innocence of a child who sees the world through his unique perspective and the ideas that flow naturally with Korean vocabulary make this a captivating piece.

 

It seems that children’s poetry often reflects the sentiments of the country. What do you think are the characteristics and appeal of Korean children’s poetry, and what would you like international readers to pay attention to when reading it?

 

Some of the most prominent characteristics of Korean children’s poetry are the connection to nature, topics closely related to everyday life, family and friendship, and language play. Nature, which has been dealt with since ancient Korean literature, has been consistently used as a theme in recent children’s poetry. The difference is that instead of unconditionally praising nature, those who interpret and describe nature from a new perspective have emerged in response to recent discourses such as animal rights and environmental crises. This is a good point to examine how Korea’s unique nature-oriented sentiment is being transformed to fit modern society’s perspective.
There are many other poems that deal with objects that are deeply integrated into children’s lives, such as smartphones, slime toys, and kick scooters, as well as daily places such as schools and classrooms, stationery shops, and oiljang (a market that opens every 5 days) in apartment complexes, that fall under the category of “daily children’s poems.” If you follow the views and sentiments that describe these objects, you will be able to see what really is “Korean.”
Language play is also not to be left out. Children’s poems that use language play, such as word play and letter play using the shapes of the Korean alphabet, are already a part of Korea’s contemporary children’s poetry. They are fun in their own way, but more importantly, they are expressions that use Korean and Hangeul (Korean alphabet). Through word play and letter play, children can improve their understanding and ability to use Korean and Hangeul. It will be a very good textbook for both Koreans and foreigners to learn and use Korean.

 

 

We will continue to do our best to publish
good children’s poetry collections for both children and adults.

 

 

You have been steadily running programs to interact with readers, such as events like poem recitals, interviews with poets, and new book celebration events. How do you think that these efforts are paying off?

 

We have been recruiting book review groups to post book reviews, or interviewing poets and posting them on Social Media. We are also organizing new book celebration events and poem recitals whenever we can. These events are designed to promote new books, but the main purpose is to lower the psychological barrier to children’s poetry.
As mentioned earlier, children’s poetry is often thought of as a genre that only children read. However, when we share book reviews from general readers, it is easier for the public to realize that children’s poetry is a genre that can be enjoyed by both children and adults. Interviews with poets can be a great way to nudge people in the direction of approaching their works, thus becoming a great opportunity for readers who aren’t usually used to reading poetry to try it out. Likewise, poetry recitals and new book celebration events will help readers navigate their way through the poems with a new perspective.
We once set up a lecture program called “Sangsang Children’s Poem Class,” featuring outstanding poets of children’s poetry. It was a 10-week program with lectures on various philosophies, theories, and creative theories about children’s poetry, and it was very successful, with lots of readers and poets participating. As soon as we get the chance, we plan to hold a “2nd Sangsang Children’s Poem Class,” which will also help change the perception of children’s poetry and lower the entry barrier to it.

 

Could you recommend some books from the general category of Publishing Group Sangsang that you would particularly like to introduce to international readers?

 

We would like to introduce poet Ahn Do-Hyeon’s The Series of Korean Tales to Read with Ahn Do-Hyeon, poet Moon Sung-Hae’s A Day to Eat Noodles, and author Lee Man-Kyo’s A Story of a Story of a Story to international readers. The Series of Korean Tales to Read with Ahn Do-Hyeon is a series of five books: The Child Who Took a Fish Poop; The Cat’s Revenge; The King Riding a Sled; Ahn Yong-Bok Who Protected Ulleungdo; The Daddy Who Became a Whale. Poet Ahn Do-Hyeon chose tales from the East Sea region that he would like to tell children today, with modern interpretations. With the poet’s excellent use of language, the stories are modernized in a sophisticated and sensuous fashion, making the traditional Korean sentiments contained in the tales easy to understand and accept for today’s children. This series will be especially interesting for children abroad who may be unfamiliar with Korean traditional culture and stories.

 

 

Meanwhile, A Day to Eat Noodles by poet Moon Sung-Hae is a picture book that literally depicts the day of boiling noodles from a child’s perspective. It features a variety of onomatopoeia and mimetic words to describe the process of making noodles. The best part is that children abroad can easily understand Korean onomatopoeia and mimetic words through the illustrations. The illustrations were done by Korean traditional art painter Yoon Dae-Ra, whose colorful and imaginative Korean paintings enhance the charm of the written text. The illustrations of daily moments, such as boiling noodles, will show international readers the unique charm of Korean picture books.
Lastly, we have A Story of a Story of a Story by Lee Man-Kyo. The story is centered around the profession of “jeonkisu” (professional storytellers that would read novels to crowds of people) back in the late Joseon Dynasty. The process of how stories are created and spread among people is depicted in detail. It is a must-read book for young people in the modern world, where misinformation spreads so easily and quickly, as the cultural elements unique to Korea are well captured along with how stories are spread.

 

 

What books do you recommend in the field of children’s poetry?

 

Among the children’s poetry collections, we would like to recommend I Don’t Know Who I Am by poet Ahn Do-Hyeon, Picasso Fish by poet Choi Seung-Ho, and The Cat’s Photo Studio by poet Song Chang-Ho.
I Don’t Know Who I Am is a collection of poems by Ahn Do-Hyeon, who has had many books translated overseas, and is beloved by readers. It is an exceptional children’s poetry collection with the poet’s characteristic lyrical and nature-friendly tone, as well as sensuous expressions and unconventional formats. It’s a collection that feels like it exists somewhere in between general poetry and children’s poetry – it‘s characterized by its easy-to-read, sensuous language that gives children pleasure and adults a poetic impression. The best part is that it can be enjoyed by adults and children alike.
Picasso Fish is an extraordinary collection of children’s poems that makes use of a variety of colors; as poet Choi Seung-Ho said, “I wrote it with the heart of gifting colors to children.” The poems are full of wit and wisdom, and the illustrations by Hong Sung-Ji, who employs a variety of materials and techniques to bring out rich textures and colors, are combined to create a Picasso-like collection of children’s poems. It is a unique children’s poetry collection that will help children develop a delicate sense of discovering colors in places that are easily overlooked.
Meanwhile, The Cat’s Photo Studio by Song Chang-Ho is a fascinating collection that moves freely between reality and fantasy. Many of the children’s poems give new names to natural objects and expand their meanings, or discover new aspects of everyday objects. Some create fantastical worlds out of ordinary places, using vivid imagination. This children’s poetry collection touches our hearts with Song’s warm mindset, as he tries to pay attention to and take notice of everything.

 

 

You have been making progressive and challenging steps towards specializing in the field of children’s poetry. Please tell us about the direction Publishing Group Sangsang is trying to take, your future goals, and plans for new books.

 

For now, our goal is to continue to publish children’s poetry collections. We will also keep compiling The Best Children’s Poem series. At the same time, we plan to publish books in other genres as well, as it’s hard to sustain a publishing house by publishing only children’s poetry collections.
Aiming for books that everyone can enjoy, we are working on travel essays and web fiction books. We are almost in the final stages, so you should be able to see them soon. We are also working on a fiction anthology. We are preparing it for publication as soon as the manuscript is finalized, and we hope to make it a series. In addition to the anthology, we also plan to publish a short story collection. Looking ahead, we plan to challenge ourselves with novels and essays.
It seems that our efforts for children’s poetry are paying off, as manuscripts for children’s poetry collections continue to be submitted. We are very grateful for the interest of many writers. Readers have also been sharing good responses on Social Media. We will continue to work hard to publish a good children’s poetry collection series that can be read by children and adults alike. We ask for your continued interest and support.

 

 

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