Series from the Hwasil, a Room of Flowers and Magic
By Julia Wargo, a second year ETA in Gumi, Gyeongsangbuk-do I Darker, lighter, darker. These are the only words I hear for hours at a time, and I repeat them over and over again to myself. There’s something deeply meditative about that repetition, and about ink wash painting. Ink: solid midnight, ground out of a stick and applied to white hanji paper. Washing: the process of purification. Together, painting purifies me from beginning to end. When I arrive in the studio, I grind the inkstick until my arm is sore, and I am regretting adding too much water to the mixture. Concentrating on making the most concentrated black, one that doesn’t lighten if I leave it out to dry. Then, when the ink is ready, a pool of darkness waiting to be dipped into, my teacher picks up a brush and paints an example. There are no words in this place but those he repeats: darker here and lighter there. Understand? There are no definites, only a maybe. It is turned by necessity into a hesitant, “Yes.” I try to imitate the painting, and in the end when I am done and holding the brush under the faucet, seeing streaks in the water, that unsaid maybe echoes in my mind. II Sometimes I catch myself thinking about more uncertainties. About how 화 (hwa) can mean painting (畵) and sometimes fire (火) and sometimes flower (花). Hwasil literally translates to painting studio, but sometimes I think of this place as a flower studio. There are papers with flowers on them plastered on the walls and on the floor, where I have to step gingerly to avoid them. The only free space is the ceiling, and if flower paintings were to appear there too, I wouldn’t be overly surprised. On rare occasions, other paintings materialize. Sometimes there are neat rows of Chinese characters, or a tiger or dragon. But for the most part, I am learning more words for flowers than I ever knew before in English. The first four types of painting I’ve learned are orchids, bamboo, chrysanthemums and plum blossoms. After you’ve learned them once, you should repeat them over and over, perfecting and adding more strokes, more additions, improving. It’s a progression perfected over centuries, and sometimes I can feel those years echoing deeply when I am attempting to paint. Legacies I can’t live up to, that don’t quite belong to me, but that require respect. I am drawn to other subjects too. The lotus, stretching high out of the pond. The trumpet vine, orange and reaching low, overhanging a wall. Persimmons, plump and ripe. Goldfish in the pond, with slight ripples around them fashioned from the barest hint of ink and water. The sheer variety is overwhelming. To focus on the strength of boulders? Or the delicacy of a vase? When I leave the room, flowers are blooming in my mind and fish swimming through the air around me. The world comes alive and electric to the touch. I carry the painting and the fire and the flower inside me. III Nothing can convince me that this place isn’t some sort of liminal space where anything can happen. It’s a place where there are multitudes of blossoms and multitudes of stories. Many of them spring straight from my teacher’s mind, and his sense of humor sometimes differs from my own. One day, I am painting a bird, and my teacher gestures for me to hold out my hand. When I look inside my palm, there is a detached bird’s leg. With feathers still attached. A mild sense of horror surfaces, which I try to suppress. He’s looking for a reaction and the chance to laugh at my squeamishness. Instead, I just say, “cool,” and chuckle. Is it just a model for drawing a bird? Or something else? The possibilities are endless. The next week, it’s alcohol made from bee larvae on offer, his amused smile just daring me to try it. I can’t quite bring myself to, the murky brown color reminding me a bit too much of river water. Next, his humor lands on frogs as its object of interest. The first image he paints is of two frogs, dancing. It’s left to me to question why. The next image he draws is the same, but a snake appears. I expect danger, not what follows. The snake pours a cup of alcohol for the frogs. And the frogs happily drink themselves into a daze under the gaze of the full moon, painted in a shade between blue and purple and clear water. I ask: why? Why are there frogs, why is there a snake, why is there alcohol, and how did you conjure this from nothing, from a blank page? I don’t get an answer, just a grin and yet another story to live on in my mind. IV There are frequent breaks when my teacher vanishes for indeterminate periods of time to smoke, and the studio suddenly feels more like an average room. Four walls, a roof, air that is too hot in the summer and cold enough to see your own breath in the winter. Sometimes the breaks take five minutes, sometimes I suspect he’s wandered off for a meal or a walk or to the mountain to look for wild ginseng. I am left looking at my brush and paper. This time, when he comes back to the hwasil, he motions for me to follow. We’re on the third floor, and he goes up the stairs. What is beyond this room? What is left but rooftop? Does the magic extend beyond the boundaries of the door and windows? It’s past sunset, and my eyes don’t adjust immediately. I stumble a bit over uneven floorboards. He points at the sky, towards the mountain, and I see a flashing light. Amidst the disorientation, I feel my first burst of certainty in a long while. The magic in the hwasil was carried here to this rooftop and to me by the thread of my teacher’s path upstairs. To this place where there is only darkness punctuated by
the acquisition of my senses
by Kiki Marlam, ETA ’20 the acquisition of my senses Over the hills’ shoulders, the honey orb dips in the Geumosan Reservoir, melting to brew an ambrosia tea. Inhale. Pedal. Breathing in the crisp breeze, biking through the crunchy flecked soil. Exhale; time and reason doze to oblivion But, the moment stumbles and wanes… tripped up by the toasty scent of bungeoppangs wafting in the air, awakening my appetite. A coyly industrious ajhumma aproned in red stokes the piscean breads in the corner stall ahead. She understands the commercial topography well. Nestled near the bus stop, here a takeover of my moment is afoot. The hungry scent charges forth and my golden serene now forfeits. Time stirs, and with my reason reformed, I descend off the bike path, submitting to the acquisition of my senses. [Featured Photo by William Landers]
The Dragon Head
by Julia Zorc, ETA ’20 Along the Mugunghwa train line between Mokpo and Busan is a station with no name. When I have dinner with the Lim family, it is Tae Hee, my closest confidant among them, who tells me about it. I ask her for a more exact location on the line, but she doesn’t know. Her smile crinkles her face and she seems somewhere between a mother and a mischievous child. “It’s like a little legend. Maybe not true. But friends say they saw it.” She refills my glass and then calls out to her daughter, asking her to go to the corner store for some ice cream. There’s something I find romantic about this train station, but I attribute the mystery to a sort of clerical error that happens frequently here, like when a new address is put on a collapsed house. Tae Hee doesn’t have to mention it again. She knows the seed has already been planted. She knows that I like these kinds of out-of-the-way places, where few other foreigners have bothered to go. Places of quiet adventure and solitude. ********** I watch the landscape outside the train window. Mountains, high-rises and rice fields drift by. This season’s rice crop—not yet planted when I arrived in this country—is now ready for the harvest. Two hours of vigilance has made me drowsy, but I finally see my destination. The train stops at a small, square building; the yellow sideboards are faded and peeling. A discolored rectangle on the wall acts as the ghost of a signboard. I stand suddenly, afraid to lose my chance, and throw myself off the train as the door shuts. I am the only one on the platform, and when I look back at the train as it pulls away, I see concerned and confused faces looking back at me. I imagine that some of them think I accidentally wandered onto a plane, ended up in Korea and have been lost ever since. I walk purposefully into the station building to fool us all. The ticket window is shuttered, and the room is empty save for some benches and a banner reading “COVID-19 regulations: please stand two meters apart” in Korean. On the walls are old photos of railway workers, blurred by years of sunlight. I wonder if there is anyone left who remembers them. Outside of the station is a village that is nothing more than a handful of traditional homes in various states of decay. Beside them are rusty motorbikes and the occasional truck with a bed full of odds and ends. I see an elderly woman bent nearly in half, feebly pulling a wheelbarrow of vegetables behind her. I am suddenly self-conscious in the knowledge that I don’t belong here. But I have to see this through. I want to explore this place after taking all the trouble to get here. So I pass by the houses, their closed gates shuttering me in. A cat runs past, mewling, with sores all over its body. Blankets on clotheslines flutter in the breeze. On the edge of the village lie the remains of a small theme park. Child-sized rides sit buried in tall grass, more rust than paint. There is a merry-go-round of tiny rabbits instead of horses and a ferris wheel with seats that dangle from brittle chains. The most imposing one looks like a pirate ship ride—universal at any fair or carnival worth its salt—but the head of this ship is a great dragon. The red paint is peeled back, exposing the rotting wood beneath. I take a picture of it, and am taken aback. This beast is not dead. In fact, I can see it breathing and hear its ribbed body creaking. Its grimacing face seems to twitch. I hold my breath and close my eyes. When I open them, the movement has stopped, and I’m able to pretend that I imagined it. A voice calls out to me from a pavilion a little ways away, where two women are sitting and eating lunch. One woman is small, elderly, dark and wrinkled. The other is like a doll: tall, elegant and made-up to perfection. “Aigoo, a foreigner,” the old woman says in Korean. “Where are you from?” “America.” “What are you doing here?” “I’m just…walking.” I do not know the right English words to describe what I’m doing, let alone the Korean ones. “Walking? Cham! Take a rest. Please eat with us.” Her dialect is difficult to understand, but the kimbap in her outstretched hand says enough. I take it with a bow, remove my shoes and sit beside them. I want to ask about the dragon ride, but the younger woman is quick to speak. “You are bored here?” she says in English. “Not at all.” “Foreigners not come in here. Seoul is more interesting place. I live there.” “Stop using English,” the older woman interjects in Korean. “I can’t understand you!” “This is grandmother,” the young woman says, stubbornly sticking to English. “She live here.” “We can speak Korean,” I say with my faltering, pitiful accent. The grandmother doesn’t seem to understand me and her granddaughter continues on in English, undeterred. “I want to see L.A. and Vegas. You know? You go there?” I tell her that I’ve been to Vegas and wasn’t that impressed. “Really?” she says, her hand shooting up to hover over the little “o” of her mouth. It’s a perfectly choreographed gesture of surprise. Her grandmother is muttering beside us. I cannot understand what she is saying, but feel like I must address her. “Halmeoni,” I say, “how long have you lived here?” I notice that her granddaughter takes out her phone, and begins taking selcas with the serene, mountain landscape behind her. The old woman understands me this time and brightens considerably. She launches into her family history, snatches of which I am able to understand. I gather that she had ancestors who were of great importance in this town and