CERTAIN STORIES have the power to awaken yet-to-be-discovered dimensions that lie within their readers. Children’s books often belong in such a category, as they can enrapture children into worlds beyond conceivable fantasies and continuously kindle kindness within their souls. In an interview with The Yonsei Annals, Lee Seung-eun (Adjunct Prof., University College of Yonsei), scholar and children’s book author, provided fruitful insights behind her work’s philosophy as well as her sources of inspiration. 

Annals: What made you become a children’s book author? 

Lee: Truth be told, it was a mere coincidence. I would define my identity first as a scholar and then as a children’s book author. I got my PhD in Literature with a specialization in Poetry from Yonsei University. Upon graduating, I received teaching job offers from Yonsei, as well as opportunities to pursue my research interests. 

   Nevertheless, an event that left a deep trauma in me, and I believe led me to also become a children’s book author, was the Sinking of MV Sewol in 2014[1]. At the time, I was conducting research for a paper I would publish soon. However, upon receiving news of the tragedy, I felt deep frustration that my current work as a scholar would not contribute to the prescient situation. Given that my readers would mostly be from a niche group of academics, I soon realized that any efforts in writing a paper would be futile. From that moment, I had a deep desire to write something that could cater to what needed society’s most attention—the Sewol tragedy.

   During a conversation about the Sewol tragedy, my friend suggested that we should unite her talent as an illustrator and mine as a writer to publish a children’s book that would alleviate the current social anguish. During that time, I had recently gone back to work at Yonsei University after taking a leave of absence to take care of my newborn baby. Juggling between life as a new mother, researching for my paper, and teaching classes became extremely challenging for me. Not to mention that the Sewol tragedy caused tremendous indignance within me. I agreed to my friend’s proposal, and we opened Dong-hwa Studio, a place in which, for nearly five years, we have been producing children’s books. 

Annals: What are some unique aspects of working as a children’s book author? That is, how is it different from other forms of writing?

Lee: Given my experience as a scholar, I would say that both types of writing heavily rely on extensive reading, keen awareness and observation of moments, feelings, and thoughts throughout my life and logic.

   Nonetheless, the research paper is different in that the process of writing is more methodical and usually more energy-consuming. I must deliver a paper within a given deadline, of which the research part constitutes at least a year. I also must consider whether my idea is relevant and unique to the academic community. Additionally, I always need tangible proof for whatever I am arguing.

   When writing a children’s book, the ideas often come randomly. For my first book series, I got the idea one afternoon, sitting on my desk with pen and paper in front of me. The story just trickled down, as if I was struck by a special lightning of ideas. I sent this draft to my friend, and we began to work. 

Annals: What are your sources of inspiration for your books? 

   Lee: The third book of my series, Jujube Town, is an allegory for the victims of the Sewol tragedy. I subtly included symbolisms of the tragedy, for instance, Jube, the dinosaur, wears a yellow scarf around his neck; the color yellow was also utilized in ribbons hung at memorial sites for the victims of the Sewol tragedy. It is not, however, explicitly stated as an allegory, for I did not want to limit the essence of the book to a mere timely reaction, much less as any sort of political commentary. Rather, I wanted the book to serve as a consolation for the souls of the teenagers we lost in the tragedy. I envisioned a story that could resonate with everyone, and through this, for the Sewol tragedy and its victims to resonate in our consciousness across barriers of time and space. 

   A scene from the film The Dead Poet’s Society emphasizes the irony of one’s pain in relation to the world’s stubborn, unyielding beauty. I wanted to portray such duplicity in the fourth book of my series Jujube Town. In the film, the protagonist, upon learning about his friend’s suicide, runs towards him. The protagonist is in deep affliction on his way to see what is now the remnants of his friend’s body. However, the path toward his dead friend is a beautiful landscape, covered in white snow, as he cries in awe and agony “It’s so beautiful!” Similarly, in the fourth book, the girl cries upon the death of her dinosaur friend, Jube. However, she is in deep affliction, she finds herself in both deep affliction and marvel whilst running in a meadow blossoming with vibrant flowers. 

   If I were to talk about the philosophy behind some of my works, raising my daughter awakened the inner child inside me. I recalled how I was often underestimated by my parents, and I would often “lower” my intelligence to match their expectations of how a child should behave. Similarly, an excerpt from the book Stumbling Towards Justice by Lee Hoinacki argues how parents often over-infantilize their children, and that they should rather treat their children as little adults. As such, in my books, I try to cover topics that are deemed from the “adult world” not apt for children. But rather, I view them as events from the real world. Of course, the direction and intensity with which I cover them are for children. But I try to not shy away from these topics and not limit my topics to a pink and perfect world. 

Annals: What skills does one need to be a children’s book author? 

Lee: I am passionate about respecting my own happiness. I realized that the main way of doing so is to be engaged with events and controversies that affect our society and the world. One cannot do the things that make him or her happy in peace while the world is in ruins. That is why, I try to have a vision that contributes to the world and society in all my works. 

   That is to say, the main skill that I believe all children’s book authors—or any author for that matter—should have is the ability to use worldly affairs as inspiration to envision a better world that is manifested through writing.   

Annals: When was your proudest moment of working as a children’s book author?  

Lee: It makes me extremely content, whenever I hear about children using my books for a reading activity. If I had to mention a specific event, it would be when a teenage boy cried upon reading the third book of my series, the one which I wrote as an allegory to the victims of the Sewol tragedy. 

Annals: What effect do you intend your children’s book to have on readers?  

Lee: In oriental philosophy, there exists a division between those that believe humans are innately evil, Song-ak-seol, or kind, Song-seon-seol. I do not know the truth about this, as I often balance between both. 

   What I do know, however, is that whenever I read a good story, a yet unknown part of myself, more specifically, a kind part of my soul is kindled. That is the one thing I want for my books as well—to awaken soul-deep kindness in people. 

Annals: How do you think the children’s book industry will change in the future?  

Lee: In the publishing industry there is a term called blue or red ocean. It is used to determine whether the industry’s prospects are favorable or dying. Currently, the children’s book industry is in the red ocean because of low fertility rates, and Korea’s rigid education system that prevents children from engaging in creative content.  

   Nevertheless, this is speaking quantitatively. Qualitatively I believe that the industry will flourish. Especially when referring to illustrated children’s books, there are several highly talented artists who aspire to become children’s book authors. 

   My studio receives several entries from them. However, we often find that one’s talents in drawing are not reflected in his or her writing. While one could do what I do—one person writes and the other illustrates—I often find that books in which a single author does both are able to convey a clearer and deeper and better-quality message. Authors such as Lee Su-ji and Ru-ri are examples of talented authors in both drawing and writing. I firmly believe that there is much talent out there. And sooner or later, the next Lee Su-ji will appear. 

[1] Sinking of MV Sewol: On April 16, 2014, a ferry departing from Incheon en route to Jeju sank; The sinking resulted in numerous casualties and out of the 476 passengers, 306 died; Among them, around 250 were students from Danwon High School.