THE YOUNG WILL REMEMBER, the Korean War should never, ever be "forgotten"

THE YOUNG WILL REMEMBER
EVE J. CHUNG
Berkley Books (non-affiliate Bookshop.org link)
$14.99 ebook, available now

Rating: 3.5* of five

The Publisher Says: A sweeping novel about a correspondent trapped behind enemy lines during the Korean War, and the women who help her find her way home, from the national bestselling author of Daughters of Shandong.

“When I found the courage to lift my head, I expected to stare down the barrel of a gun, but instead there was a woman in front of me, the back of her white skirt embroidered with columns of yellow chrysanthemums.”

1950. It’s the coldest winter in decades, and twenty-eight-year-old Chinese American journalist Ellie Chang is on a military flight to cover a battle in the mountains of North Korea when her plane is shot down.

As she emerges from the fallen aircraft onto an icy field surrounded by the enemy, Ellie is sure it’s the end, certain she’ll never make it home to her parents…until a woman pushes her way through the crowd and claims Ellie as the lost daughter that she’s been searching for since the last war ended. Never mind that Ellie doesn’t speak a word of Korean.

Ellie is taken in by her rescuer—a woman who calls herself “Emma”—and the Paks, a pastor’s family. She knows she can’t stay and yet there’s no way she’ll survive on her own.

As the war intensifies, the sky alighting with bombs overhead, Ellie convinces Emma and the Paks to travel south towards an elusive promise of safety, and where Ellie insists they are more likely to find Emma’s real daughter, stuck on the other side of the frontlines.

Emma’s decision to claim Ellie, and Ellie’s choice to take her hand will connect their lives forever.

Moving and triumphant, The Young Will Remember sheds light on a “Forgotten War,” the resilience of love within our darkest histories, and the indefatigable determination of mothers to protect their children.

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My Review: Stories with this kind of stakes, "everything changes because one moment to the next a decision is made," always appeal to me. So do stories about Korea, probably because it was my father's wartime experience. This story, then, started out with literally every advantage granted to it.

Why then is my rating so mingy?

Because the author is very, very clear on the story she wants to tell, but rather less so on the craft of storytelling. The dialogue, the scene-setting, the stakes she clearly thought through carefully, all work together. They don't cohere emotionally to punch me in the gut as I weep for the fate awaiting Emma and the Paks if they are not able to use Eleanor's Americanness to leverage an escape.

Here is my opportunity to say that Eleanor's CHINESE-Americanness rubbed a serious saddle-sore on me. Emma claiming this CHINESE-American woman as her long-lost daughter...well, no one in Korea would fall for that for a single second. Han people, assuming that's who Ellie's ancestors were which is by no means guaranteed, are visually quite distinct from the Korean people; it's very "Western" to assume there's no difference, or such a small difference as to be indistinguishable to natives of the region.

So...the story's foundation was my problem, not the story itself. The awful intersection of colonialism and its bastard child warmongering was the source of the story's impetus. As Ellie and Emma navigate their intersecting desires to leave the place they are, escaping the suite of violent terrors that war orchestrates for those who are not allowed control of their world (read: old men), they illuminate the compromises and suffering the old men in charge inflict so indifferently on the world's mass of humanity. In service of what? Does any ideology, any philosophy, justify the titanic life-altering suffering of vast numbers of people? Ellie, a war correspondent, is well placed to use the scalpel of reporting to cut away the rottenness of propaganda to expose the real wounds caused to real people. Emma's loss of her daughter to the Japanese colonialists, probably as a "comfort woman" or, more accurately, a sex slave has wounded her entire family. The author, a lawyer by trade, has clearly read Frantz Fanon ("The formula 'this all happened long ago' is substituted by that of 'we are going to speak of what happened somewhere else, but it might well have happened here today and it might happen tomorrow') or encountered his ideas of the artist as moral actor because this story is very much the argument for despair, and its fellow traveler inactivity, as a moral wrong.

Ellie spends part of the story in survival mode, not doing anything to actively improve her chances for escape. In this time of joining the woman who "claimed" her as a daughter, she is gathering her circle of women who share a goal of ending the harms being done; it's assembling a posse, not only sinking into a morass of misery. Going back to my foundational problem, would Emma's actual daughter need the kind of help and instruction Ellie receives all uncommented on?

It all ends up making this a three-and-a-half star read. I found the prose adequate, if unexciting; quite mannered at times thus unlikely to move me to empathetic tears. The story being told moved me to outrage and its hotter, briefer tears. Ellie...and Emma...are supremely tough women. Reading about their struggles was angering, educational, and instructive. I did not come away converted to Eve Chung fandom though I'll read another story by her. I respect her eye for what makes a good story and hope she will enter into the next one all guns blazing.

HONEY IN THE WOUND, Korean magical realist family saga

HONEY IN THE WOUND
JIYOUNG HAN
Avid Reader Press (non-affiliate Bookshop.org link)
$14.99 ebook, preorder now for delivery 7 April 2026

Rating: 4.5* of five

The Publisher Says: A lyrical and suspenseful debut novel about a mysteriously gifted Korean family confronting the brutality of the Japanese empire, Honey in the Wound is an epic tale of survival and the reclamation of power.

A sister disappears and returns as a tiger. A mother’s voice compels the truth from any tongue. A granddaughter divines secrets in others’ dreams. These women are all of one lineage—a Korean family split across decades and borders by Japanese imperialism.

At this saga’s heart is Young-Ja, a girl who infuses food with her emotions. She revels in her gift for cooking, nourishing the people she loves with her cheerfulness. But her sunny childhood comes to an end in 1931 when Japanese soldiers crush her family’s defiance against the Empire. Young-Ja is cast adrift, her food turning increasingly bitter with grief. When a Korean rebel fighter notices her talents, however, she is whisked off to Manchuria to join a secretive sisterhood of beautiful teahouse spies. There, Young-Ja finds a new sense of belonging and starts using her abilities for the resistance. But the Imperial Army is not yet finished with her…

Decades later, Young-Ja lives alone in Seoul, withdrawn from the world until her Tokyo-born granddaughter Rinako bursts into her life with the ability to see into dreams. In cultivating a tentative bond, they confront the long-buried past in a stunning emotional climax.

As an unforgettable family perseveres in the long shadow of colonialism, Honey in the Wound transports readers to mountain forests where tiger-girls stalk, to Manchurian teahouses and opium dens where charming smiles veil secrets, and to the modern metropolises of Tokyo and Seoul where restless ghosts stir. This debut novel is a tender yet powerful multi-generational drama that shines light onto the twentieth century’s darkest corners and gives voice to those who bore witness.

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My Review: Brutality is colonialism's sole common legacy across all colonial regimes. Korea's half-century as part of Japan's empire was certainly no exception. Many are the stories of families ravaged by slavery, by economic disadvantages imposed to benefit the colonizers, by the horrors of the comfort women's suffering. It's not unique to Japan's imperial project...go look at Briseis' life after the fall of Troy, and I promise you she was nowhere near the first to suffer this fate...but its systematic, intentional social sanction somehow makes it a vile twentieth-century model of efficiency in evildoing.

So much of modern US culture is Korean inflected. I've reviewed a fair few Korean translations, Korean-themed stories written by members of its diaspora, stories set in Korea, all sorts really, because the culture of the place is ancient, rich, and deeply rooted as it smoothly takes on the modernity of this century as an economic, therefore cultural, powerhouse. As I gain more and more experience with the stories Koreans send into the Anglophone readership, I see one very, very frequent strand appearing: the Japanese occupation, usually framed in apocalyptic, folkloric ways to distance the reader from the brutal reality and to restore some agency, some meaning, to the country's suffering.

No exception this time. Starting in 1902 when Korea was an independent monarchy, the family we come to know and invest caring into is gradually Japanesed in personal names (pay careful attention, context will tell you if someone is being addressed or referred to as a Korean or as a Japanese imperial subject) and place names. It's like the British stealing India and naming "Mumbai" as "Bombay." (There are so many examples from all over the colonized world, that example is just the one I felt Anglophones would relate to most easily.)

The first 40% of the story is the slowest, with the highest concentration of double names. It's a debut novel. The fact is this is exactly reflective of the reality Author Han relates to us as we start our journey in 1902. Put in some effort and it will all begin to feel second nature to you quite quickly. The delight of a writer whose planning makes your reading more fluent with her intentional shifts in register is one who gets my highest regard. Time changes within few pages of each other are all quietly indicated with characters giving us clues, not with bold chapter or section headings that bring your readerly attention to the shifts themselves not the flow of the story.

This might not sound like it will suit you. I recommend reading a sample after publication day on the 7th. It feels more fluid than I'm making it sound. For example, you'll notice as you read through the book that there is a lot of use of, and description using, the color yellow. It would behoove you to go look into musok, the people's religion of Korea, and its use of colors. Like the shifts of names this is an enriching detail that clues the reader in to the larger thematic purpose of a passage, or a name, or an evocative word.

It made this read one I really looked forward to getting into, immersing myself into again and again. And a good thing indeed these moments were there because the horrific cost to the people of the colonial occupation, then the war, demanded much fortitude of me-the-reader to stay invested in people enduring so much. I had reservoirs of interested, sympathetic caring to draw down as horrors mounted up.

I will say I wish there had been a map in the book. I'm not sure where some place names were, whether they were really elsewhere or were Korean places I had read about renamed. Its lack was not fatal to my pleasure; but I felt it nonetheless.

A story I urge on readers and enjoyers of Pachinko and Whale. A story with depths deeper than its modest 320pp page count implies. An author who is a fine discovery in her debut novel.

SAME BED DIFFERENT DREAMS, just-barely-too-long alt-Korea novel

SAME BED DIFFERENT DREAMS
ED PARK
Random House (non-affiliate Bookshop.org link)
$5.99 ebook, available now

Rating: 4* of five

The Publisher Says: A wild, sweeping novel that imagines an alternate secret history of Korea and the traces it leaves on the present—loaded with assassins and mad poets, RPGs and slasher films, K-pop bands and the perils of social media.

In 1919, far-flung Korean patriots establish the Korean Provisional Government to protest the Japanese occupation of their country. This government-in-exile proves mostly symbolic, though, and after Japan’s defeat in World War II, the KPG dissolves and civil war erupts, resulting in the North-South split that remains today.

But what if the KPG still existed now, today—working toward a unified Korea, secretly harnessing the might of a giant tech company to further its aims? That’s the outrageous premise of Same Bed Different Dreams, which weaves together three distinct narrative voices and an archive of mysterious images and twists reality like a kaleidoscope, spinning Korean history, American pop culture, and our tech-fraught lives into an extraordinary and unforgettable novel.

Early on we meet Soon Sheen, who works at the sprawling international technology company GLOAT, and comes into possession of an unfinished book authored by the KPG. The manuscript is a mysterious, revisionist history, tying famous names and obscure bit players to the KPG’s grand project. This strange manuscript links together figures from architect-poet Yi Sang to Jack London to Marilyn Monroe. M*A*S*H is in here, too, and the Moonies, and a history of violence extending from the assassination of President McKinley to the Soviet downing of Korean Air Lines Flight 007.

Just as foreign countries have imposed their desires on Korea, so too has Park tucked different dreamers into this sprawling bed of a novel. Among them: Parker Jotter, Korean War vet and appliance-store owner, who saw something—a UFO?—while flying over North Korea; Nora You, nail salon magnate; and Monk Zingapan, game designer turned writing guru. Their links are revealed over time, even as the dreamers remain in the dark as to their own interconnectedness. A thrilling feat of imagination and a step forward from an award-winning author, Same Bed Different Dreams begins as a comic novel and gradually pulls readers into another dimension—one in which utopia is possible.

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My Review: GLOAT now enters my lexicon as an acronymic shorthand for "evil bastard corporate actor" alongside its sixtyish ancestor CHOAM from Dune. As Soon, the character who works at GoogleGLOAT, drifts in and out of the narrative, I thought I was supposed to attach meaning to these time-shifts into either the *Korea MS or Parker Jotter the SF writer manqué's PoV...but there was not something I could find that reliably sent me off to another narrative strand. It could be that I'm just not sophisticated enough, or attentive enough, to identify it; nonetheless its invisibility to me (whatever the cause) cost me fluid readability.

I'm not proficient in Korean history so I went into the read expecting to need St. Wiki's help untangling what/when/who nexuses. Author Park offers clues that feel very helpful. The problem is these clues aren't terribly well signposted. By which I mean I think he went out of his way to bury them in odd places.

"Flounder" is my verb for this read. I floundered from the beginning to the end. I splashed in a kiddie pool that floated into the Indiana Natatorium. I'm pretty sure most of the time I was listing perilously in the diving well...deep but not lethal.

I'm giving you the impression that this wasn't fun, but oh boy was it! Like being in a giant playtank without adult supervision always is! Splash into the Korean Provisional Government's truly jaw-dropping existence; then to the Korean War vet (my dad was one, too) Parker's awful struggles, Soon's crisis of conscience; the story didn't help me figure out where I was or who I was with. Author Park trusted me to figure it out.

How often do you get that experience? I'm not sure when I was last left alone by a US writer to slug through a learning curve. It was heady stuff. As was its quiet-part-aloud disdain for crony capitalism. The main reason people rise in the current capitalist hellscape is mostly down to who they know and how much they can spend on the crappy people who gatekeep access to the ocean of money (fake, fiat money has no logical reason for scarcity) need to do...anything...hence GLOAT.

It won't be everyone's jam. If you found Cloud Atlas impenetrable, this isn't your book. OTOH, if you're into bibimbap already, the food references will feel like horrible torture unless you live near a Korean place. Hanjeongsik is in my very near future if I have anything to say about it...but that's beside the point. You need to have a willingness to keep going in spite of wondering what this or that person's name is, this or that historical event's factuality is, and be ready to accept the "aha!" moments as they come.

A strong anti-crony capitalist theme in a book that allows me to learn things for myself. Had it been 100pp shorter I'd be full-five-starring it. But at 520-plus pages it felt bloated, slightly self-indulgent. A story I recommend with mild reservations, not a "just READ it gorram you!" shove.

BEASTS OF A LITTLE LAND, a beautiful read to disassemble one's complacency...its time come at last

BEASTS OF A LITTLE LAND
JUHEA KIM
Ecco (non-affiliate Bookshop.org link)
$14.49 ebook, available now

Rating: 5* of five

From BBC's World Book Club: Juhea Kim's...dazzling debut novel Beasts of a Little Land is a powerful historical novel that intertwines Korea’s fight for independence with deeply personal narratives of love, survival, and ambition. Spanning decades from the early 20th century...offers a richly detailed exploration of class struggles, colonialism, and shifting power dynamics, all centred on the tale of two friends who refuse to let one another go despite all the hardship they endure. We love this book because it’s an astonishing historical epic, dealing with love, war, the will to survive in any situation, written in beautiful, often dreamlike prose.

Harriett (the host) will be recording with Ottessa (Moshfegh) on Wednesday 2nd July (2025) so we need your questions for 26th June at the latest to be featured. Email to worldbookclub@bbc.co.uk

The Publisher Says: An epic story of love, war, and redemption set against the backdrop of the Korean independence movement, following the intertwined fates of a young girl sold to a courtesan school and the penniless son of a hunter

In 1917, deep in the snowy mountains of occupied Korea, an impoverished local hunter on the brink of starvation saves a young Japanese officer from an attacking tiger. In an instant, their fates are connected—and from this encounter unfolds a saga that spans half a century.

In the aftermath, a young girl named Jade is sold by her family to Miss Silver’s courtesan school, an act of desperation that will cement her place in the lowest social status. When she befriends an orphan boy named JungHo, who scrapes together a living begging on the streets of Seoul, they form a deep friendship. As they come of age, JungHo is swept up in the revolutionary fight for independence, and Jade becomes a sought-after performer with a new romantic prospect of noble birth. Soon Jade must decide whether she will risk everything for the one who would do the same for her.

From the perfumed chambers of a courtesan school in Pyongyang to the glamorous cafes of a modernizing Seoul and the boreal forests of Manchuria, where battles rage, Juhea Kim’s unforgettable characters forge their own destinies as they wager their nation’s. Immersive and elegant, Beasts of a Little Land unveils a world where friends become enemies, enemies become saviors, heroes are persecuted, and beasts take many shapes.

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My Review: Starting an historical novel with a hunting scene is pretty much a statement of intent: We're heading into conflict! There's nothing about this going to be smooth and easy!

It isn't, for the characters at least. The value of self to family, to society; the value of individuation, personal or political; the value of loyalty, fidelity, honor: All strands in this novel's braid. What keeps these weighty themes from becoming burdensome to follow is the resonant writing.

It appeared to him that no matter how much he gave, he would always have more than enough. As he grew older, he even relished the struggles brought on by his sacrifices. There was a soaring awareness that illuminated his soul whenever he did the right thing, which also cost him something. This euphoria, however, was balanced by the utter terror he felt when he looked around and saw so many others to whom this consciousness was not only absent, but unknowable and abhorrent. Most people, MyungBo realized, were made of a different material than his, and it was not something that could shift, as from coldness to warmth, but an elemental and fundamental difference, like wood from metal.

This is, in my reading ear, the musing of a smart man on an immutable truth that does not ever appear the same way from person to person preceiving it; and, in his musing, retaining that awareness. I rang like a bell to this soft hammer striking me.

Current event make this read all the more trenchant. The world has never lacked people or peoples hard done by, consigned to lesser states of being than is their natural right by some standard or quality invented, "discovered," or detected without evidence of its relevance or importance. This passage in history, well, if I really need to spell it out for you I don't want to. This novel has a thriving culture that is suddenly deemed inferior, much to their mass outraged disbelief; this invented inferiority excuses a colonial oppression that has as its purpose eradicating a people's soul to be replaced with their oppressors' vision of perfect slaves.

And that, I expect you already know, is a hateful, criminal enterprise with many, many collaborators inside the edifice being created, as well as...much more terribly...many times more outside. When the day arrives that the false and ill-fitting, ramshackle and improvised, structure collapses, things brak and shatter and split and buckle in random-seeming shapes without patterns. Lives and loves and entire branches of family history jumble in lethal chaos, not every deat physical.

It might be the psychological ones that cause the most suffering.

What Juhea Kim has done for us is map that chaos onto one family of highly effective people who still can't save their lives, their loves, their lands without unthinkable suffering rippling out from the Korean nation's convulsive death-agonies, its multiplicity of death-agonies, and find in that chaos the undetected in the time of crisis pattern that supports random bits of the past just enough to provide the seeds for pearls to come, yet to come.

In 2024, this rread, beautiful for and in itself, means so much more than it did when it came out in 2021. It can speak its truth of betrayal and cruelty into a landscape more like itself; more like the one that needs to hear that truth said without rage or outrage or plangent pleading blame-shoving. I'd love for everyone I know, everyone I can reach, to at the least try this lovely flower's powerful fruit.

Please.