Whale is a clever satirical novel that is written in a fable-like way, using an all-seeing, all-knowing omniscient narrative voice, along with occasional interjections by the author, as he pauses the narrative and talks to the reader.
Set in a remote village in South Korea,it follows the interconnected lives of a series of unfortunate women, who go through various highs and lows, having experiences that the author tells us depict certain universal laws.
What is supposed to come always ends up coming, even without a harbinger. This was the law of fate.
It begins with Chunhui, a female brickmaker who learned her profession from her stepfather. She could also communicate with an insightful elephant. We learn that a fire burned the brickyard to the ground killing eight hundred souls and that she was charged with arson, imprisoned and tortured. She has just been freed and returned to the derelict site as the story begins.
Cocooned by the morning fog, the town faintly reveled its shape, mike a once prosperous ancient city fallen into ruin. Even at a distance she could see the remnants of the movie theatre looming up among the buildings, resembling a large whale breaching the surface for a breath. This whale-inspired theatre had been designed by Geumbok, Chunhui’s mother.
In effect, we start at the end and the novel then goes back in time, to how the brickyard came to be, starting with a woman who sold her daughter to a passing beekeeper for two jars of honey, another who built a cinema in the shape of a whale and the many reinventions of their lives as they embrace and discard different people, occupations and places, in pursuit of their desires.
Geumbok has a knack for spotting an opportunity, for seeing business potential and no fear of taking risks. Every idea she has makes her and those around her wealthy, until it doesn’t.
Geumbok’s understanding of ideology was very simplistic, but her convictions were firm, as most people’s are. This was the law of ideology.
A satire on Korean history and society, and perceived by some as ‘magical’, I found the relentless abuses and sexism towards the female characters wore me down and slowed the pace of reading. Perhaps it was the ‘knowing’ that things rarely ever come right, that any overcoming of obstacles or even resilience is eventually met with yet another example of tragedy, betrayal, seduction or disappointment.
I did enjoy the novel for the most part and I understand why it might have been a bestseller in Korea in the day (published 20 years ago), however it didn’t fit right for me, reading it in 2023, and had me craving for signs of social justice, improvement or anything that might leave the reader believing in some aspect of humanity.
I think that narratives are beginning to challenge that historical status quo of abuses towards women, the down-trodden and the poor and I find I have less tolerance and patience towards those that do little to redeem it.
‘The characters have the power of archetypes – they’ll haunt your dreams. Geumbok, the protagonist, is an irrepressible entrepreneur and individualist, but with contradictions – she is sly and gullible, loving and violent, dedicated and treacherous. You can’t take your eyes off her. The story, however, really belongs to Chunhui, her daughter, who is a tragic saint and a survivor.’ International BookerJudges
Yes, the author himself was surprised to have been nominated for an award, 20 years after writing his debut, he’s written much more since then, but this one seems to be something of a classic in Korea.
I remember reading the wonderful translation of Taiwanese author San Mao, her Stories From the Sahara – that was translated 40 years later. I think the interested in stories from other lands that require translation is starting to reach back to some of the works that continue to have an audience today.
It’s true that works in translation seem to be having a moment. It might be my lack of awareness, but twenty years ago, it seems only the already-known classics generally got translated. All the same, I’m not particularly drawn to this one, despite your balanced assessment of its strengths and drawbacks.
This is a book that I abandoned after 30 pages, put off by the casual violence and cruelty and, gathering from other reviews, worried that it would not subside. I appreciate your fair assessment of the books strengths and drawbacks.
Thanks for such an honest, balanced review, Claire. The casual sexism, cruelties and abuses you’ve mentioned definitely put me off. I’m really surprised this made it onto the International Booker shortlist given your (and Joe’s) comments! Maybe 20 years ago, this satire would have seemed less-out-of-step with the times, but in the post Me Too era I can see how these factors would jar…
It does seem almost unfair to be judging this novel in 2023, because of when it was written and if we were to read other books by choice that were written in that era, we come to it knowing how things were. In that respect, its obvious that a novel from 20 years ago isn’t going to portray a nuance of modern thinking, but even if it portrays in a satirical way the reality of that time and of that history, for me there was little reward.
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Has it only just been translated? Is that why it’s only just made it to the Booker listings? It seems it’s waited too long to arrive …
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Yes, the author himself was surprised to have been nominated for an award, 20 years after writing his debut, he’s written much more since then, but this one seems to be something of a classic in Korea.
I remember reading the wonderful translation of Taiwanese author San Mao, her Stories From the Sahara – that was translated 40 years later. I think the interested in stories from other lands that require translation is starting to reach back to some of the works that continue to have an audience today.
LikeLiked by 1 person
It’s true that works in translation seem to be having a moment. It might be my lack of awareness, but twenty years ago, it seems only the already-known classics generally got translated. All the same, I’m not particularly drawn to this one, despite your balanced assessment of its strengths and drawbacks.
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This was a rarity for me, I tend to veer more towards women in translation, that nuance I look for was definitely lacking here.
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This is a book that I abandoned after 30 pages, put off by the casual violence and cruelty and, gathering from other reviews, worried that it would not subside. I appreciate your fair assessment of the books strengths and drawbacks.
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It doesn’t appeal to me at all!
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Thanks for such an honest, balanced review, Claire. The casual sexism, cruelties and abuses you’ve mentioned definitely put me off. I’m really surprised this made it onto the International Booker shortlist given your (and Joe’s) comments! Maybe 20 years ago, this satire would have seemed less-out-of-step with the times, but in the post Me Too era I can see how these factors would jar…
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It does seem almost unfair to be judging this novel in 2023, because of when it was written and if we were to read other books by choice that were written in that era, we come to it knowing how things were. In that respect, its obvious that a novel from 20 years ago isn’t going to portray a nuance of modern thinking, but even if it portrays in a satirical way the reality of that time and of that history, for me there was little reward.
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