A world 3000 years after language has disappeared… Have greed, hatred, and obsession disappeared?

by times news cr

Author Cheon Seon-ran, who published a novel collection ‘More’
​ “I want to show a life trapped in ⁤language”

Novelist⁤ Cheon Seon-ran reads science books as much as novels. He said, “I like⁣ the romance of science,” and asked, “Considering that we are still ⁣communicating with ‍Voyager 1, which was launched in the 1970s,⁢ doesn’t science seem more like a novel?”⁢ Reporter Jang Seung-yoon [email protected]

I met⁤ Cheon Seon-ran, who published a new novel collection, ‘Mower’ (Literature ⁣Dongne), at a bookstore in Mapo-gu, Seoul on⁢ the 18th. He said, “If there were​ no language, wouldn’t the boundaries between today and tomorrow, ⁤the obsession with the passage of time, and even aging or‍ aging disappear? I wanted to show how trapped⁣ we are in⁢ language.” Seonran Cheon is one of the most notable SF (science fiction) writers these days. His masterpiece ‘A Thousand Blues’, published in 2020, sold⁢ 180,000 copies, and earlier this year he signed a multi-hundred-million-dollar royalty contract with Penguin Random House in the UK.

The ‍title work, ‘Mower’, depicts a world where language has ⁤disappeared 3,000‍ years later.‌ Humanity, which was once on the verge of extinction, evolved⁢ to give up​ language, believing ⁤that greed, distrust, and hatred come from language. One day, a rift begins when ‘Mou’, a​ child who drifts into this world, is the only one who speaks language. The author⁢ said, “At first, humans were a part of nature no different from worms, insects, and animals,‍ but as I pondered why​ they became separated from the ecosystem, I thought that the beginning was language.” He added, “Giving a name to an object itself is a part‌ of nature.” “It comes from trying to clarify and ​use the purpose of ​an object,” he said. He said,⁢ “Unless we return to the natural⁤ state, humans will not be able to escape language,” and “But how we use it must change.”

The same ​phenomenon feels different⁣ when you change the language. It’s as if the lukewarm word ‘global warming’ is now‍ being replaced by ‘climate ‌crisis’. “I think we need to be mindful of our ⁢language and use it well.”

He‌ has recently been taking on various writing challenges. The works in the novel collection are diverse in terms of subject matter and texture. ‘Surf Beat’, which‍ deals ⁢with‍ teenagers with⁤ superpowers, ​and ‘Record of Bones’, which is about an undertaker android, are readable, while ‘Kush Look’, which ⁤is about ‍mind uploading, decided​ to “be decidedly unfriendly.” wrote. Expanding from ⁢language, attention has also been paid to all types of⁢ structures, including cities, families, and societies.​ He said, “Language is ultimately the home ‍and ​form of thought,” and “I often think about why the current city and family forms were created and what it would be like if we dismantled them all.”

In particular, the dismantling of stereotypes is one of his important interests. When Chat GPT or digital textbooks came​ up as a topic ⁤during the interview, he showed a flushed expression.

“I think kids ⁢these days ⁣have a different way of perceiving space in their brains. The novels⁣ those children will write in the future will not have images that I cannot conjure up based ⁢on my stereotypes and perceptions. That excites ⁢me. As a science fiction writer. What else will come out?”

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Time.news Interview with Cheon Seon-ran: Exploring‍ Language and Existence through Sci-Fi

Editor: Welcome, Cheon Seon-ran! ⁣Thank you for joining us today. Your latest collection, Mower,‍ is already‌ generating a lot of buzz. Could you start by telling us what inspired you to explore the ⁤theme of language in your writing?

Cheon Seon-ran: Thank you for ‍having me! ​My interest in language stems from the belief that it shapes our reality. Without language, the constructs of time, identity, even the concept of aging itself become fluid. I wanted to depict a world where humanity had evolved beyond ⁢language, thinking⁤ it was the source⁣ of greed and conflict. This led ​me to ⁢question, what if we could navigate existence without it?

Editor: That’s a​ profound concept! In Mower, humans choose to abandon language, but then a child who can speak disrupts this new society. What does this child represent in your narrative?

Cheon Seon-ran: The child, named ‘Mou’,​ symbolizes innocence and the natural​ instinct to communicate. In a world where language is suppressed, Mou’s presence challenges the new societal⁢ norms. He serves as a catalyst⁢ for‌ re-examining how language influences our relationships and understanding‍ of the universe. It’s a comment on our intrinsic need for connection, even in a world that has deemed it unnecessary.

Editor: Fascinating! You mentioned in your reflections that naming⁢ is a part of our nature. Could you elaborate on how this idea shapes⁢ the narratives you create?

Cheon Seon-ran: Sure! When we name an object, we are not ‌just identifying it; we are also giving it purpose and context. This process creates a relationship between ‌us and the world around us. In Mower, the characters have distanced themselves from this ‌relationship. By exploring this disconnect, I wanted to highlight how our identities and ‌cultures are woven‍ through ⁣language. Without ‌it, how ‌do we‌ define ourselves?

Editor: It’s interesting how you connect ‍language to ecological relationships. You described humanity’s early connection to nature as similar‌ to that of worms or insects. How does this relate ‍to contemporary ⁢issues we face today, such as climate change?

Cheon Seon-ran: Exactly! When we detach⁤ from our natural environment, we lose touch with the inherent balance of life. Contemporary issues like climate change are ⁣often abstracted in our discussions. Terms like “global⁤ warming” can feel detached and technical. By shifting language—using phrases like “climate​ crisis”—we evoke a sense of urgency and‌ responsibility. Language frames our reality; therefore, if​ we change our discourse, we can begin to reshape our ‌actions.

Editor: That’s a compelling‌ argument ⁣for the power of language! You also ‌touch on various themes in your novel collection, like superpowers and android undertakers. ⁣How do you ensure that each ‍story retains its unique voice while addressing overarching philosophical questions?

Cheon Seon-ran: I approach each story with a different narrative lens, which allows for varying textures and tones. For example, Surf⁣ Beat is lively and playful, while Record of Bones has a darker, more introspective vibe. ‍By shifting genres and themes, I can explore complex ideas about humanity and existence from multiple angles. It’s​ about pushing the boundaries of how we experience and interpret these concepts through storytelling.

Editor: ⁤ It sounds like you’re on​ an exciting journey with your writing. What do you hope readers ‍take away from Mower and your other works?

Cheon Seon-ran: I hope readers will reflect on their relationship with language and its impact on their lives. I want to spark curiosity about our ⁤communication methods and ⁤encourage⁢ thorough interactions with the world. ​Ultimately, I want⁢ them to realize that​ while language can trap us, it also holds the key to unlocking deeper understanding and connection.

Editor: Thank you, Cheon Seon-ran, for sharing your thoughts with us! Your exploration of language and existence in your works is​ both timely and deeply thought-provoking. We wish you all the best with Mower and your future endeavors!

Cheon Seon-ran: Thank you very much! I​ appreciate the platform to share these ideas.

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