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Ko Jinha (Korean: 고진하; born 1953) is a South Korean poet. As a man of religion and a poet, he has published many essay collections, poetry collections, and biblical stories for children. Since he became a farmer to live a life enjoying inconveniences and unhappiness, he has been giving lectures about sustainable living. His poetry discovers sanctity inherent in all living things on earth and continue forth into affirmation of life. Life Childhood and writing Ko was born in Yeongwol in 1953. He suffered from polio when he was two years old and was ridiculed for his limp through his childhood. He had difficulty socializing with people and, as a result, spent most of his time after school at church and grew up into an introverted and ascetic boy. He enrolled in Methodist Theological University and spent his 20s troubled by a sense of emptiness. He thirsted for poetry and fiction while studying rigid theology, and when Ko Junghee, who was a student at another theological school, made her literary debut as a poet, he invited her to a school festival. Afterward, he began to compose poetry in earnest and spent 10 years writing. Eventually, in 1987, he made his literary debut when five of his poems including “Bindeul” (빈들 Empty Fields) were published. A Poet and a religious Leader Even after his poetic debut, Ko served as a pastor in different areas of Gangwon Province. He learned to see the world with a warm gaze while spending time with the people of agricultural towns, and his poetry gradually became more positive. Experiencing God in nature, he became absorbed in various religious texts, such as Upanishads or those written by Laozi or Zhuangzi. After his pilgrimage to India in 2002, he was fascinated by the landscape and spirituality he experienced in India and wrote a book of his travels to India titled Sindeurui nara, ingenui ttang (신들의 나라, 인간의 땅 The Country of Gods, The Land of People) (2009). To lead a life enjoying inconveniences and unhappiness, he moved to a remote mountain village in Gangwon Province and built a hanok (traditional Korean house). During the day, he repairs old hanok or cultivates his vegetable garden; in the evenings he reads and writes. He is actively giving lectures at universities and libraries on the topic of sustainable life. His major poetry collections include Jiguem nameun jadeurui goljjagien (지금 남은 자들의 골짜기엔 In the Valley of Those Who Remain Today) (1990), Peurancheseukoui saedeul (프란체스코의 새들 Francesco’s Birds) (1999), Eoreum sudowon (얼음수도원 Ice Monastery) (2001), and Myeongnangui dulle (명랑의 둘레 The Circumference of Joviality) (2015). In addition, he also published a number of essay collections, including Si ilgeojuneun yesu (시 읽어주는 예수 Jesus Reading Poetry) (2015) and Japcho chiyu bapsang (잡초 치유 밥상 A Healing Table of Weeds) (2017). He also wrote a number of children’s books that retell the stories in the Bible. Writing Early works of poetry In Ko Jinha’s early poems, there is a notable attitude of enduring existential suffering in the absence of God. Jiguem nameun jadeurui goljjagien (1990) depicts the desolate reality of farming towns he witnessed while working as an evangelist in Gangwon Province. The images of empty fields that are prevalent in the poetry collection symbolizes the barrenness of humans in a world devoid of God. Peurancheseukoui saedeul (1993) paints the existential pain of humans with frightening images. In verses, such as “Slitting the rotting, decaying intestines/to look for precious treasure/that will slip and slide out” (용연향 Yongyeonhyang), the poet struggles to confront suffering squarely in the eye. It is an attempt to embrace the world and fight, while acknowledging that human existence must coexist with suffering. Shift in poetic style A shift in Ko Jinha’s world of poetry is noticeable starting with Ujubaekkop (우주배꼽 The Universe’s Bellybutton) (1997). Suffering still prevails in the world, and there are always wars being waged somewhere in the world. But in “Jangma” (장마 Rainy Season), the poet who hears the news of a war thinks of Calvary where Jesus died and names the hill “the universe’s bellybutton.” In this rhetorical question (“There,/you can still hear/the cry of newborns?”) is the will to embrace the painful reality with the arms of nature. When observing and contemplating on the ways of the universe, God is no longer absent but is rediscovered as an omnipresent existence in our daily lives. Ko’s attitude of looking for sanctity inherent in all living things leads to an open and pluralistic attitude toward religion. Buddhist elements, such as bodhisattvas, Buddhist temple bells, lotus, and Sahasrabhuja, often appear in Eoreum sudowon (2001). In the poem “Hapjang” (합장 Namaskar) published in Sutak (수탉 Rooster) (2005), he even wrote “Buddha and Jesus are living together in one body.” Through a new theology that does not insist on any kind of boundaries, the sanctity of all living things traverse each other and gradually become one. Works 1. Collection of works 《호랑나비 돛배》, 지식을만드는지식, 2012 / Horangnabi dotbae (A Boat With A Tiger Swallowtail Sail), Jisikgeul Mandeuneun Jisik, 2012. 2. Collections 《지금 남은 자들의 골짜기엔》, 민음사, 1990 / Jigeum nameun jadeurui goljjagien (In the Valley of Those Who Remain Today), Minumsa, 1990. 《프란체스코의 새들》, 문학과지성사, 1993 / Peurancheseukoui saedeul (Francesco’s Birds), Moonji, 1993. 《우주배꼽》, 세계사, 1997 / Ujubaekkop (The Universe’s Bellybutton), Segyesa, 1997. 《얼음수도원》, 민음사, 2001 / Eoreum sudowon (Ice Monastery), Minumsa, 2001. 《수탉》, 민음사, 2005 / Sutak (Rooster), Minumsa, 2005. 《거룩한 낭비》, 뿔, 2011 / Georukhan nangbi (Holy Waste), Ppul, 2011. 《호랑나비 돛배》, 지식을만드는지식, 2012 / Horangnabi dotbae (A Boat With A Tiger Swallowtail Sail), Jisikgeul Mandeuneun Jisik, 2012. 《꽃 먹는 소》, 문예중앙, 2013 / Kkot meongneun so (Flower-Eating Cow), Munye Joongang, 2013. 《명랑의 둘레》, 문학동네, 2015 / Myeongnangui dulle (The Circumference of Joviality), Munhakdongne, 2015. 3. Novel 《소설 하디》, 기독교대한감리회, 2013 / Soseol Hadi (소설 하디 Hardie, a Novel), Korean Methodist Church, 2013. 4. Co-authored books and other collections 〈만경창파 위로 띄운 그 노래〉, 고진하 외, 《어머니의 노래》, 시작, 2008 / “Mangyeongchangpa wiro ttuiun geu norae” (The Song I Flew Over the Boundless Expanse of Water), Ko Jinha et al., Oemeoniui norae (Mother’s Song), Sijak, 2008. 〈차도르 1-인도 시편〉 외, 안익수 외, 《바깥》, 마음산책, 2012 / “Chadoreu 1 -Indo sipyeon” (Chador 1 – A Poem About India) and others, Ahn Ik-su et al., Bakkat (Outside), Maumsanchaek, 2012. 〈사라진 별똥별처럼〉, 고두현 외, 《굽은 길들이 반짝이며 흘러갔다》, 나무옆의자, 2016/ “Sarajin byeolttongbyeolcheoreom (Like a Vanished Comet), Ko Du-hyeon et al., Gubeun gildeuri banjjagimyeo heulleogatda (Meandering Paths Flowed By Twinkling), Namu Bench, 2016. 〈독수리-김기석에게〉, 고진하 외, 《희망 그 빛깔 있는 삶의 몸부림》, 꽃자리, 2016 / “Doksuri – Kim Gi-seokege” (Eagle – To Kim Gi-seok), Ko Jinha et al., Huimang geu bikkal inneun salmui momburim (Hope, The Colorful Struggle of Life), Kkotjari, 2016. 〈고해(苦海) 속의 고해(告解)〉, 김언 외, 《시는 어떻게 오는가》, 시인동네, 2018 / “Gohae sogui gohae” (Confession in .... 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