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아주 희미한 빛으로도
‘함께 성장해나가는 우리 세대의 소설가’를 갖는 드문 경험을 선사하며 동료 작가와 평론가, 독자 모두에게 특별한 이름으로 자리매김한 최은영의 세번째 소설집 『아주 희미한 빛으로도』가 출간되었다.
2023년 데뷔 10년을 맞이하는 최은영은 그간 만남과 헤어짐을 거듭하는 인물의 내밀하고 미세한 감정을 투명하게 비추며 우리의 사적인 관계 맺기가 어떻게 사회적인 맥락을 얻는지를 고찰하고(『쇼코의 미소』, 2016), 지난 시절을 끈질기게 떠올리는 인물을 통해 기억을 마주하는 일이 어떻게 재생과 회복의 과정이 될 수 있는지를 살피며(『내게 무해한 사람』, 2018), 4대에 걸친 인물들의 삶의 궤적을 따라감으로써 과거에서 현재를 향해 쓰이는 종적인 연대기(年代記)가 어떻게 인물들을 수평적 관계에 위치시키며 횡적인 연대기(連帶記)로 나아가는지를 그려왔다(『밝은 밤』, 2021).
이전 작품들에 담긴 문제의식을 한층 더 깊고 날카로운 시선으로 이어나가는 이번 소설집은 작가가 처음 작품활동을 시작했을 때 품은 마음이 지금의 관점에서 어떻게 이어지는지 보여줌으로써 “깊어지는 것과 넓어지는 것이 문학에서는 서로 다른 말이 아니라는 것”(한국일보문학상 심사평)을 감동적으로 증명해낸다.
2023년 데뷔 10년을 맞이하는 최은영은 그간 만남과 헤어짐을 거듭하는 인물의 내밀하고 미세한 감정을 투명하게 비추며 우리의 사적인 관계 맺기가 어떻게 사회적인 맥락을 얻는지를 고찰하고(『쇼코의 미소』, 2016), 지난 시절을 끈질기게 떠올리는 인물을 통해 기억을 마주하는 일이 어떻게 재생과 회복의 과정이 될 수 있는지를 살피며(『내게 무해한 사람』, 2018), 4대에 걸친 인물들의 삶의 궤적을 따라감으로써 과거에서 현재를 향해 쓰이는 종적인 연대기(年代記)가 어떻게 인물들을 수평적 관계에 위치시키며 횡적인 연대기(連帶記)로 나아가는지를 그려왔다(『밝은 밤』, 2021).
이전 작품들에 담긴 문제의식을 한층 더 깊고 날카로운 시선으로 이어나가는 이번 소설집은 작가가 처음 작품활동을 시작했을 때 품은 마음이 지금의 관점에서 어떻게 이어지는지 보여줌으로써 “깊어지는 것과 넓어지는 것이 문학에서는 서로 다른 말이 아니라는 것”(한국일보문학상 심사평)을 감동적으로 증명해낸다.
352 pages, Hardcover
First published August 7, 2023
About the author
Choi Eunyoung
59 books158 followersChoi Eun-young ( 최은영) is a South Korean writer. She began her literary career in 2013, when her short story “Shokoui miso” (쇼코의 미소; Shoko's Smile) was selected for the quarterly literary magazine Writer's World's New Writer's Award. With the same work, she received the 5th Munhakdongne Young Writer's Award in 2014. She was awarded the 8th Heo Gyun Writer's Award in 2016, and was awarded the 8th Munhakdongne Young Writer's award in 2017.
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Displaying 1 - 19 of 19 reviews
August 12, 2023
A collection of short stories- contains 7 stories which were all previously published through Korean literary periodicals.
All seven stories feature female characters who have been using shutting off their feeling as a means of survival and enduring big and small hurts. A lot of damages come from their own families, social injustice or wear and tear of everyday life in Korean society. For all the characters, even though they think they're accustomed to enduring by shutting off their feelings- (perhaps because of such conscious efforts) they are ironically hypersensitive with subtle changes of tone, mood of other people (and does get affected by them). Most of stories and people in the stories are sad, but at the same time, there's deep warmth weaving through the stories; in spite of everything that seems out of their hands, there's love (sometimes expressed explicitly other times disguise as something else).
The author has uncanny ways to detect and describe subtle feelings. Definitely my favorite young Korean writer.
All seven stories feature female characters who have been using shutting off their feeling as a means of survival and enduring big and small hurts. A lot of damages come from their own families, social injustice or wear and tear of everyday life in Korean society. For all the characters, even though they think they're accustomed to enduring by shutting off their feelings- (perhaps because of such conscious efforts) they are ironically hypersensitive with subtle changes of tone, mood of other people (and does get affected by them). Most of stories and people in the stories are sad, but at the same time, there's deep warmth weaving through the stories; in spite of everything that seems out of their hands, there's love (sometimes expressed explicitly other times disguise as something else).
The author has uncanny ways to detect and describe subtle feelings. Definitely my favorite young Korean writer.
January 30, 2024
really really loved this!! 몫, 파종, 이모에게, 답신, 사라지는, 사라지지 않은, in fact every short story in this, touched me in such a personal way. every character felt so real, choi eun-young just knows how to write nuanced human relationships and made me CRY. cried on public transport during both 답신 and 파종, damn it. really loved the theme of this book which was missing a person you can no longer see, and regretting bottling up emotions because it's too late to express them now. really hurt my heart but made me rethink how i treat those around me... and not a single dull story in this, i was enthralled and enchanted.
June 28, 2025
탁월한 언어감각
몰입되는 공감력
따뜻한 슬픔
몰입되는 공감력
따뜻한 슬픔
February 10, 2025
Throughout my life, I experience major and minor setbacks. Some setbacks threw me to the bottom, but some gave me strength to get back on my feet. Nevertheless, for such setbacks to be a driving force, some tricky conditions need to be satisfied. First, the frustration should not be too big to break my will to get back on the track, there should be at least a little hope to get back up, and above all, there should be a reason to get up.
And in many cases, the reason can be found outside of oneself. The reason may be found not only in family, friends, and loved ones, but also in people whom we cross our lives for a while in the course of our life.
In "Even in Very Faint Light," ‘She’ becomes a beacon in Hee-won’s path, and Hee-young in "Share” broke a frame of thought of the main character. Da-hee and ‘Senior’ in "One Year" shone lights on each other for a little while Da-hee was an intern, and after many years, that dim light was still inside them.
In addition, in other stories, family members links the character to her life even if that member lost contact with them due to the tragedy of life. The longing for the nephew in "A Reply" and the memory of the uncle in "Sowing" support the lives of the characters faintly but firmly. On the other hand, Hee-jin's heart that love and hates her aunt in "To Aunty" and Ki-nam's heart that cannot reach his daughter in "Disappearing, not Disappearing" made my heart ache.
Sometimes it is harder to express love to the ones too close to you. Therefore, sometimes nephews and aunts or grandmothers and grandchildren show affection for family members who connect them by accepting each other as they are and expressing love without any strings attached.
These seven short stories express love without saying a word of love. I could feel the emotions through their gaze on each other. Few times I felt heartbroken by how vulnerable the characters in the stories are, but I was not sad because having other people in one's heart is such a precious while it might be painful. Thus, I had a faint yet inextinguishable hope that even if they look vulnerable, they will not break down.
And in many cases, the reason can be found outside of oneself. The reason may be found not only in family, friends, and loved ones, but also in people whom we cross our lives for a while in the course of our life.
In "Even in Very Faint Light," ‘She’ becomes a beacon in Hee-won’s path, and Hee-young in "Share” broke a frame of thought of the main character. Da-hee and ‘Senior’ in "One Year" shone lights on each other for a little while Da-hee was an intern, and after many years, that dim light was still inside them.
In addition, in other stories, family members links the character to her life even if that member lost contact with them due to the tragedy of life. The longing for the nephew in "A Reply" and the memory of the uncle in "Sowing" support the lives of the characters faintly but firmly. On the other hand, Hee-jin's heart that love and hates her aunt in "To Aunty" and Ki-nam's heart that cannot reach his daughter in "Disappearing, not Disappearing" made my heart ache.
Sometimes it is harder to express love to the ones too close to you. Therefore, sometimes nephews and aunts or grandmothers and grandchildren show affection for family members who connect them by accepting each other as they are and expressing love without any strings attached.
These seven short stories express love without saying a word of love. I could feel the emotions through their gaze on each other. Few times I felt heartbroken by how vulnerable the characters in the stories are, but I was not sad because having other people in one's heart is such a precious while it might be painful. Thus, I had a faint yet inextinguishable hope that even if they look vulnerable, they will not break down.
June 15, 2026
一本韩国当代作家写的短篇小说集，剧情走向比较平淡，人物关系设定有些重复，总体基调淡淡的，几分怀旧几分感触，不会过分煽情。
但是有些关于女性和性别议题的描写挺赞的，有一定社会意义。比如女性在职场关于晋升和生育的歧视、对于自己能力的怀疑、原生家庭的重男轻女、校园时期的性骚扰、女性之间的亲情友情、互相启发和引导、在家庭中承担妻子和母亲角色时的困境和委屈，等等，都揭露了女性从小到大在社会遭遇的不公平对待。而且文笔较好，有灵性。
其中《即使以最微弱的光》和《分内之事》写了女性在校园遇到的其他女性前辈/榜样。《回信》和《写给姨妈》有些相似，讲了破碎的原生家庭中长大的姐妹/姐弟之情，以及妹妹/弟弟和姐姐的女儿的亲情。《消失的，永不消失的》从年长的母亲的角度讲了疏离的母女关系。其他故事印象不是很深，全书最喜欢的是《回信》，故事性最强。
～摘抄～
也许那时的我很想茫然地追随着她。也许我希望有个和我相似的人提着灯笼走在前面，至少告诉我脚不会踩空。也许我想追随的是不知道要去哪里，但至少能告诉我不会消失，可以继续前行的光。我希望从她身上看到这道光，而不是别人。那道光消失之后，我还在摸索，猜测自己走到了哪里，将要去往何方。我走到她到过的地方了吗？尚未抵达吗？
我这样想的时候，曾经那么急切地驱赶人和摧毁建筑的地方变成了空地。我从大龄大学生变成研究生，变成课时讲师的时候，曾经是闪光的年轻讲师的她成了我再也找不到的人，而那个地方依然是空地。如今我不再回避那个地方了。那么急切而残忍地摧毁建筑物、驱赶人们的心，哪儿也没去，依然留在原地。我注视着这样的事实。
老师。
有一天走在下班路上，我在心里呼唤她，长长地吐了口气。我呼出的气变成白色水蒸气，消散在空中。那时我知道了，我正处于冬天的中心。因为冬天是唯一能用眼睛看见自己呼吸的季节。曾经忍住想要对我说的话，长长地吐气的她，仿佛浮现在我眼前。
为了不让她的样子消散，我在黑暗中轻轻地闭上眼睛。
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我们围着爸爸做游戏、开玩笑，观察爸爸有没有听我们说话，有没有看我们。我们似乎是希望爸爸把我们当成有趣的孩子、可爱的孩子。哪怕只是表现出小小的关注，我们也会很开心。我们故意笑得很夸张，假装玩得津津有味，同时用眼角的余光偷偷地瞥爸爸，看他有什么反应。偶尔爸爸嘿嘿一笑，我们的心仿佛都圆溜溜地膨胀起来。
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我从来没把自己和姐姐分开来看。爸爸这样惩罚姐姐的时候，我感觉自己也受到了惩罚。因为姐姐不是一个人，而是我们二人的代表。我还记得爸爸看姐姐的眼神，满是看不惯。偶尔他会怪怪地笑，每当这时我都感觉有人拿着薄薄的刀片剥掉了我心灵的外壳。
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我连自己喜欢什么都不知道，却在千方百计地成为别人喜欢的人。
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如今我长大成人，走在路上看到身穿校服走过的女孩子，也会感到震惊。怎么可以利用这么小的孩子？她们只是需要保护的孩子罢了。小时候的我却不这么想。这是要堕落到什么程度，才会跟老师鬼混啊？疯了吗？好脏。我认为都是女孩子的错。我相信是女孩子糊涂、疯狂、愚蠢，才会做出这样的事。
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妈妈为我堂堂正正地找到自己的路而高兴。妈妈说我从不叛逆，柔顺地度过青春期，还说我是不可多得的孝女。以前我也想过，如果得到这样的认可肯定很开心，然而真正听到妈妈这样说的时候，我只是感到空虚。因为我知道，如果我是另外的模样，如果我没考上大学或者遭遇重大失败，妈妈肯定很失望。我只是艰难地避免了她的失望。
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对于妈妈而言，姨妈是责任感强而且严格的姐姐。对于爸爸来说，姨妈是我们家遇到困难时不肯帮忙的冷漠之人。护理中心的义工说姨妈是性格冲动的老人，平时很安静，偶尔会发火。即便是汇集起所有的评价，还是无法抵达姨妈的真实。
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选题会上，你没有像从前那样沉默不语。希荣上次讨论的不也是女性问题吗？你应该拓宽关注范围。面对前辈的指责，你努力解释这个选题有多么重要，为什么要在这个版面讨论。当时你感觉浑身滚烫。不是为写而写，而是因为想写才写，还要全心全意地写，这种心情如火焰般裹挟着你的身体，让你感到疼痛。你还是第一次带着这样的心情努力说服别人。会议通过家暴问题之后，你和希荣去了收容所和“女性热线”人权机构，采访促进制定《预防家庭暴力法》的泛国民运动本部负责人，收集惨遭丈夫杀害和为了摆脱家庭暴力而杀害丈夫的女性事例。
二十一岁的你在这个过程中深感愤怒。愤怒于明明女人挨了打，家人却只是冷眼旁观的家庭观念，愤怒于那么多寻求公权力保护的女性最终遭到杀害的事实。走路的时候，吃饭的时候，睡觉醒来的时候，你都被愤怒包围。愤怒犹如无法排出的毒，一天天在你的身体里累积。你的愤怒什么都改变不了，只会粉碎你的幸福，想到这里你感到悲伤。面对亲近的人，甚至面对自己的时候，你变得比以前更严厉、更苛刻。你很容易烦躁，常常为小事生气。你知道自己什么都改变不了，只是被囚禁于自己的愤怒之中罢了。这不是你想要的。
你负责整理1991年开始的《预防家庭暴力法》立法运动的历史。这项工作从整理已经付诸公论的被打死女人的历史开始。有的女性长期遭受暴力，为了生存而杀死丈夫。你在纸上记录这些女人的故事，不停地擦拭如同汗水般涌出的眼泪。你边哭边写。那时你才知道，原来心可以与毫不相关的人们紧紧相连。
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基男的心里有不会消失的房间。不论何时，只要打开门，基男就能感受到那个瞬间。那天的记忆也是这样。一切都清晰如昨，中餐厅的味道、餐具的形状、食物的种类、老人身旁的年轻男人，甚至是老人的儿子穿的衣服和自称大姐的女人的表情。基男随时都会打开那扇门。可每次开门，记忆的细节就会微微消失。即使看似永不消失的心灵痛感也是这样。不过依然有些东西，即使打开门也不会消失，还会保留下来。某种冰冷、坚硬而沉重的东西，依然如故。
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宥景出去了，基男独自留在卫生间里，看了看镜子。那是涨得通红的老人的脸孔。孩子们小的时候，卫生间的门不能关。如果关门，孩子们会感到不安，会敲门，要求快点儿把门打开。就这样，开着门上厕所已经成了习惯。孩子们长大以后，基男仍然不习惯彻底关上卫生间的门。
但是有些关于女性和性别议题的描写挺赞的，有一定社会意义。比如女性在职场关于晋升和生育的歧视、对于自己能力的怀疑、原生家庭的重男轻女、校园时期的性骚扰、女性之间的亲情友情、互相启发和引导、在家庭中承担妻子和母亲角色时的困境和委屈，等等，都揭露了女性从小到大在社会遭遇的不公平对待。而且文笔较好，有灵性。
其中《即使以最微弱的光》和《分内之事》写了女性在校园遇到的其他女性前辈/榜样。《回信》和《写给姨妈》有些相似，讲了破碎的原生家庭中长大的姐妹/姐弟之情，以及妹妹/弟弟和姐姐的女儿的亲情。《消失的，永不消失的》从年长的母亲的角度讲了疏离的母女关系。其他故事印象不是很深，全书最喜欢的是《回信》，故事性最强。
～摘抄～
也许那时的我很想茫然地追随着她。也许我希望有个和我相似的人提着灯笼走在前面，至少告诉我脚不会踩空。也许我想追随的是不知道要去哪里，但至少能告诉我不会消失，可以继续前行的光。我希望从她身上看到这道光，而不是别人。那道光消失之后，我还在摸索，猜测自己走到了哪里，将要去往何方。我走到她到过的地方了吗？尚未抵达吗？
我这样想的时候，曾经那么急切地驱赶人和摧毁建筑的地方变成了空地。我从大龄大学生变成研究生，变成课时讲师的时候，曾经是闪光的年轻讲师的她成了我再也找不到的人，而那个地方依然是空地。如今我不再回避那个地方了。那么急切而残忍地摧毁建筑物、驱赶人们的心，哪儿也没去，依然留在原地。我注视着这样的事实。
老师。
有一天走在下班路上，我在心里呼唤她，长长地吐了口气。我呼出的气变成白色水蒸气，消散在空中。那时我知道了，我正处于冬天的中心。因为冬天是唯一能用眼睛看见自己呼吸的季节。曾经忍住想要对我说的话，长长地吐气的她，仿佛浮现在我眼前。
为了不让她的样子消散，我在黑暗中轻轻地闭上眼睛。
-----
我们围着爸爸做游戏、开玩笑，观察爸爸有没有听我们说话，有没有看我们。我们似乎是希望爸爸把我们当成有趣的孩子、可爱的孩子。哪怕只是表现出小小的关注，我们也会很开心。我们故意笑得很夸张，假装玩得津津有味，同时用眼角的余光偷偷地瞥爸爸，看他有什么反应。偶尔爸爸嘿嘿一笑，我们的心仿佛都圆溜溜地膨胀起来。
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我从来没把自己和姐姐分开来看。爸爸这样惩罚姐姐的时候，我感觉自己也受到了惩罚。因为姐姐不是一个人，而是我们二人的代表。我还记得爸爸看姐姐的眼神，满是看不惯。偶尔他会怪怪地笑，每当这时我都感觉有人拿着薄薄的刀片剥掉了我心灵的外壳。
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我连自己喜欢什么都不知道，却在千方百计地成为别人喜欢的人。
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如今我长大成人，走在路上看到身穿校服走过的女孩子，也会感到震惊。怎么可以利用这么小的孩子？她们只是需要保护的孩子罢了。小时候的我却不这么想。这是要堕落到什么程度，才会跟老师鬼混啊？疯了吗？好脏。我认为都是女孩子的错。我相信是女孩子糊涂、疯狂、愚蠢，才会做出这样的事。
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妈妈为我堂堂正正地找到自己的路而高兴。妈妈说我从不叛逆，柔顺地度过青春期，还说我是不可多得的孝女。以前我也想过，如果得到这样的认可肯定很开心，然而真正听到妈妈这样说的时候，我只是感到空虚。因为我知道，如果我是另外的模样，如果我没考上大学或者遭遇重大失败，妈妈肯定很失望。我只是艰难地避免了她的失望。
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对于妈妈而言，姨妈是责任感强而且严格的姐姐。对于爸爸来说，姨妈是我们家遇到困难时不肯帮忙的冷漠之人。护理中心的义工说姨妈是性格冲动的老人，平时很安静，偶尔会发火。即便是汇集起所有的评价，还是无法抵达姨妈的真实。
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选题会上，你没有像从前那样沉默不语。希荣上次讨论的不也是女性问题吗？你应该拓宽关注范围。面对前辈的指责，你努力解释这个选题有多么重要，为什么要在这个版面讨论。当时你感觉浑身滚烫。不是为写而写，而是因为想写才写，还要全心全意地写，这种心情如火焰般裹挟着你的身体，让你感到疼痛。你还是第一次带着这样的心情努力说服别人。会议通过家暴问题之后，你和希荣去了收容所和“女性热线”人权机构，采访促进制定《预防家庭暴力法》的泛国民运动本部负责人，收集惨遭丈夫杀害和为了摆脱家庭暴力而杀害丈夫的女性事例。
二十一岁的你在这个过程中深感愤怒。愤怒于明明女人挨了打，家人却只是冷眼旁观的家庭观念，愤怒于那么多寻求公权力保护的女性最终遭到杀害的事实。走路的时候，吃饭的时候，睡觉醒来的时候，你都被愤怒包围。愤怒犹如无法排出的毒，一天天在你的身体里累积。你的愤怒什么都改变不了，只会粉碎你的幸福，想到这里你感到悲伤。面对亲近的人，甚至面对自己的时候，你变得比以前更严厉、更苛刻。你很容易烦躁，常常为小事生气。你知道自己什么都改变不了，只是被囚禁于自己的愤怒之中罢了。这不是你想要的。
你负责整理1991年开始的《预防家庭暴力法》立法运动的历史。这项工作从整理已经付诸公论的被打死女人的历史开始。有的女性长期遭受暴力，为了生存而杀死丈夫。你在纸上记录这些女人的故事，不停地擦拭如同汗水般涌出的眼泪。你边哭边写。那时你才知道，原来心可以与毫不相关的人们紧紧相连。
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基男的心里有不会消失的房间。不论何时，只要打开门，基男就能感受到那个瞬间。那天的记忆也是这样。一切都清晰如昨，中餐厅的味道、餐具的形状、食物的种类、老人身旁的年轻男人，甚至是老人的儿子穿的衣服和自称大姐的女人的表情。基男随时都会打开那扇门。可每次开门，记忆的细节就会微微消失。即使看似永不消失的心灵痛感也是这样。不过依然有些东西，即使打开门也不会消失，还会保留下来。某种冰冷、坚硬而沉重的东西，依然如故。
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宥景出去了，基男独自留在卫生间里，看了看镜子。那是涨得通红的老人的脸孔。孩子们小的时候，卫生间的门不能关。如果关门，孩子们会感到不安，会敲门，要求快点儿把门打开。就这样，开着门上厕所已经成了习惯。孩子们长大以后，基男仍然不习惯彻底关上卫生间的门。
March 12, 2025
It’s been a while since I picked up a Korean book, and I’m so glad I did. One review said, “These seven short stories express love without saying a word of love,” and I couldn’t agree more. The writing feels so subtle, calm, and almost detached, yet somehow carries such powerful warmth.
October 25, 2025
又是一本悲伤的书，读到某些段落时会不自觉地掉泪……书页间浸满了女性在社会中的种种困境…她们被无形的社会规训所束缚，在应当为自己发声时自我怀疑，在面对不公时习惯性沉默。这种失语是长期压抑环境下形成的生存策略，是父权制度在女性身上刻下的集体伤痕。尽管如此，她们依然会找到彼此，悄悄织成女性之间温暖而坚韧的隐秘网络。
最后看到作者写给读者的亲笔信又没忍住哭了。整本书的感动在这一刻变得无比具体。她让我觉得，在复杂的世界里，女性之间的这种理解和连接，特别珍贵，也特别有力量。哪怕只是以最微弱的光，我们也能照亮彼此。
最后看到作者写给读者的亲笔信又没忍住哭了。整本书的感动在这一刻变得无比具体。她让我觉得，在复杂的世界里，女性之间的这种理解和连接，特别珍贵，也特别有力量。哪怕只是以最微弱的光，我们也能照亮彼此。
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December 25, 2025补：25.12.19 听劝跳过了《回信》和《播种》，最后一篇没读。喜欢同名短篇和《一年》，喜欢《分内之事》讨论的议题但阅读体验有些疏离。//恩荣显然擅长描写人物的内心、人性深处的隐秘以及人物关系，但读完之后，我眼前出现的往往是几幅静态的画面，或许这与故事整体过于“安全”有关。可能是个人喜好差异。随意切换人称和对话没有双引号让阅读过程多少有点费力。
尝试标很火、大家都很喜欢，但我读了之后不知道该怎么喜欢的书。
尝试标很火、大家都很喜欢，但我读了之后不知道该怎么喜欢的书。
January 25, 2026
「總是感覺自己與早已離開世界的人們在腦海裡描繪的世界更近，而不是自己所處的世界。她說每當這時，總感覺有光照進裂開的傷口，借助這道光，她能看到很多東西。「我想繼續走下去」。」
「你想寫這樣的文章。讀過之後就無法回到從前的文章，任何人都無法用邏輯反駁的堅實有力的文章，衝破第一個句子的壁壘繼續前進的文章，寫下的句子不會變成牆壁阻擋後面句子的文章，總是潛藏在內心深處的感受和思想轉換成語言，連起某個人的文章。 」
即使以最微弱的光 .....崔恩榮
「你想寫這樣的文章。讀過之後就無法回到從前的文章，任何人都無法用邏輯反駁的堅實有力的文章，衝破第一個句子的壁壘繼續前進的文章，寫下的句子不會變成牆壁阻擋後面句子的文章，總是潛藏在內心深處的感受和思想轉換成語言，連起某個人的文章。 」
即使以最微弱的光 .....崔恩榮
June 1, 2026
Abt 3.5
I really love her books and her writings, but her stories are a bit repetitive (themes, plot, atmosphere.. etc).
But if this was the first book from her that I’ve read, I would have given it a higher rating!
답신 was the best one, so quiet and calm and subtly sad.
I really love her books and her writings, but her stories are a bit repetitive (themes, plot, atmosphere.. etc).
But if this was the first book from her that I’ve read, I would have given it a higher rating!
답신 was the best one, so quiet and calm and subtly sad.
September 22, 2023
작품해설마저도 주옥같은 이 책을 좀 더 많은 사람들이 읽게 되기를. 그리고 좀 더 많은 사람들이 자신의 목소리를 내는데 주저하지 않게 되기를.
December 2, 2025
简中读了一篇还是跑来看胡椒筒法的翻译了，但是回去看了评论，写得真好呀。感受到了不怎么会爱，但是努力去爱这个世界的作者的心，在《回信》一文当中，一开始认为是在等侄子的回信么？读到最后才意识到，她等待的其实是作为读者的我们。那些对他人和自己最幽微的想法如果是我，写出来也会删去，但是她好像不怕。
阅读和写作的一些思考，尤其是读、写了就行了么？
阅读和写作的一些思考，尤其是读、写了就行了么？
December 22, 2025
女性作家独有的细腻感，几篇都很动人。尤喜欢最后一篇，消失的，永不消失的。失联的母女情谊写的太好了。
January 20, 2026
女性之间的幽微感情写得很细腻
February 27, 2026
Choi Eunyoung is born to be a great writer.
May 4, 2026
那些境遇、情形、对照中的痛苦，被来自崔恩荣的光照亮，于是，哪怕初始只是最微弱的光，也都在一传十十传百的接力阅读中，拥有了被聚焦、被讲述、被讨论的高光。我们看见了，我们懂得的，这样的理解，来自于我们也在许多个深夜里同样努力地揉碎着血肉里复杂的情感，来自于我们也在许多个暗无天日的灰色日常中同样坚韧地绽放为唯一的彩色。
March 7, 2024
거칠지 않은 담담한 문장으로
그리고 너무 있을 법한 이야기들로
가슴에 아주 오래 남는 글을 쓸 줄 아는 작가
그리고 너무 있을 법한 이야기들로
가슴에 아주 오래 남는 글을 쓸 줄 아는 작가
January 5, 2025
아주 희미한 빛으로도 살아가는 우리들.
각자 다 다른 사연과 고통을 품고 살아가는 자들의 이야기, 그러나, 모두 누군가에 의해서 계속 살아가게 된다.
각자 다 다른 사연과 고통을 품고 살아가는 자들의 이야기, 그러나, 모두 누군가에 의해서 계속 살아가게 된다.
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