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‘ยุนเซโอ’ หญิงสาววัยยี่สิบเจ็ด ผู้สูญเสียแม่ ก่อน ‘ยุนซูชั่ง’ พ่อของเธอจะเสียชีวิตอย่างมีเงื่อนงำจากเหตุเพลิงไหม้ในบ้าน ตำรวจสรุปคดีว่าเป็นอุบัติเหตุ แต่บางอย่างในใจเธอกลับบอกว่าไม่ใช่ เพราะพ่อไม่ใช่คนประเภทที่จะ “เผาบ้านตัวเองแล้วจากไป” แน่นอน ยุนเซโอรู้สึกว่ามีบางอย่างไม่ชอบมาพากลจึงออกตามหาความจริง
‘ชินกีจอง’ ครูสาวในโรงเรียนแห่งหนึ่ง ที่ลำพังก็ต้องต่อสู้และข่มกลั้นตนเองจากการปฏิบัติตัวแสนจะน่ารังเกียจของ ‘วอนโดจุน’ นักเรียนในปกครองที่ดูแคลนเธอเพียงเพราะเธออยู่คนละชนชั้นแล้ว ชินกีจองยังต้องพบกับจุดเปลี่ยนในชีวิต เมื่อจู่ๆ ตำรวจก็แจ้งว่าพบศพ ‘ชินฮาจอง’ น้องสาวต่างแม่ที่แม่น้ำแห่งหนึ่งในเมืองที่น้องเธออาศัยอยู่ ผลการชันสูตรศพพบว่าเป็นการจมน้ำตาย และตรวจพบแพลงก์ตอนในปอด แต่ไม่ได้บอกชัดเจนว่าเป็นการเสียชีวิตจากการฆ่าตัวตายหรืออุบัติเหตุ
ทั้งสองจึงเริ่มไขปริศนาที่ไม่ชอบมาพากลท่ามกลางความโหดร้ายของระบบทุนนิยมที่กัดกินผู้คนซึ่งไม่มีทางสู้จนนำไปสู่เส้นทางอาชญากรรมอันน่าสะเทือนใจ
‘ชินกีจอง’ ครูสาวในโรงเรียนแห่งหนึ่ง ที่ลำพังก็ต้องต่อสู้และข่มกลั้นตนเองจากการปฏิบัติตัวแสนจะน่ารังเกียจของ ‘วอนโดจุน’ นักเรียนในปกครองที่ดูแคลนเธอเพียงเพราะเธออยู่คนละชนชั้นแล้ว ชินกีจองยังต้องพบกับจุดเปลี่ยนในชีวิต เมื่อจู่ๆ ตำรวจก็แจ้งว่าพบศพ ‘ชินฮาจอง’ น้องสาวต่างแม่ที่แม่น้ำแห่งหนึ่งในเมืองที่น้องเธออาศัยอยู่ ผลการชันสูตรศพพบว่าเป็นการจมน้ำตาย และตรวจพบแพลงก์ตอนในปอด แต่ไม่ได้บอกชัดเจนว่าเป็นการเสียชีวิตจากการฆ่าตัวตายหรืออุบัติเหตุ
ทั้งสองจึงเริ่มไขปริศนาที่ไม่ชอบมาพากลท่ามกลางความโหดร้ายของระบบทุนนิยมที่กัดกินผู้คนซึ่งไม่มีทางสู้จนนำไปสู่เส้นทางอาชญากรรมอันน่าสะเทือนใจ
328 pages, Paperback
First published June 15, 2015
77 people are currently reading
1894 people want to read
About the author
Hye-Young Pyun
29 books223 followers편혜영(片惠英,1972년~)은 대한민국의 소설가이다. 서울에서 태어났으며, 서울예대 문예창작과를 졸업하고 한양대학교 국어국문학과 대학원 석사과정을 졸업했다. 2000년 서울신문 신춘문예에 단편소설 〈이슬털기〉가 당선되면서 데뷔했다. 2007년 단편소설 〈사육장 쪽으로〉로 제40회 한국일보문학상을, 2009년 단편소설 〈토끼의 묘〉로 제10회 이효석문학상을, 2012년 소설집 〈저녁의 구애〉로 제42회 동인문학상을, 2014년 단편소설 〈몬순〉으로 제38회 이상문학상을 수상했다. 현재 명지대학교 문예창작학과 교수(2013~)로 재직 중이다.
Pyun Hye-young was born in Seoul in 1972. She earned her undergraduate degree in creative writing and graduate degree in Korean literature from Hanyang University. After receiving these degrees, Pyun worked as an office worker, and many office workers appear in her stories.
Pyun began publishing in 2000 and published three collections of stories, Aoi Garden, To The Kennels, and Evening Courtship as well as the novel Ashes and Red. In 2007, To the Kennels won the Hankook Ilbo Literary Award, in 2009 the short story O Cuniculi won the Yi Hyo-Seok Literature prize and then the Today’s Young Writer Award in 2010, while in 2011 Evening Courtship won the Dong-in Literary Award. Her works have several themes including alienation in modern life, an apocalyptic world, and they are often infused with grotesque images. The novel Ashes and Red explores irony and the dual nature of humanity.
Pyun Hye-young was born in Seoul in 1972. She earned her undergraduate degree in creative writing and graduate degree in Korean literature from Hanyang University. After receiving these degrees, Pyun worked as an office worker, and many office workers appear in her stories.
Pyun began publishing in 2000 and published three collections of stories, Aoi Garden, To The Kennels, and Evening Courtship as well as the novel Ashes and Red. In 2007, To the Kennels won the Hankook Ilbo Literary Award, in 2009 the short story O Cuniculi won the Yi Hyo-Seok Literature prize and then the Today’s Young Writer Award in 2010, while in 2011 Evening Courtship won the Dong-in Literary Award. Her works have several themes including alienation in modern life, an apocalyptic world, and they are often infused with grotesque images. The novel Ashes and Red explores irony and the dual nature of humanity.
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August 27, 2021
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3 stars
After reading that Hye-Young Pyun's novel The Hole won the 'Shirley Jackson Award', I was intrigued to read her work. Thanks to NetGalley I was able to read The Law of Lines in exchange for a review.
Within its first few chapters The Law of Lines introduces us to two seemingly unconnected young women: there is Se-oh, a recluse whose indebted father attempts to take his own life by burning their house down, and Ki-jeong, an unenthusiastic teacher who receives a call informing her of the death of her younger half-sister. Confronted with such personal and sudden losses both women find their lives spiralling out of control.
Se-oh begin to understand the depths of her father's desperation and holds the debt collector who hounded him responsible. Seeking retribution Se-oh begins to stalk the collector and entertains increasingly violent fantasies. However her past, the reason why she became a recluse, catches up to her and Se-oh has to confront whether she herself is accountable for her father's death.
Ki-jeong has led a rather restrained existence, ensuring that she always abided the rules of her society. Ki-jeong is aware of her faults. For example, she knows that she isn't a very inspired or driven teacher. However, when one of her most privileged pupils plays a cruel trick on her and threatens both her career and her reputation, as well as calling into question her moral integrity, Ki-jeong looses control.
Reeling from their losses, both of these women feel let down by their country's system of justice. Amidst a backdrop of violent and vengeful thoughts Se-oh and Ki-jeong embark on separate investigations, trying to uncover the causes that led to death of their relatives and it is by assigning blame to others they relieve their own guilt.
The beginning of Pyun's novel is incredibly absorbing. She immediately establishes an atmosphere of uneasiness and of moral degradation: the world she depicts is populated by spiteful, malevolent, or apathetic individuals. Those in authoritative positions abuse their powers. Greed, corruption, and cowardice seem to drive the majority of these characters. It is her characters' malice perhaps that Pyun turns to the most. Malice seems to creep its way into her character's thoughts, blurring the lines between right and wrong, good and evil.
Se-oh and Ki-jeong narratives interrogate the difference between victim and perpetrator. Is entertaining a violent fantasy really better than actual violence? Does vengeance condone one's wrongdoings? Pyun traces the source and effects that malice and violence have on her characters' minds.
Throughout the story an air of squalor lingers over most scenes. These unpleasant characters have filthy habits (such as spitting) and grimy morals. Debt collectors torment those who are indebted, waging psychological wars against them. Young individuals are trapped into pyramid schemes and find themselves into nightmarish scenarios (a bit a la Sorry to Bother You).
Pyun emphasises humanity's darkness by focusing on the seedy behaviour, physical appearances, or living conditions of her characters. She is almost unrelenting in the way in which she delves into the notion of evil.
More than once I was reminded of Park Chan-wook's The Vengeance Trilogy. Pyun's novel is a bleak one. Yet, as gripping as the first half of The Law of Lines was, in the latter half the story looses its momentum. Ki-jeong sort of disappears and there we get a lengthy account of what drove Se-oh into hiding. When these characters paths finally cross, I found their interaction to be somewhat underwhelming. The ending too seemed rather ill-defined.
All in all, I am unsure whether I would recommend this book to other readers. There are some wickedly clever moments, plenty of interesting observations on Korean society as well as some fascinating discussions about justice. Once the storyline lost its initial edge however I didn't care much for what I was reading. Perhaps certain things were lost in translation but I do think that the story could have been more complete.
3 stars
“The future was a dark corridor. And though she would grope her way through it, the door at the end would be locked tight.”
After reading that Hye-Young Pyun's novel The Hole won the 'Shirley Jackson Award', I was intrigued to read her work. Thanks to NetGalley I was able to read The Law of Lines in exchange for a review.
Within its first few chapters The Law of Lines introduces us to two seemingly unconnected young women: there is Se-oh, a recluse whose indebted father attempts to take his own life by burning their house down, and Ki-jeong, an unenthusiastic teacher who receives a call informing her of the death of her younger half-sister. Confronted with such personal and sudden losses both women find their lives spiralling out of control.
“Those sounds and sentences were lost to her now. His unconditional love, his wordless yet tender gaze, his steely look of fatherly responsibility. All gone. They were each different, but to her they were all synonyms for a father.”
Se-oh begin to understand the depths of her father's desperation and holds the debt collector who hounded him responsible. Seeking retribution Se-oh begins to stalk the collector and entertains increasingly violent fantasies. However her past, the reason why she became a recluse, catches up to her and Se-oh has to confront whether she herself is accountable for her father's death.
“The whole time she had stayed locked up at home, she had imagined the outside world as a place that could swallow her whole at any moment. But in truth, it was a place that paid her no attention at all.”
Ki-jeong has led a rather restrained existence, ensuring that she always abided the rules of her society. Ki-jeong is aware of her faults. For example, she knows that she isn't a very inspired or driven teacher. However, when one of her most privileged pupils plays a cruel trick on her and threatens both her career and her reputation, as well as calling into question her moral integrity, Ki-jeong looses control.
Reeling from their losses, both of these women feel let down by their country's system of justice. Amidst a backdrop of violent and vengeful thoughts Se-oh and Ki-jeong embark on separate investigations, trying to uncover the causes that led to death of their relatives and it is by assigning blame to others they relieve their own guilt.
“Ki-jeong knew that, of all laws, this—the way one thing leads invariably to the next—was the only of life's laws that she could not find fault with.”
The beginning of Pyun's novel is incredibly absorbing. She immediately establishes an atmosphere of uneasiness and of moral degradation: the world she depicts is populated by spiteful, malevolent, or apathetic individuals. Those in authoritative positions abuse their powers. Greed, corruption, and cowardice seem to drive the majority of these characters. It is her characters' malice perhaps that Pyun turns to the most. Malice seems to creep its way into her character's thoughts, blurring the lines between right and wrong, good and evil.
“She'd felt the unfamiliar thrill that comes only when you amplify your malice.”
Se-oh and Ki-jeong narratives interrogate the difference between victim and perpetrator. Is entertaining a violent fantasy really better than actual violence? Does vengeance condone one's wrongdoings? Pyun traces the source and effects that malice and violence have on her characters' minds.
“When does evil intent become evil itself? Is it evil simply to imagine and harbor an idea? Does it begin when a thought is put into action? And if that action fails, then did evil never exist to begin with?”
Throughout the story an air of squalor lingers over most scenes. These unpleasant characters have filthy habits (such as spitting) and grimy morals. Debt collectors torment those who are indebted, waging psychological wars against them. Young individuals are trapped into pyramid schemes and find themselves into nightmarish scenarios (a bit a la Sorry to Bother You).
Pyun emphasises humanity's darkness by focusing on the seedy behaviour, physical appearances, or living conditions of her characters. She is almost unrelenting in the way in which she delves into the notion of evil.
“There'd been good, and there'd been bad. That was all. At the time, she'd thought that all of it was bad. Because happiness had flitted on by while bad things had a way of lingering.”
More than once I was reminded of Park Chan-wook's The Vengeance Trilogy. Pyun's novel is a bleak one. Yet, as gripping as the first half of The Law of Lines was, in the latter half the story looses its momentum. Ki-jeong sort of disappears and there we get a lengthy account of what drove Se-oh into hiding. When these characters paths finally cross, I found their interaction to be somewhat underwhelming. The ending too seemed rather ill-defined.
All in all, I am unsure whether I would recommend this book to other readers. There are some wickedly clever moments, plenty of interesting observations on Korean society as well as some fascinating discussions about justice. Once the storyline lost its initial edge however I didn't care much for what I was reading. Perhaps certain things were lost in translation but I do think that the story could have been more complete.
April 1, 2022
Minimalistyczna opowieść o śmierci, o tajemnicach i dwóch kobietach, które połączy los.
To nie jest łatwa opowieść – to jedna z tych, które po cichu rozkwitają przed naszymi oczami, ukazując cały wachlarz znaczeń i nawiązań. Pyun Hye-Young między słowami demaskuje bezwzględny system, w jakim operuje na co dzień społeczeństwo Korei Południowej. System, którym kieruje pozycja społeczna, majątek, wygląd. System, w którym dominują jedynie nieliczni, wyzyskując tych, którzy stoją poniżej. Pojawiają się motywy piramidy finansowej, lichwiarskich praktyk, komorników i egzekutorów… W to wszystko uwikłani są zwyczajni ludzie, którzy marzą o niedostępnej godności, o podniesieniu swojego statusu, o tym lepszym świecie, który niby jest na wyciągnięcie ręki, a tak naprawdę dla nich – nieosiągalny.
Dwie bohaterki, ciche, niespokojne sekrety ich bliskich, niedomówienia, znaczące spojrzenia i gesty… W „Prawie linii” odnaleźć możemy współczesną literaturę południowokoreańską w całej swojej krasie. Nieoczywistą tak, jak nieoczywista dla zachodniego świata może wydawać się ta kultura. Bez zbędnego dramatyzowania, bez wrzasku i harmidru – tutaj nawet przemoc kryje się w milczeniu. Pyun Hye-Young pisze o samotności, o kobietach w społeczeństwie, o godzeniu się ze stratą. Tylko tyle i aż tyle. Nie trzeba nic więcej.
To nie jest łatwa opowieść – to jedna z tych, które po cichu rozkwitają przed naszymi oczami, ukazując cały wachlarz znaczeń i nawiązań. Pyun Hye-Young między słowami demaskuje bezwzględny system, w jakim operuje na co dzień społeczeństwo Korei Południowej. System, którym kieruje pozycja społeczna, majątek, wygląd. System, w którym dominują jedynie nieliczni, wyzyskując tych, którzy stoją poniżej. Pojawiają się motywy piramidy finansowej, lichwiarskich praktyk, komorników i egzekutorów… W to wszystko uwikłani są zwyczajni ludzie, którzy marzą o niedostępnej godności, o podniesieniu swojego statusu, o tym lepszym świecie, który niby jest na wyciągnięcie ręki, a tak naprawdę dla nich – nieosiągalny.
Dwie bohaterki, ciche, niespokojne sekrety ich bliskich, niedomówienia, znaczące spojrzenia i gesty… W „Prawie linii” odnaleźć możemy współczesną literaturę południowokoreańską w całej swojej krasie. Nieoczywistą tak, jak nieoczywista dla zachodniego świata może wydawać się ta kultura. Bez zbędnego dramatyzowania, bez wrzasku i harmidru – tutaj nawet przemoc kryje się w milczeniu. Pyun Hye-Young pisze o samotności, o kobietach w społeczeństwie, o godzeniu się ze stratą. Tylko tyle i aż tyle. Nie trzeba nic więcej.
February 9, 2020
3.5 stars. A smart novel of two parallel, intertwining plots that is less of a mystery or even a crime novel, and more a consideration of loss, obsession, and capitalism.
Both Se-oh and Ki-jeong have lost someone close to them in unclear circumstances. It could have been suicide, it could have been an accident. Both of their lost loved ones were deeply in debt. Both women become obsessed in different ways with their losses and how to grapple with them. Ki-jeong, who hasn't been close to her sister, wants to figure out what had become of her before her death. Se-oh, who feels responsible for the debt that may have led her father to suicide, zeroes in on the debt collector who hounded him.
This is not a story of two bold young heroines. Both women are lost and depressed with their lives. Se-oh has been a recluse for years and only now has to attempt to reenter the world. Ki-jeong is a teacher who cannot seem to stand her work or her students. The deeper we get into their stories, the more we are consumed by debt and the way it overwhelms lives.
I wouldn't call it a thriller, I think it's on the outer edges of crime novel, even. There are shades of mystery but I was more curious about Se-oh's past than the bigger central mysteries of the novel. It's a gloomy but gutsy look at people who have been beaten down in a class system that always works against them. Kind of like PARASITE but without any rich people in sight, that way of life is too far away to fathom in this world. But if you're looking for another dark Korean story about class, look no further.
Both Se-oh and Ki-jeong have lost someone close to them in unclear circumstances. It could have been suicide, it could have been an accident. Both of their lost loved ones were deeply in debt. Both women become obsessed in different ways with their losses and how to grapple with them. Ki-jeong, who hasn't been close to her sister, wants to figure out what had become of her before her death. Se-oh, who feels responsible for the debt that may have led her father to suicide, zeroes in on the debt collector who hounded him.
This is not a story of two bold young heroines. Both women are lost and depressed with their lives. Se-oh has been a recluse for years and only now has to attempt to reenter the world. Ki-jeong is a teacher who cannot seem to stand her work or her students. The deeper we get into their stories, the more we are consumed by debt and the way it overwhelms lives.
I wouldn't call it a thriller, I think it's on the outer edges of crime novel, even. There are shades of mystery but I was more curious about Se-oh's past than the bigger central mysteries of the novel. It's a gloomy but gutsy look at people who have been beaten down in a class system that always works against them. Kind of like PARASITE but without any rich people in sight, that way of life is too far away to fathom in this world. But if you're looking for another dark Korean story about class, look no further.
December 5, 2023
Niestety szybko o niej zapomnę. Nie do końca spełniła moje oczekiwania i liczyłam na coś nieco innego.
October 4, 2020
My first multi-level-marketing thriller or more existential agony from the Land of the Morning Calm?
Yes.
Se-oh returns to find her house in flames, her father dead inside - perhaps a suicide to escape his mounting debts. Ki-jeong gets a call that her estranged sister has been pulled from the river, dead of an apparent suicide. Slowly these two stories begin to converge but not in traditional Western thriller fashion, unveiling sinister cabals, lurking evil and grand designs.
It is more interested in illuminating how powerless we can be in the face of horrible events. How the world takes advantage of the naivety and vulnerability of youth. That these lives of grey shadows are only sharpened to a focus through tragedies that surface feelings of guilt, loss and anger. That under those heavy burdens does one struggle to move forward.
Maybe it's just I've been on a huge Korean works in translation jag as of late that colors my perception but it just feels like Korean works are tuned a little differently. That life is hard and there are no pretty answers to its endless struggle.
Yes.
Se-oh returns to find her house in flames, her father dead inside - perhaps a suicide to escape his mounting debts. Ki-jeong gets a call that her estranged sister has been pulled from the river, dead of an apparent suicide. Slowly these two stories begin to converge but not in traditional Western thriller fashion, unveiling sinister cabals, lurking evil and grand designs.
It is more interested in illuminating how powerless we can be in the face of horrible events. How the world takes advantage of the naivety and vulnerability of youth. That these lives of grey shadows are only sharpened to a focus through tragedies that surface feelings of guilt, loss and anger. That under those heavy burdens does one struggle to move forward.
Maybe it's just I've been on a huge Korean works in translation jag as of late that colors my perception but it just feels like Korean works are tuned a little differently. That life is hard and there are no pretty answers to its endless struggle.
September 14, 2025
Watch my review on YouTube here - https://www.youtube.com/watch?v=QkJu2...
Read my review on Substack here - https://open.substack.com/pub/barrywe...
4 Stars. Bleak, unsettling, and often gripping story of two women investigating the deaths of family members. Very unusual and original with a strange mix of elements. Highly recommended.
Read my review on Substack here - https://open.substack.com/pub/barrywe...
4 Stars. Bleak, unsettling, and often gripping story of two women investigating the deaths of family members. Very unusual and original with a strange mix of elements. Highly recommended.
December 12, 2023
I'm not speechless, I just have nothing to say.
This is a multi-level-marketing thriller with a heavy focus on grief, it's sort of slow. If you're into this, maybe you'll like it.
This is a multi-level-marketing thriller with a heavy focus on grief, it's sort of slow. If you're into this, maybe you'll like it.
July 4, 2020
“어쩌다보니 그렇게 됐네.”
어쩌다보니 그렇게 된 일. 신기정은 그것이야말로 트집잡을 수 없는 인생의 유일한 법칙이라는 걸 알았다. 그렇다고는 해도 그 대답은 몹시 못마땅했다. 동생이 모든 걸 우연과 운에 맡기고 되는대로 사는 것 같아서였다. 어쩌다 그렇게 된 게 아니라 그저 삶을 방치한 것이었다.
"One thing led to another"
Ki-jeong knew that, of all laws, this - the way one thing leads invariably to the next - was the only of life's laws she couldn't find fault with. But it was still an upsetting answer. Her sister seemed to to lreave everything up to luck and chance. It wasn't that one thing led to another, it was that her sister led life to its own devices.
The Law of Lines has been translated by Sora Kim-Russell from the Korean original 선의 법칙 by 편혜영.
The novels switches between the initially separate stories of two women, Ki-jeong (기정) and Se-oh (세오), both of whom suffer a bereavement as the novel opens. Ki-jeong's father dies in a gas explosion at their house and Se-oh's half-sister drowns in a river in a remote town - the police suspect both deaths are suicides.
Both women become focused, almost obsessed, with finding out what happened and, in particular, tracking down those they believe are responsible. Indeed, in an echo of Leonard in the film Memento, the quest itself gives their lives meaning, and keeps them in a state of denial, more so that perhaps any closure that might result from completing their quests, as Se-oh observes when Ki-jeong tracks her down:
Se-oh wondered if maybe Ki-jeong should have waited a bit longer to meet her and Bu-wi. As long her her search for them kept her moving she could have postponed saying goodbye to her sister.
...
Soon that would be Se-oh's life. Once her work was complete, the will to live that had been held in place only be imagining the plan and its execution would flee from her completely.
Because - no spoiler as the title of the novel makes it pretty clear - when the characters collect the lines they find their stories are connected, although how so is a mystery to both them and the reader, and only becomes clear as the novel progresses. And the author rather subverts the genre by withholding from them and the reader any real resolution when the, rather unsatisfying, truth becomes clear.
She had to figure out all the missing lines between them. Some would never be found.
This is my 11th translation by Sora Kim-Russell and she does her usual excellent job, making the novel highly readable to the English reader and yet retaining a sense of otherness, part of which lies in the two main characters (both of whom have their psychological oddities) and part in conveying Korea's distinct culture, including the judicious use of some Romanized but otherwise untranslated terms. For this is a novel where characters live in a 고시원 (gosiwon), are suckered into 다단계 (pyramid schemes), recruited over meals at a 꼬리곰탕 식당 (restaurant that serves only ox-tail bone marrow soup) and where Korean style 가스렌지 (gas ranges) play a key role.
An interesting character study and portrayal of a slice of society whose lifes are mired in debt, although as mentioned the author deliberately frustrates the reader expecting surprise revelations at the novel's end - a slow burning fuse that the author allows to fizzle out. 3.5 stars - rounded to 3 as other than the Korean setting this isn't my usual literary fare.
어쩌다보니 그렇게 된 일. 신기정은 그것이야말로 트집잡을 수 없는 인생의 유일한 법칙이라는 걸 알았다. 그렇다고는 해도 그 대답은 몹시 못마땅했다. 동생이 모든 걸 우연과 운에 맡기고 되는대로 사는 것 같아서였다. 어쩌다 그렇게 된 게 아니라 그저 삶을 방치한 것이었다.
"One thing led to another"
Ki-jeong knew that, of all laws, this - the way one thing leads invariably to the next - was the only of life's laws she couldn't find fault with. But it was still an upsetting answer. Her sister seemed to to lreave everything up to luck and chance. It wasn't that one thing led to another, it was that her sister led life to its own devices.
The Law of Lines has been translated by Sora Kim-Russell from the Korean original 선의 법칙 by 편혜영.
The novels switches between the initially separate stories of two women, Ki-jeong (기정) and Se-oh (세오), both of whom suffer a bereavement as the novel opens. Ki-jeong's father dies in a gas explosion at their house and Se-oh's half-sister drowns in a river in a remote town - the police suspect both deaths are suicides.
Both women become focused, almost obsessed, with finding out what happened and, in particular, tracking down those they believe are responsible. Indeed, in an echo of Leonard in the film Memento, the quest itself gives their lives meaning, and keeps them in a state of denial, more so that perhaps any closure that might result from completing their quests, as Se-oh observes when Ki-jeong tracks her down:
Se-oh wondered if maybe Ki-jeong should have waited a bit longer to meet her and Bu-wi. As long her her search for them kept her moving she could have postponed saying goodbye to her sister.
...
Soon that would be Se-oh's life. Once her work was complete, the will to live that had been held in place only be imagining the plan and its execution would flee from her completely.
Because - no spoiler as the title of the novel makes it pretty clear - when the characters collect the lines they find their stories are connected, although how so is a mystery to both them and the reader, and only becomes clear as the novel progresses. And the author rather subverts the genre by withholding from them and the reader any real resolution when the, rather unsatisfying, truth becomes clear.
She had to figure out all the missing lines between them. Some would never be found.
This is my 11th translation by Sora Kim-Russell and she does her usual excellent job, making the novel highly readable to the English reader and yet retaining a sense of otherness, part of which lies in the two main characters (both of whom have their psychological oddities) and part in conveying Korea's distinct culture, including the judicious use of some Romanized but otherwise untranslated terms. For this is a novel where characters live in a 고시원 (gosiwon), are suckered into 다단계 (pyramid schemes), recruited over meals at a 꼬리곰탕 식당 (restaurant that serves only ox-tail bone marrow soup) and where Korean style 가스렌지 (gas ranges) play a key role.
An interesting character study and portrayal of a slice of society whose lifes are mired in debt, although as mentioned the author deliberately frustrates the reader expecting surprise revelations at the novel's end - a slow burning fuse that the author allows to fizzle out. 3.5 stars - rounded to 3 as other than the Korean setting this isn't my usual literary fare.
February 6, 2021
What a dark, depressing book. I am going to have to go for another run to clear my head. This was a sad book that didn’t really offer redemption.
What it does is thrust open the dark underbelly of pyramid schemes and the deep-rooted ills of Korean society. The intersecting stories do meet, but not in a way that makes sense. At least, I stopped trying to make sense after some time and became very gloomy and ate way more murukku than I should have in sadness. I would consider Camus or Kafka or Sartre a light, fun read after this.
I am going for that run.
What it does is thrust open the dark underbelly of pyramid schemes and the deep-rooted ills of Korean society. The intersecting stories do meet, but not in a way that makes sense. At least, I stopped trying to make sense after some time and became very gloomy and ate way more murukku than I should have in sadness. I would consider Camus or Kafka or Sartre a light, fun read after this.
I am going for that run.
April 14, 2025
Is there something like a slow-burning thriller? I maintain that no, there isn't. While this is partly a crime novel about pyramid schemes (yes, really), the two story lines the novel mainly focuses on are dealing with a grieving daughter and a grieving sister, both of them doubting whether their relatives actually killed themselves. When destiny brings them together, the plot unfolds.... slowly. Very, very slowly.
September 22, 2024
Thank you Netgalley and Arcade for the e-advance reader copy in exchange for an independent and honest review.
Publication Date: May 5, 2020
I’m always drawn to books or films that grapple with existential questions and moral dilemmas, and 'The Law of Lines' is a prime example of that.
The story centers on two women in Korea whose lives are upended by the sudden, mysterious deaths of their loved ones. It follows their parallel journeys as they cope with grief and try to adjust to a world altered by loss.
There were several parts of the book that I found really engaging. The exploration of life in modern Korea was insightful, especially the depiction of goshiwon (tiny, budget accommodations for students and low-income workers). Themes like grief, desperation, revenge, isolation, class disparity, justice, and greed were prevalent and thoughtfully explored. The book made some astute observations about how society functions, particularly around systemic issues.
One line that stood out:
People don’t end up poor because they’re stupid. They end up poor because the system is fucked.
It reminded me of Bong Joon-Ho’s critically acclaimed film 'Parasite', particularly in how both works show people trapped within a rigid, unforgiving societal structure. However, while 'Parasite' managed to maintain a sharp, engaging narrative throughout, 'The Law of Lines' started to lose momentum around the halfway mark. The story derailed, and the ending left me feeling underwhelmed.
The book also asks interesting philosophical questions:
When does evil intent become evil itself? Is it evil simply to imagine and harbor an idea? Does it begin when a thought is put into action? And if that action fails, then did evil never exist, to begin with?
If indeed there was no evil, then is it okay to allow bad intentions to make you change your behavior, move to a new place, change your lifestyle? Does that mean that evil thoughts are no worse than a daydream, a mere fantasy? Even fantasies and daydreams can sometimes alter reality.
These questions linger as the characters navigate their circumstances, but the answers feel elusive.
I wouldn’t categorize this as a thriller or mystery—it’s more of a slow-burn literary fiction with some tension beneath the surface. If you’re looking for a deep, reflective read that delves into human emotions and societal constraints, this might be for you. However, if you're expecting a tightly paced plot or a satisfying conclusion, it may fall short.
Have you read any other works by Hye-Young Pyun?
Publication Date: May 5, 2020
I’m always drawn to books or films that grapple with existential questions and moral dilemmas, and 'The Law of Lines' is a prime example of that.
The story centers on two women in Korea whose lives are upended by the sudden, mysterious deaths of their loved ones. It follows their parallel journeys as they cope with grief and try to adjust to a world altered by loss.
There were several parts of the book that I found really engaging. The exploration of life in modern Korea was insightful, especially the depiction of goshiwon (tiny, budget accommodations for students and low-income workers). Themes like grief, desperation, revenge, isolation, class disparity, justice, and greed were prevalent and thoughtfully explored. The book made some astute observations about how society functions, particularly around systemic issues.
One line that stood out:
People don’t end up poor because they’re stupid. They end up poor because the system is fucked.
It reminded me of Bong Joon-Ho’s critically acclaimed film 'Parasite', particularly in how both works show people trapped within a rigid, unforgiving societal structure. However, while 'Parasite' managed to maintain a sharp, engaging narrative throughout, 'The Law of Lines' started to lose momentum around the halfway mark. The story derailed, and the ending left me feeling underwhelmed.
The book also asks interesting philosophical questions:
When does evil intent become evil itself? Is it evil simply to imagine and harbor an idea? Does it begin when a thought is put into action? And if that action fails, then did evil never exist, to begin with?
If indeed there was no evil, then is it okay to allow bad intentions to make you change your behavior, move to a new place, change your lifestyle? Does that mean that evil thoughts are no worse than a daydream, a mere fantasy? Even fantasies and daydreams can sometimes alter reality.
These questions linger as the characters navigate their circumstances, but the answers feel elusive.
I wouldn’t categorize this as a thriller or mystery—it’s more of a slow-burn literary fiction with some tension beneath the surface. If you’re looking for a deep, reflective read that delves into human emotions and societal constraints, this might be for you. However, if you're expecting a tightly paced plot or a satisfying conclusion, it may fall short.
Have you read any other works by Hye-Young Pyun?
June 30, 2020
***Disclaimer: I received a free copy of this book in exchange for an honest review. Thank you NetGalley and Arcade!***
This book took a little while for me to buy in. The synopsis says this is a slow burn and that is entirely accurate. This is the kind of story that is all about the characters. If the author cannot make you care about their characters then the story is lost. I cared.
This is a story about grief. Both Se-oh and Ki-jeong have been struck with grief. For Soe-oh it is the death of her father. Her grief is enhanced by events from her past that may have contributed to her father’s death in ways she never anticipated. For Ki-jeong it is the death of her estranged sister. She isn’t willing to accept that her sister died and she ultimately knew nothing about her, or her life. This sets the two of them on a quest.
But this book is also about more than that. It’s about poverty and the cycle of poverty that is seen all around the world. Along with the devastation and desperation that comes with it. It affected everyone in this story but all of the characters were too far into their own cycles of grief and poverty to see it, let alone offer any compassion or empathy to anyone else.
I enjoyed this story very much. It was highly literary and an excellent character piece. I do think it is being marketing poorly as a mystery or a thriller. It is neither of those things. It’s a story about two women and the unpredictable ways that their lives intersect while searching for their respective answers.
Reviewed for Written Among the Stars
This book took a little while for me to buy in. The synopsis says this is a slow burn and that is entirely accurate. This is the kind of story that is all about the characters. If the author cannot make you care about their characters then the story is lost. I cared.
This is a story about grief. Both Se-oh and Ki-jeong have been struck with grief. For Soe-oh it is the death of her father. Her grief is enhanced by events from her past that may have contributed to her father’s death in ways she never anticipated. For Ki-jeong it is the death of her estranged sister. She isn’t willing to accept that her sister died and she ultimately knew nothing about her, or her life. This sets the two of them on a quest.
But this book is also about more than that. It’s about poverty and the cycle of poverty that is seen all around the world. Along with the devastation and desperation that comes with it. It affected everyone in this story but all of the characters were too far into their own cycles of grief and poverty to see it, let alone offer any compassion or empathy to anyone else.
I enjoyed this story very much. It was highly literary and an excellent character piece. I do think it is being marketing poorly as a mystery or a thriller. It is neither of those things. It’s a story about two women and the unpredictable ways that their lives intersect while searching for their respective answers.
Reviewed for Written Among the Stars
July 3, 2020
I really wanted to love this book. Beautiful writing, a really solid opening, but then it just kind of meandered and faltered to an end. Disappointing,but not enough to totally ruin the book. Worth at least checking out from the library.
February 17, 2020
3.5 stars, the writing is good but I felt the two plot lines didn’t really come together in a really interesting way.
January 28, 2021
I cannot put into words why I loved this book so much, I don’t think I could even concisely explain the plot. So just take my word for it that it’s amazing.
April 14, 2022
To opowieść o Ki-Jeong, nauczycielce i Se-oh, młodej dziewczynie która żyła w zamknięciu razem ze swoim ojcem, których losy niespodziewanie się połączą. Ale przede wszystkim to cholernie przygnębiająca opowieść o życiu w biedzie i desperacji tak ogromnej, ze prowadzi ona do zaciągania niekończących się długów. Śledząc losy kilku osób poznajemy zasady działania piramidy finansowej, ludzi którzy ściągają długi i innych którzy je zaciągają. Pętla zaciska się na gardle nie tylko z biedy i beznadziei ale także z braku perspektyw nawet dla tych, którzy potencjalnie ją mają, gdyż rzeczywistość koreańska przepełniona jest niesprawiedliwością.
Książka poważna i pokazująca realia o których dużo się nie mówi, mimo to lektura ta należała do tych trudniejszych i ciężko było mi przebijać się przez kolejne strony tej układanki.
Książka poważna i pokazująca realia o których dużo się nie mówi, mimo to lektura ta należała do tych trudniejszych i ciężko było mi przebijać się przez kolejne strony tej układanki.
April 14, 2021
Quelque peu déçue... comme avec son précédent roman le jardin, l'ouvrage monte en puissance mais n'aboutit à rien de percutant ou marquant. Pour moi, il aurait peut-être été plus honnête de le classer en littérature. Mais la fin est vraiment trop déroutante et décevante...
July 28, 2022
hm, średnie. gubiły mnie czasem zawirowania czasowe, być może po angielsku byłoby prościej ze względu na różnorodność w czasach.
epilog mnie poruszył.
epilog mnie poruszył.
December 27, 2022
Bardzo ciekawa książka
November 11, 2021
short review today, im still reading a lot but getting a bit tired of writing them. i liked this book! its themes were darker than i expected. it was really interesting to explore poverty and debt within Korean society. however, something was missing. i couldnt tell you what it was, but something was missing from this book. the plot wasnt particularly predictable and the characters were complex. but the book overall, my reading experience throughout the past 5 days: it was flat. i didn't seem to care much for what i was reading. do with that what you will.
April 27, 2020
Lives, like lines, can cross but not really follow each other. Unless we are very careful, what we know about someone says more about ourselves than that other person. Such sad lives, unknown and unknowable. Not a fun read, it deals with the great chasms between people.
I received an eARC through Net Galley.
I received an eARC through Net Galley.
October 13, 2022
Une très bonne lecture, bien que le résumé diffère de l'histoire. L'autrice est toujours aussi douée pour partager le désespoir de ses personnages. Leur misère, autant économique qu'humaine, s'installe en nous au fur et à mesure de l'histoire, nous asphyxiant autant qu'elle asphyxie les protagonistes.
March 17, 2024
Smutna, przygnębiająca opowieść. Trochę długo zajęło mi dobrnięcie do końca, bo przyznam, że pierwsza połowa książki była dosyć monotonna i ciężko się czytało - ale potem kolejne 150 stron poszło ciągiem :) Uważam, że warto przeczytać, żeby zobaczyć jak bardzo różne od siebie kobiety obchodzą na swój sposób stratę bliskiej osoby.
December 1, 2023
To książka, która na pewno zyskała przy końcowce, ale mnie nie porwała.
March 31, 2025
And yet, by intending to see it through, by willingly fostering malice and contemplating and picturing murder, she was able to go on living even after losing everything.
baaardzo dobre!!!
baaardzo dobre!!!
March 4, 2020
I received this book as a free download on Netgalley in exchange for my honest review.
I would give this book 2 stars. It wasn't horrible, but I never felt like I got invested in the characters or plot at all. I know this book was originally written in Korean, and some things were probably lost in translation, but man, did everything seem kind of two dimensional. The characters and plot were pretty depressing, and while I was curious as to how the characters were related and where the storyline was going, I never really cared. I wouldn't have finished it if I didn't feel obligated to.
I'm thinking the overall theme to the book was how poverty begets tragedy and causes good people to lose sight of everything in life except the drive to survive, except when that drive to survive fails as well. But honestly, I'm not sure. The jumping back in forth in time and between characters didn't flow and was just frustrating at times.
I would give this book 2 stars. It wasn't horrible, but I never felt like I got invested in the characters or plot at all. I know this book was originally written in Korean, and some things were probably lost in translation, but man, did everything seem kind of two dimensional. The characters and plot were pretty depressing, and while I was curious as to how the characters were related and where the storyline was going, I never really cared. I wouldn't have finished it if I didn't feel obligated to.
I'm thinking the overall theme to the book was how poverty begets tragedy and causes good people to lose sight of everything in life except the drive to survive, except when that drive to survive fails as well. But honestly, I'm not sure. The jumping back in forth in time and between characters didn't flow and was just frustrating at times.
May 5, 2020
My favorite type of book. It's twisty and full of angsts. Well told and engaging. I absolutely enjoyed reading this awesome book and both characters will linger with you long after the last page. Happy reading!
April 27, 2020
Debt and guilt are at the root of this intriguing novel of two women coping with loss. Se-oh's father commits suicide because his debt- debt incurred by Se-oh- is so overwhelming he does not see a way out. Ki-jeong's younger half sister got herself into a mess because of a scheme which targeted students. Ki-jeong is a teacher who doesn't like her job or her students and she's propelled to find out what happened and who Se-oh is. These two are on a track running against one another but the final collision was less violent than I expected. It's an interesting meditation on life on the margins and on modern Korea. None of the characters are especially likable but they are quite realistically written. Thanks to the publisher for the ARC. For fans of literary fiction.
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