Yi Sang

He died in Japan in April 1937. He is well known for his poems and novels, such as Crow's Eye View and The Wings. Among them, Crow's Eye View received strong protests from the people at the time as not being a proper poem. Fellow poet Park Tae-won wrote in his memorial essay that people called Crow's Eye View "the sleep talk of a lunatic." Yi Sang's work contains various scientific symbols and terms, and is structurally very difficult to understand as it contains many experimental attempts. He uses wordplay through homonyms and also uses pictures in his works. He is considered as a pivotal and revolutionary figure of modern Korean literature.

• Name — Yi Sang • Birth Name — Kim Haegyŏng • Born — September 23, 1910 • Birthplace — Keijō, Keiki-dō, Korea, Empire of Japan • Died — 17 April 1937 • Place of death — Tokyo, Empire of Japan • Occupation — Poet, Novelist, Architect, Painter, Illustrator, Café Owner • Organization — Guinhoe • Notable Works — Crow's Eye View The Wings • Movement — Modernism Kim Haegyŏng (September 23, 1910 – April 17, 1937), also known by his art name Yi Sang, was a writer and poet who lived in Korea under Japanese rule. Although he was a poet, he did not receive specialized education in Korean language or creative writing, and instead majored in architecture at Gyeongseong Industrial High School, now known as Seoul National University of Science and Technology. After contracting tuberculosis in 1933, Yi Sang quit his job as a public official and ran a café, continuing his literary exchanges with the Guinhoe group. He died in Japan in April 1937. He is well known for his poems and novels, such as Crow's Eye View and The Wings. Among them, Crow's Eye View received strong protests from the people at the time as not being a proper poem. Fellow poet Park Tae-won wrote in his memorial essay that people called Crow's Eye View "the sleep talk of a lunatic." Yi Sang's work contains various scientific symbols and terms, and is structurally very difficult to understand as it contains many experimental attempts. He uses wordplay through homonyms and also uses pictures in his works. He is considered as a pivotal and revolutionary figure of modern Korean literature.

Kim Haegyŏng was born in Seoul, Korea (address: 4-6, Banjeong-dong, North District, Gyeongsŏng, Korea), on September 23, 1910, as the eldest of two sons and one daughter of Kim Yeun-chang and Park Se-chang. Yi's great-grandfather, Kim Hak-jun, held the rank of 'Jeong 3 Pum Dangsangwan' in the Joseon Dynasty. He lived in a very affluent household, but the annexation of Korea by Japan led to a decline in the family's fortunes. His father worked in letterpress printing for a palace before his birth, but after an accident that cut off his finger, he became a barber instead. Yi Sang was raised by his uncle Kim Yeon-Pil as an adoptive son since 1913, as Yeon-Pil and his wife had no children at the time of his birth. Later, however, Yeon-Pil took Kim Young-Sook as his concubine and the son she already had, Kim Moon-Kyung, became a legal son of Yeon-Pil. Yi spent time at his uncle's house even during his tenure as an official in the Government-General of Korea. Yi Sang's had his primary and secondary education at Sinmyeong School (. 1917–1921), Donggwang School (. 1921–1922) and Posung High School (1922–1926. Donggwang School was merged into Posung High School in 1922.). He graduated from Poseong High School as a 4th graduate. He met his friend Koo Bon-Woong at Sinmyeong School. While attending Boseong High School, he became an aspiring artist with interest in art, and his academic performance reached a higher level. However, because his uncle insisted, Yi chose to enter Gyeongseong Technical College (. 1926–1929) in 1926. Yi majored in architecture and graduated from the college with 1st place honors in 1928. His first known use of his art name Yi Sang was in the graduation photobook. There is testimony that Yi's art name originated from the art box he received as a gift from Koo Bon-woong. Since the art box he received was made of plum wood, Yi Sang (李箱) is interpreted to mean 'plum wood box'. Additionally, in his work 'Wings', he expressed his art name as 'Ri Sang' rather than 'Yi Sang'. In April 1929, with a recommendation from the college, he got a job as a public official in the architecture team of the Department of Domestic affairs of the Government-General of Korea. In November, he changed positions in the government to work as part of the building maintenance team of the Department of Secretariat and Accounting. In December 1929, he became a member of the Joseon Architecture Society, which mainly comprised Japanese architects in Korea. Yi won first and third prizes in a design contest for the cover of Joseon and Architecture (朝鮮と建築), a journal issued by the Joseon Architecture Society. Kim Yeon-pil, a father's elder brother who took care of the above growth process, died of cerebral hemorrhage on May 7, 1932.

Most of Yi's works were produced during the 1930s. In 1930, he serialized his first literature work (a medium-length novel) December 12th on the Korean version of the magazine Joseon, which was a magazine issued by the Government-General of Korea to promote their colony policies. In July 1931, Yi released the following six Japanese poems on Joseon and Architecture: • A Strange Reversible Reaction (異常ナ可逆反應) • The Scenery of Broken Parts (破片ノ景色) • The Amusement of ▽ (▽ノ遊戯) • The Beard (ひげ') • BOITEUX · BOITEUSE • The Empty Stomach (空腹). Eight Japanese poems under the name "Bird's-Eye View" (鳥瞰圖; 조감도) on Joseon and Architecture (August 1931): • Two People ····1···· (二人····1····; 이인····1····) • Two People ····2···· (二人····2····; 이인····2····) • A Nervously Obese Triangle (神経質に肥満した三角形; 신경질적으로비만한삼각형) • LE URINE • Face (顔; 안 or 얼굴) • Movement (運動; 운동) • Confession of A Crazy Woman (狂女の告白; 광녀의고백) • Entertainment Angel (興行物天使; 흥행물천사) In October 1931, he released a set of seven Japanese poems under the name "Three-Dimensional Angle Blueprint" (三次角設計圖; 삼차각설계도). The title of each poem is Memorandum on the Line 1 (線に関する覚書1; 선에관한각서1), ···, and Memorandum on the Line 7. In March and April 1932, Yi released two Korean novels: Darkroom of a Map and Suspension of Business and Circumstances on the magazine Joseon. He used different pen names on these two pieces: "Bigu" for the former and "Bosan" for the latter. A series of seven Japanese poems under the name Building Infinite Hexahedral Bodies (July 1932) (建築無限六面角體; 건축무한육면각체): • AU MAGASIN DE NOUVEAUTES, • Rough Map Under Heat No. 2 (Unfinalized draft) (熱下略圖 No. 2 (未定稿); 열하약도 No. 2 (미정고)) • Diagnosis 0:1 (診断 0:1; 진단 0:1) • Twenty-two years (二十二年; 이십이년) • The Publication Law (出版法; 출판법) • Departure of Mr. Cha 8 (且8氏の出発; 차8씨의출발) • Midday—Some ESQUISSE— (真昼—或るESQUISSE—; 대낮—어떤ESQUISSE—). In 1933, he released the following Korean poems: • A Flower Tree • This Kind of Poem • 1933, 6, 1 (一九三三, 六, 一) • Mirror. In 1934, Yi released the following Korean poems and essays: • 보통기념 • Three States of Blood Calligraphy • Crow's-Eye View • History of the Cane (지팡이 역사) • Soyeong Wije • A Fall of Walks (산책의 가을). Three States of Blood Calligraphy was a set of five essays: • Oscar Wilde (오스카 와일드) • Sensual Forgery • Mr. Hyde (하이드 씨) • An Evil Spirit's Appreciation (악령의 감상) • The Third Blood Calligraphy Crow's Eye View was a set of 15 poems, each titled from Poem No. 1 to Poem No. 15. Three poems from the series had an additional title: Poem No. 8 Dissection, Poem No. 9 Muzzle, Poem No. 10 Butterfly. Some of the poems from Crow's-Eye View were parodies of his early Japanese work, Building Infinite Hexahedral Bodies.

In 1933, Yi began coughing up blood due to tuberculosis, which forced him to quit his work as a public official. He opened a coffee house, Jebi, where he interacted with other writers and artists. In 1934, Yi joined the Guinhoe, a literary organization formed on August 26, 1933, to pursue pure literature, as opposed to the Korean Artists’ Proletarian Federation (Korea Artista Proleta Federacio; KAPF), an organization that pursued proletarian literature. The group recruited individuals associated with the cultural departments of daily newspapers, aiming for members who could withstand criticism from the KAPF. Mentioned individuals included Lee Tae-jun, Lee Moo-young, and Kim Ki-rim. To show its character as a literary circle, famous writers at the time such as Lee Hyo-seok, Jung Ji-yong, and Yoo Chi-jin joined the Guinhoe. However, although two individuals closely associated with the KAPF had established the Guinhoe to counter KAPF, the group's character gradually solidified into that of a simple social gathering. As a result, many of the early members of the group, including Kim Yoo-young, Lee Jong-myung, Lee Moo-young, and Lee Hyo-seok, withdrew. Park Tae-won and Yi Sang filled their vacancies. The Guinhoe then began to take on a direction different from its initial purpose. The increase in members with academic backgrounds, particularly those majoring in English literature, suggests that these individuals began to emerge as a force in Korean literature. In 1935, Yi had to close the Jebi due to financial difficulties, and he broke up with Geumhong. Cafe Tsuru and Coffee Shop 69 in Insa-dong were opened and transferred, and after managing Coffee Shop Mugi in Myeong-dong, he healed in Seongcheon and Incheon right after he closed it. He then moved back to his family’s shack settlement beneath Beontigo-gae in Sindang-ri—a slum he later dubbed “the paulownia-hill ghetto”—where extreme poverty, recurring tuberculosis, and a slum fire that destroyed some thirty homes on 31 January 1936 formed the bleak backdrop for his next poems. In 1936, Yi Sang edited the Guinhoe's magazine, Poetry and Novels, published by Changmunsa under the aegis of Koo Bon-Woong. His "Street Exterior, Street Passage" was published in this journal. That February he also issued the five-poem cycle Ruk-Dan (易斷) in Catholic Youth, breaking his habit of publishing only in summer and recording a record −20 °C cold spell and winter haemoptysis in Gyeongseong. After partially recovering and marrying Byeon Dong-rim in June, he unveiled the twelve-poem cycle Wi-Dok (危篤) between 4 and 9 October 1936. Of roughly seventy poems he published during his lifetime, about seventy-five percent (fifty-nine) appeared in serial form, Wi-Dok being the last. His short story "Diary Before Death" and his personal memoir "Monotony" were published posthumously in Tokyo. In November 1936, Yi went to Japan. In February 1937, he was investigated by the Nishi-Ganda Police Station in Tokyo on ideological charges. After being investigated for about a month, he was released from prison due to worsening tuberculosis. Yi was hospitalized at the Tokyo Imperial University Hospital, and died on April 17 at the age of 26. His wife, Byun Dong-rim, moved to Japan immediately after hearing that Yi Sang was in critical condition. After Yi Sang died, she cremated his ashes and buried them in Miari Cemetery. Later, according to Byun, she had asked him what he wanted to eat, and he died soon after leaving the words, "Sembikiya's melon." Park Tae-won, a fellow writer and friend of Yi's, mentioned the following: "He loved girls so much, loved alcohol, loved his friends, and loved literature, but not a half of that love went for his body. His death is named as death from illness, but isn't the essence of this death suicide? Such suspicions become intense."

Jeong Ji-yong is a founding member of the Guinhoe to which Yi Sang belongs. In 1933, he served as an editorial advisor to, playing a major role in promoting Yi Sang's poems. With the help of Jeong Ji-yong, Yi sang published works such as "꽃나무" and "이런시" in Korean in.

Yi Sang and Park Tae-won were born around the same time and both hailed from the four gates of Gyeongseong, now known as Seoul. This shared origin is an important clue to understanding their literary worlds. Both Park Tae-won and Yi Sang were members of the Guinhoe, which they joined in 1934. They first met at Dabang Jebi, a coffee house opened by Yi Sang in Jong-no 1(il)-ga. Their first meeting is estimated to have occurred in June or July 1933. Kim Ki-rim, another Guinhoe member, and Ko Un wrote that Jebi opened in July 1933, while Yi Sang's sister, Kim Ok-hee, mentioned June of the same year. The story of their first meeting is recounted in Park Tae-won's memoir for Yi Sang, "Yi Sang-ui Pyeonmo" (이상의 편모), written after Yi Sang's death. Park Tae-won was intrigued by Yi Sang as a poet and his poem "Movement" (운동; 運動). Maintaining their relationship, Park Tae-won and Yi Sang collaborated with the newspaper Joseon-Jungang-ilbo to publish a series of Yi Sang's poems, Crow's Eye View (Ogam-do), and Park's novel, A Day in the Life of Novelist Mr. Gubo (소설가 구보씨의 일일). Yi Sang also created illustrations for Park Tae-won's novel. Despite facing harsh criticism for the abstruseness of their literature, they continued their literary endeavors. After Yi Sang's admission to Guinhoe in the fall of 1934, they focused on the publication of the bulletin "Poet and Novel" (시와 소설). They also shared literary themes in works like Yi Sang's poem "Movement" (운동; 運動) and Park Tae-won's short story "Bangranjang Juin (방랑장 주인; 芳蘭莊 主人)", both written in a single sentence. Park Tae-won's novels often repeat similar themes and patterns, one of which is A Novel Report on Yi Sang's Private Life, including works such as Aeyog (애욕, 1934), Bogo (보고, 1936), Yi Sang-ui Bilyeon (이상의 비련, 1936), Yeomcheon (염천, 1938), and Jebi (제비, 1939). The main character of the novel Aeyog (1934) is believed to be modeled after Yi Sang, hinted by Yi Sang's pen name "Hae-yung," who drew an illustration for A Day in the Life of Novelist Mr. Gubo. Jebi (1939) is a novel based on the tea house 'Jebi' run by Yi Sang, illustrated by Park Tae-won. Park Tae-won and Yi Sang were inseparable, sharing not only their literary endeavors but also their indulgences, depressions, and moments of decadence. Park Tae-won's house in Da-dong was a refuge for Yi Sang whenever he was beaten by Geum-Hong, who lived with him. However, their close relationship ended with Yi Sang's death in Tokyo.

Kim Ki-rim, a poet and a newspaper reporter at the Chosun Ilbo, was one of the founding members of Guinhoe. Yi Sang was initially introduced to Kim by Park Tae-won. During their first encounter, they discussed Jules Renard, Salvador Dalí, and René Clair. Kim became interested in Yi because of their shared aesthetic affinity for surrealism. Yi Sang designed the cover of Kim Ki-rim's poetry collection, "Gisangdo" (기상도). Between 1936 and 1937, Yi Sang sent seven letters to Kim Ki-rim, which are still preserved today under the title 'To Kim Ki-rim'. During this period, Yi moved to mainland Japan and was close to death due to tuberculosis. These letters reflect Yi's everyday thoughts and experiences. For instance, in the fourth letter, Yi mentions René Clair, the French filmmaker, and criticizes his movie, "The Ghost Goes West." The letters also highlight their close relationship. Yi frequently discussed the progress of his works, such as "The Wings" (날개) and "Diary Before Death" (Jongsaenggi; 종생기; 終生記), requesting Kim's opinions on them. Additionally, Yi commented on a paper by Choi Jae-seo, a Korean literature critic, who criticized works like "The Wings (날개)". After Yi Sang's death, Kim Ki-rim wrote a tribute titled "Memories of the Late Yi Sang" (고 이상의 추억). In this tribute, he recognized Yi's death as a "tragedy of a reduced-printed era", placing Yi's death within a historical context. In 1949, Kim Ki-rim collected Yi Sang's works and published the first collected works, "Yi Sang Seon-jip" (이상선집; 李箱選集).

Koo Bon-Woong was a painter and art critic who graduated from the Taiheiyo Art School(太平洋美術 學校). He first met Yi Sang at Sinmyeong School. Koo, who had a hunchback, attended school intermittently due to health problems and ended up graduating alongside Yi Sang, who was four years younger. Teased because of his hunchback, Koo developed a keen interest in art. Similarly, Yi Sang, who also had a strong interest in art, became friends with Koo, supporting and respecting him. This marked the beginning of their relationship, which continued into adulthood. In 1933, to care for Yi Sang, who had quit his job as a public official due to illness, Koo Bon-Woong took him to Baechon Hot Springs in Hwanghae Province. Baechon Hot Springs is also known as the place where Yi Sang first met Geum-Hong. After Yi Sang's health slightly improved, he and Geum-Hong returned to Seoul (Koo returned before them) and opened a coffee shop called "Jebi". It is said that Koo Bon-Woong's painting, "Still Object with a Doll" (인형이 있는 정물, 71.4 cm x 89.4 cm), was displayed in this café. After Jebi closed down, Yi Sang had no means of livelihood. He eventually found work as a proofreader at Koo Bon-Woong's printing press. There, with Koo's assistance, Yi Sang founded a literary magazine called "Poetry and Novel" (시와 소설), featuring works from members of Guinhoe. Although only the inaugural issue was produced due to a lack of active participation from the members, Yi Sang's postscript in the magazine shows that Koo Bon-Woong was a fervent supporter of Yi Sang's artistic activities. Furthermore, Yi Sang's last lover, Byun Dong-Rim, was the younger sister of Koo Bon-Woong's stepmother. This somewhat unusual relationship was due to the fact that Koo's stepmother was not significantly older than Koo. Yi Sang and Koo were close, often spending time together at 'Ugodang,' Koo's studio and office, as coworkers. Yi Sang frequently drew pictures there. When Yi Sang was struggling with a series of business failures, Koo got him a job at a publishing company, Changmunsa, founded by his father in 1935. Koo Bon-Woong painted his friend Yi Sang in a well-known work called "Portrait of a Friend" (우인상).

In Yi Sang's poetry, women appear in various forms, but they commonly exhibit behaviors of fleeing from or becoming disconnected from the poetic speaker. This reflects Yi Sang's feelings of anxiety and alienation in his relationships with women. In his poems, women are always drifting away, leaving the speaker with a sense of loss and loneliness. This portrayal poetically expresses the complex relationships and inner conflicts Yi Sang experienced. The motifs of women in Yi Sang's poetry can be largely identified as three figures: Geum-Hong, Kwon Soon-ok, and Byeon Dong-lim. Particularly, women modeled after Geum-Hong tend to flee from the poetic speaker. Ultimately, the women depicted by Yi Sang can be interpreted as symbols of his deep-seated loneliness and sense of disconnection.

In 1933, 23-year-old Yi Sang first encountered Geum-Hong, who was a kisaeng (기생; 妓生), during a trip to Baechon Hot Springs (배천온천; 白川温泉) to recuperate from tuberculosis. They developed a romantic relationship and managed a coffee house called 'Jebi' on Jong-no 1st Street, Gyeongseong. Yi Sang designated Geum-Hong as the manager of the coffee house, and they lived together for an estimated two years. However, their relationship was tumultuous due to financial difficulties. Geum-Hong frequently stayed out, and Yi Sang would lash out at her by mentioning her previous life as a kisaeng. As a result, she would physically beat him and often run away from home, leading to their eventual breakup. Consequently, in September 1935, the coffee house Jebi closed down. Their love story is depicted in Yi Sang's novel, 'Bongbyeolgi' (봉별기; 逢別記), which means 'A Story of Meeting and Parting'. Geum-Hong is also implicitly portrayed in his short story 'The Wings' (날개) under the name Yeon-shim-i (연심이), her real name. Furthermore, Yi Sang's poems reveal the dynamics between him and Geum-Hong. In the poems "危篤:追求" and "明鏡", Geum-Hong is always trying to escape from Yi Sang, which fills him with sorrow each time. However, in the poem "ㆍ素ㆍ榮ㆍ爲ㆍ題ㆍ" and the novel "The Wings", despite his sadness, Yi Sang does not deeply dwell on Geum-Hong's acts of infidelity and prostitution. These aspects highlight the unique nature of their relationship.

After the failure of the coffeehouse Jebi, Yi Sang took over the café 'Tsuru' (Hangul: 쓰루, Kanji: 鶴) by mortgaging his parents' house. He recruited Kwon Soon-ok, who had worked as a waitress at another café, 'Angel'. Kwon Soon-ok was highly educated and had broad interactions with other writers, such as Jeong In-taek. While Yi Sang fell for her, their romantic relationship never fully developed. Jeong In-taek had a secret crush on her, leading to a love triangle. Jeong In-taek even attempted suicide to win her favor, and after this incident, Kwon Soon-ok and Jeong In-taek married. Ironically, Yi Sang presided over their wedding ceremony. Following Jeong In-taek's death, Kwon Soon-ok remarried Park Tae-won.

Byeon Dong-rim (변동림), a writer introduced to Yi Sang by Gu Bon-woong, became his wife. Yi Sang and Byeon Dong-rim met in 1936 through this introduction. Only three months into their marriage, Yi Sang left for Tokyo alone, where his health sharply deteriorated. He was transferred to Tokyo Imperial University Hospital in a severe state, worsened by a sudden arrest. Upon hearing the news, Byeon Dong-rim traveled to Tokyo within two days. After just four months of marriage, Yi Sang died in her presence. Their feelings towards each other can be traced through Yi Sang's "Tokyo" (Donggyeong; 동경; 東京) and Byeon Dong-rim's "Moonlight Heart" (월하의 마음; 月下의 마음). According to Byeon Dong-rim's essay "Moonlight Heart," shortly before his death, Yi Sang reportedly said he wanted to eat "Sembikiya's melon." Byeon Dong-rim went to buy the melon to fulfill Yi Sang's final request, but sadly, Yi Sang did not get to eat it. In later years, Byeon Dong-rim reflected on Yi Sang's death, stating, "He lived a most brilliant, enchanted life. The 27 years he spent on this earth were enough time for a genius to fully blossom and then fade away."

Poems • Year — Series — Title — Translated Title — Publisher • 1933 — - — 꽃나무 — A Flower Tree — 가톨닉靑年 • 이런시 — This Kind of Poem • 一九三三, 六, 一 — 1933, 6, 1 • 거울 — Mirror • 보통기념 — 월간매신 • 1934 — Crow's Eye View (烏瞰圖) — 詩題一號 — Poem No. 1 — 朝鮮中央日報 • 詩題二號 — Poem No. 2 • 詩題三號 — Poem No. 3 • 詩題四號 — Poem No. 4 • 詩題五號 — Poem No. 5 • 詩題六號 — Poem No. 6 • 詩題七號 — Poem No. 7 • 詩題八號 解剖 — Poem No. 8 Dissection • 詩題九號 銃口 — Poem No. 9 Muzzle • 詩題十號 나비 — Poem No. 10 Butterfly • 詩題十一號 — Poem No. 11 • 詩題十二號 — Poem No. 12 • 詩題十三號 — Poem No. 13 • 詩題十四號 — Poem No. 14 • 詩題十五號 — Poem No. 15 • - — 素榮爲題 — 中央 • 1935 — - — 정식 — 가톨닉靑年 • 紙碑 — 朝鮮中央日報 • 1936 — - — 紙碑-어디갔는지모르는안해 — 中央 • 易斷 — 火爐 — (charcoal) brazier — 가톨닉靑年 • 아츰 — morning • 家庭 — family • 易斷 — reverse one's fate • 行路 — path in life • - — 街外街傳 — 詩와小說 • 明鏡 — 女聲 • 危篤 — 禁制 — prohibition — Chosun Ilbo • 追求 — pursuit • 沈歿 — sinking • 絶壁 — cliff • 白晝 — broad daylight • 門閥 — family faction • 位置 — location • 買春 • 生涯 — life • 內部 — internal • 肉親 — blood relative • 自傷 — self-injury • - — I WED A TOY BRIDE — 三四文學 • 1937 — - — 破帖 — Torn Notebook — 子午線 October • 1938 — - — (無題) — (Untitled) — 貘(第3號) October • (無題) (기이) — (Untitled) — 貘(第4號) October Long novels • Year — Title — Translated Title — Year — Publisher • 1930 — 十二月 十二日 — December 12 — 1930 — 朝鮮 Short novels • Year — Title (English Title) — Translated Title — Publisher — Remarks • 1932 — 地圖의 暗室 — Darkroom of a Map — 朝鮮 March — With pen name '比久' • 休業과 事情 — Shutdown & Reasons — 朝鮮 April • 1934 — 지팽이 轢死 — 月刊每申 March • 1936 — 鼅鼄會豕 — Ji-Ju-Whoe-Shi — 中央 June — The title means "two spiders that met a pig" • 날개 — The Wings — 朝光 September • 逢別記 — Bongbyeolgi — 女性 December — The Title means "a writing of meet and separate" • 1937 — 童骸 — Child's Remains — 朝光 February • 황소와 도깨비 — The Bull and the Goblin — 每日申報 March 5–9 — Fable / Fairy tale • 終生記 — 朝光 May • 1938 — 幻視記 — Record of Illusions — 靑色紙 June • 1939 — 失花 — Flower Loss — 文章 March • 斷髮 — Hair Cut — 朝鮮 April • 金裕貞 — Kim Yu Jeong — 靑色紙 May Essays • Year — Title — Translated Title — Publisher — Remarks • 1934 — 血書三態 — 新女性 June • 산책의 가을 — The autumn of a walk — 新東亞 October • 1935 — 현대미술의 요람 — The cradle of modern art — 每日新報 March 14 ~ March 23 • 山村餘情 — 每日新報 September 27 ~ October 11 • 1936 — 문학을 버리고 문화를 상상할 수 없다 — I can't imagine culture without literature — 朝鮮中央日報 January 6 • 나의 애송시 — My favorite poem — 中央 January • 논단시감 — 朝鮮日報 January 24 ~ January 28 • 西望栗島 — 朝光 March • 早春點描 — 每日新報 March 3 ~ March 26 • 편집후기 — 詩와 小說(Poetry and Novel) March • 女像四題 — 女性 April • 내가 좋아하는 화초와 내 집의 화초 — 朝光 May • 약수 — 中央 July • EPIGRAM — 女性 August • 아름다운 조선말 — The Beautiful Korean Language — 中央 September • 행복 — Happiness — 女性 October • 가을의 探勝處 — 朝光 October • 秋橙雜筆 — 每日新報 October 14 ~ October 28 • 1937 — 십구세기식 — 三四文學 April • 공포의 기록 — Records of Horror — 每日新報 April 25 ~ May 15 • 권태 — Monotony — 朝鮮日報 May 4 ~ May 11 • 슬픈이야기 — A Sad Story — 文章 June • 오감도 작자의 말 — Remarks from the author of "Crow's Eye View" — 文章 June — According to Park Tae-won(박태원)'s eulogy [Yi Sang's flagella(이상의 片貌], "It was written because 30 series of「烏瞰圖」 were discontinued into 15 series. It was not announced at the time." • 1938 — 문학과 정치 — Literature and Politics — 四海公論 July • 1939 — 실락원 — Paradise Lost — 朝光 February • 병상 이후 — 靑色紙 May • 東京 — 文章 May • 最低樂園 — 朝鮮文學 May Letters, magazines, etc. • Year — Title — Translated Title — Publisher — Remarks • 1936 — 동생 옥희 보아라 — Read this letter sister Ohk-he — 中央 September — Letter to send his sister Kim Ohk-he(金玉姬) • 김기림에게 2 — To Kim Ki-rim (2) — Letter to send Kim Ki-rim • 김기림에게 3 — To Kim Ki-rim (3) • 김기림에게 4 — To Kim Ki-rim (4) • 김기림에게 5 — To Kim Ki-rim (5) • 김기림에게 6 — To Kim Ki-rim (6) • 김기림에게 7 — To Kim Ki-rim (7) • 김기림에게 8 — To Kim Ki-rim (8) • 안필승(안회남)에게 — Letter to send Ahn Hoenam (安懷南) • 남동생 김운경에게 — To my brother Kim Un-Gyeong — Letter to send his brother Kim Un-gyeong(金雲卿) • 1936 — 아포리즘 — Aphorism — 詩와 小說(Poetry and Novel) March • 1939 — 文章 July • - — 京城高等工業 - 專門學校 Photo album

Poems • Year — Series — Title — Translated Title — Publisher • 1931 — 異常ナ可逆反應 (A Strange Reversible Reaction) — 異常ナ可逆反應 — A Strange Reversible Reaction — 朝鮮と建築 July • 破片ノ景色ㅡ — The Scenery of Broken Parts • ▽ノ遊戯ㅡ — The Amusement of ▽ • ひげㅡ — The Beard • BOITEUXㆍBOITEUSE • 空腹ㅡ — The Empty Stomach • 鳥瞰圖 (Bird's-Eye View) — 二人····1···· — Two People ····1···· — 朝鮮と建築 August • 二人····2···· — Two People ····2···· • 神経質に肥満した三角形 — A Nervously Obese Triangle • LE URINE • 顔 • 運動 — Movement • 狂女の告白 — Confession of A Crazy Woman • 興行物天使 • 三次角設計図 (Three-Dimensional Angle Blueprint) — 線に関する覚書1 — Memorandum on the Line 1 — 朝鮮と建築 October • 線に関する覚書2 — Memorandum on the Line 2 • 線に関する覚書3 — Memorandum on the Line 3 • 線に関する覚書4 (未定稿) — Memorandum on the Line 4 (Unfinished draft) • 線に関する覚書5 — Memorandum on the Line 5 • 線に関する覚書6 — Memorandum on the Line 6 • 線に関する覚書7 — Memorandum on the Line 7 • 1932 — 建築無限六面角体 (Building Infinite-Hexahedral-Angle Bodies) — AU MAGASIN DE NOUVEAUTES — AT THE WAREHOUSE OF NEW THINGS — 朝鮮と建築 July • 熱河略圖 No. 2 (未定稿) — Rough Map Under Heat No. 2 (Unfinalized draft) • 診断 0：1 — Diagnosis 0:1 • 二十二年 — Twenty-Two Years • 出版法 — The publication law • 且8氏の出発 — The Departure of Mr. 8 • 真昼——或るESQUISSE—— — Noon——A Certain ESQUISSE—— • 1940 — - — 蜻蛉 — Dragonfly — 乳色の雲 • 一つの夜 — A Night • 1956 — - — 隻脚 — One Leg — 李箱全集 • 距離(女去りし場合) — Distance (in case of leaving a woman) • 囚人の作った箱庭 — A Prisoner's Garden • 肉親の章 — Family Chapter • 内科 — Internal Medicine • 骨片ニ関スル無題 — No Title Related to Bone Fragments • 街衢ノ寒サ — Street's Cold • 朝 — Morning • 最後 — Last • 1960 — - — (無題) — (Untitled) — 現代文學 November • 一九三一年 作品 第一番 — Year 1931 Work No. 1 • 1961 — 구두 — Shoes — 新東亞 January • 어리석은 석반 — 現代文學 January • 1966 — (無題) — (Untitled) — 現代文學 July • 애야 • 1976 — 회한의 장 — 文學思想 June • 단장 — 文學思想 July • 與田準一 — Jun'ichi Yoda • 月原橙一郞 Essays • Year — Title — Translated Title — Publisher • 1935 — 船の歴史 — The history of ships — 新兒童 October • 1960 — 얼마 안되는 변해 — 現代文學 November • (無題) — (No title) • (無題) — (No title) • 이 아해들에게 장난감을 주라 — 現代文學 December • 모색 • (無題) — (No title) • 1961 — 습작 쇼오윈도우 수점 — 現代文學 February • 1976 — 첫번째 방랑 — 文學思想 July • 불행한 계승 • 객혈의 아침 • 獚의 記 作品 第二番 • 作品 第三番 — Work No. 3 • 1986 — 공포의 기록(서장) — 文學思想 October • 공포의 성채 • 야색 • 단상 • 2000 — 낙랑 파라의 새로움 — The Newness of Nakrang Para — 韓國文學硏究 Letter, Magazine, etc. • Year — Title — Translated Title — Publisher — Remarks • 1932 — 巻頭言1 — 朝鮮と建築 June — Presumed to be Yi Sang's work while participating in the magazine's editing • 巻頭言2 — 朝鮮と建築 July • 巻頭言3 — 朝鮮と建築 August • 巻頭言4 — 朝鮮と建築 September • 巻頭言5 — 朝鮮と建築 October • 巻頭言6 — 朝鮮と建築 November • 巻頭言7 — 朝鮮と建築 December • 1933 — 巻頭言8 — 朝鮮と建築 May • 巻頭言9 — 朝鮮と建築 June • 巻頭言10 — 朝鮮と建築 July • 巻頭言11 — 朝鮮と建築 August • 巻頭言12 — 朝鮮と建築 October • 巻頭言13 — 朝鮮と建築 November • 巻頭言14 — 朝鮮と建築 December • 1978 — 낙서 — Scribble — 李箱詩全作集 Art book — It is in the pictorial of the 全集(2). It reads, "Yi Sang's scribbles on the wall of Nakrang(낙랑). He soothes his anger here by drinking a drink." 'Nakrang(낙랑)' means a cafe called 'Nakrang Para(낙랑파라).' It also appears in the essay "The Newness of Nakrang Para(낙랑파라의 새로움)." • 1976 — 낙서 — Scribble — 讀書生活 November — It is carried with Yi Sang's self-portrait on the inner cover of Jules Renard's 「The Power Notebook」. It was introduced by Im Jong-guk(임종국).

• Yi Sang: Selected Works (translated by Don Mee Choi, Jack Jung, Joyelle McSweeney, and Sawako Nakayasu), Seattle and New York: Wave Books, 2020.. • The Wings, Seoul: Jimoondang Publishing, 2001.. • Three Poets of Modern Korea: Yi Sang, Hahm Dong-seon, and Choi Young-mi, Louisville: Sarabande Books, 2002. • Yi Sang, "Wings," translated by Walter K. Lew, in Modern Korean Fiction: An Anthology, eds. Bruce Fulton and Youngmin Kwon. NY: Columbia University Press, 2005. • Yi Sang, 20 poems, translated from the Korean by Walter K. Lew, from the Japanese by Edward Mark, in The Columbia Anthology of Modern Korean Poetry, ed. David R. McCann. NY: Columbia University Press, 2004. • Meetings and farewells: Modern Korean stories, Chong-wha Chung St Lucia QLD: University of Queensland Press, 1980. • The Wings: eBook I-AHN CREATIVE, 2015..

Yi Sang inspired numerous contemporary cultural works including video games, musicals, music and movies.

• Smoke(스모크, 2017). Produced by Double K Entertainment, draws inspiration from Yi Sang's "Crow's Eye View." It explores the lives of three characters who represent different facets of Yi Sang's persona. The musical's narrative and lyrics include direct references to Yi Sang's literary works, and it delves into the psychological and existential struggles depicted in his writings. • Fan Letter(팬레터, 2016). First released in 2016, is a 160-minute musical produced by Live. The song was written by Han Jae-eun and composed by Park Hyun-sook. Based on the 1930s-era anecdotes of "Yi Sang," "Kim Yoo-jung(김유정)," and the "Guinhoe(구인회, 九人會)". • L'art reste(라흐헤스트, 2022). First released on September 6, 2022, is a 110-minute musical produced by the Hong Company. The musical was directed by Kim Eun-young. The lyrics were written by Kim Han-sol, and Moon Hye-sung and Jung Hye-ji composed the song. "L'art reste" means "art remains" in French. It is based on a true story about a Western painter, Byeon Dong-rim, her first husband Yi Sang, and her second husband, Kim Hwan-ki. • Kkood bye, Yi Sang (꾿빠이, 이상, 2017). Organized by the Seoul Arts Center, is based on the 2016 original novel of the same name.

• The character Yi Sang, who is based on Kim Haegyŏng, appears in Project Moon's role-playing game Limbus Company. In the game, Yi Sang is portrayed as a talented scientist, mirroring the author's real-life career as an architectural engineer during the colonial period. The character's dialogues often reference Yi Sang's poems, such as "The Wings" and "Mirror," reflecting the profound themes of time and existence found in his works. • Shin Hae Gyeong, a contemporary musician, frequently draws on Yi Sang's literary themes in his music. His stage name and several album titles are direct references to Yi Sang's works. For instance, his name is taken from Yi Sang's real name, Kim Hae-kyung. His album My Reversible Reaction is inspired by Yi Sang's poem "A Strange Reversible Reaction." At the end of the music video "And then", a phrase from Yi Sang's novel Bonbyeolgi, "속아도 꿈결, 속여도 꿈결" appears directly. His music often captures the melancholic and introspective tone of Yi Sang's poetry, creating a modern dialogue with the poet's legacy.