The difficulty of communication between writer and reader illustrates the instability and contradiction Theresa Hak Kyung Cha saw in the roles she inhabited. Cha understood herself as a series of multiple, fragmented identities, the makeup of which could not be fully or accurately articulated using the crude tools of
Theresa Hak Kyung Cha’s 1982 book confounds expectations at every turn. Specifically, there’s something monumental about the text’s extreme lack of metaphor, its striving toward objective observation, that feels to me—in this moment—absolutely poetic.