In Kim Jeong-han's novel, a sense of place has a very special meaning. His novel focuses on criticizing the colonial reality through the lives of indigenous people who have lived their lives around the Nakdonggang River. However, these regional reasons and placements must be expanded to a more Asian perspective, beyond the dimension of concreteizing an empirical place. Kim Jeong-han’s novel had this kind of problem when he took note of "Okinawa" in the 1970s. He wanted to read the historical reality around the Nakdong River and the history of Okinawa during the colonial period. This was caused by a problematic view of looking homogenously at various places in Asia that shared the scars of empires.
Kim Jeong-han in Okinawa are part of the placeness in the great Japanese horse, the situation and attention in two respects reinforced since the mid-1960s to clarify the new imperialism which takes advantage of reality. The continuity in terms of nationalism by understanding the victims of Okinawa, criticizing the reality of a seasonal laborer, and second, in Okinawa in the mid 1970s. Migrant workers placed in the poor reality of the labor of women in Japanese central Okinawa, including China and the end, taken to the reality of the Japanese military sexual slavery and the Pacific. The fact connected. Which during the realities of the Japanese military sexual slavery and the Okinawa, a seasonal laborer by converting from the perspective of continuity about the reality that imperialist colonial violence is nationalism led to violence. Critically to do an issue of continuity problems.
In this question-and-answer ceremony, this paper expanded the local location of Kim Jeong-han's novel to focus on the correct evaluation of colonial history and the novel task of the colonial liquidation based on it. In particular, we discuss the aspects of imperialistic violence at the end of the Japanese colonial rule, focusing on the unfinished unpublished work "Lost Tomb (「잃어버린 山所」)" in that the problematic consciousness of Kim Jeong-han's novel led to the South Sea Islands (남양군도, 南洋群島), a battleground of World War II, from Okinawa to the starting point. This outward expansion can be understood as revealing the change in the creative process of finding novel truth anew between the narrative of experience and the narrative of record beyond the limits of local placeability in performing the fictional task of colonial liquidation. Kim Jeong-han's novel reestablished the direction of the novel, in which he wrote and documented the aspects of imperialistic violence at the end of Japan's colonial rule, by testifying and accusing the limits of historical truth that the narrative of his experiences could not reach.