Grief in the Aftermath: Benjamin Suddarth Interviews Min-Jung
Min-Jung is a high school English teacher in Korea. Her novel, Unnie, is profoundly significant not only because it is an English literary work written by an author residing in Korea—an exceptionally rare case—but also because it is the first English novel to transform the tragic Sewol ferry disaster into literature. The work vividly reflects the author’s earnest desire to shine a light so that those who left this world too soon will not be forgotten in the darkness.
Unnie, published in early 2024 by Libre Books, tells of the tragic sinking of the Sewol ferry where 304 people lost their lives, of which 250 were students and 11 teachers. The novel, based on true events, delves into the unimaginable grief the families of the victims feel in the aftermath of the sinking, all through the eyes of Yun-young and her family, where they too are looking for their unnie (Korean word for “older sister”) as she is missing after the tragedy. The novel is a poignant reminder of what happens after a tragedy: the agonizing grief that lingers on in the families and the little moments of remembrance and love that pull them back together. In her novel, Min-Jung perfectly portrays the sympathy needed to remember those who were lost.
Unnie is available for purchase.
Benjamin Suddarth: What was the inspiration for pairing this sister relationship in the novel? What was the inspiration of Yun-young’s journey to discover more about the life of her sister after the Sewol disaster?
Min-Jung: The inspiration likely stemmed from my own search for comfort as the unnie—the eldest sister who bears a unique sense of solitude in that role, much like I do in real life. In shaping the younger sister's journey to understand her unnie by following her traces, I unknowingly delved into my own longing to revisit and console my past self during my lonely struggles.
BS: Many tragic stories about the sinking of a ship usually come from the perspective of the tragedy itself, usually the lead-up to the incident. But in Unnie, it is mostly about the aftermath, the grief that continues on in the family members and community. What inspired you to make this choice with your novel? Why did you decide to make it from the perspective of the aftermath?
MJ: The cries of the bereaved families naturally shaped the aftermath perspective for me. I wanted to stand with them, sharing in the unbearable weight that those left behind are forced to carry.
BS: Grief is such a prominent underlying feeling throughout the whole novel. Was it challenging at times to maintain this feeling throughout the writing process?
MJ: Definitely, yes. It was incredibly difficult. There wasn’t a single moment I didn’t cry while closely observing the bereaved families through the media to try and understand what they were experiencing. Since I began writing the book, I can’t even shower in cold water without hearing the screams of the victims trapped in the sinking ship or feeling the harsh, unrelenting sensation of the water.
BS: There were times when the story almost went into a style of a collective narrative as the parents of the victims, including Yun-young and her family, are trying to piece together the events and find their family members. These were some of the most powerful moments. Was this an intentional choice? Why was it important for you to show how the other parents were reacting?
MJ: Yes, I only realized that after I finished writing. When I read it again, I wondered if I should adjust it for a more uniform narrative. However, I came to understand that even if readers noticed that shift, it wouldn’t feel out of place. I hoped to convey a shared sense of grief, suggesting that Yun-young's family—indeed, all of us—were not alone in our suffering. I’m pleasantly surprised that you noticed this; it reassures me that I made the right decision.
BS: What was the most challenging character in Yun-young’s family to write about in the novel? What about that character made them the most challenging to write?
MJ: That’s an interesting question. While I’m not sure if my answer will be just as engaging, I didn’t find any character in Yun-young’s family particularly challenging to write about. Describing each character and detail came quite naturally for me reinforcing my belief that I was meant to tell this story. Many elements in the book are drawn from my own experiences or influenced by them, which may explain why I didn’t struggle with character development.
Sometimes, you question why your life has unfolded as it has. This book was my answer to that question. Perhaps it’d be more accurate to say that I answered it myself.
BS: What came naturally to you in your writing process for Unnie? Were there any aspects that always made sense to you when writing the novel?
MJ: Everything came so naturally. Every line, every part of the story—I didn’t have to think too hard about what to write. I simply poured out what was flowing in my head, and it became a book. Since I had never written anything before, I didn’t even know how many pages it would take to make a proper book. But when I finished, it had naturally taken shape as one.
BS: There are many flashbacks or remembrances from Yun-young in the novel of Unnie, of their experiences as sisters when they were younger. Why did you decide to construct the exploration of the character of Unnie, or Mi-na, in this fashion? What were the benefits of this construction?
MJ: We all carry similar floating pieces of the past in our minds. As I told the story, my own pieces naturally rose to the surface. I didn’t plan or think about what style to take; I simply let those fragments speak for themselves. I’m deeply grateful to the readers who felt a connection with the characters through these drifting memories.
BS: Beyond the topic of the novel and the tragedy, were there any literary inspirations when crafting and writing Unnie?
MJ: There were no literary inspirations. My only source was the stories of the victims, their families, and the pain etched on their faces.
Benjamin Suddarth is a graduate student at Arizona State University and a former intern with Haydens Ferry Review.