Letters from the Depthless Deep

Lisa Min (author)

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Title	Letters from the Depthless Deep
Contributor	Lisa Min (author)
DOI	https://doi.org/10.53288/0466.1.04
Landing page	https://punctumbooks.com/titles/redacted-writing-in-the-negative-space-of-the-state/
License	https://creativecommons.org/licenses/by-nc-sa/4.0/
Copyright	Lisa Min
Publisher	punctum books
Published on	2024-10-27
Long abstract	In contrast to the blacklining of classified documents, the bureaucratic redactions that symbolize a certain aura of political power, this work seeks corners, the most intimate and silent of spaces, produced both because of and as a necessary embrace of the redacted political. As a reflection on the challenge of writing about North Korea within an overarching "totalitarian" framework that seeks to uncover hidden truths, that ceaselessly searches for hidden meanings in the veil of the black, I propose an approach that leaves me, implicated. In a series of “letters” to North Korea, I use redaction as form, as form-making of a particular kind of sociality that exists between, through, and ultimately because of the very space of redaction.
Page range	pp. 48–53
Print length	6 pages
Language	English (Original)
Keywords	redaction negativity form sociality North Korea

Contributors

Lisa Min

(author)

Yonsei University

Lisa Min is an anthropologist based in Seoul, teaching courses on politics and visuality at Yonsei University. She is currently working on two book projects that begin with north Korea, that open up the “place called north Korea” as a question and provocation for doing and writing anthropology.

In contrast to the blacklining of classified documents, the bureaucratic redactions that symbolize a certain aura of political power, this work seeks corners, the most intimate and silent of spaces, produced both because of and as a necessary embrace of the redacted political. As a reflection on the challenge of writing about North Korea within an overarching "totalitarian" framework that seeks to uncover hidden truths, that ceaselessly searches for hidden meanings in the veil of the black, I propose an approach that leaves me, implicated. In a series of “letters” to North Korea, I use redaction as form, as form-making of a particular kind of sociality that exists between, through, and ultimately because of the very space of redaction.