Flame, Glass and Ink are Poems, essays, and reading notes by Stefania Joori Suh

Category: BIBLIO ECRIT

  • Prompt 6

    Write a letter to your 100-year-old self.

    Hello Stephanie,

    You used to wonder what and where you would arrive in each age of life: at 13 you would count the years when you became 20s, 30s, 40s, and so on. Then all of sudden, you are pitchfolked forward, leaping two bridges of 20th and 21st centuries. Still, it all seems like yesterday, and you never changed at heart.

    Who would have known that you will adopt cats and love them to the bargain? Who would have guessed your letters to the editor of your favorite British history magazine have been printed several times? And who would have doubted that your age could not wither you away, nor custom would stale your resistant spirit and hunger for knowledge? 100 years of time in evolutionary scale does sound antiquated or anachronistic, but in truth it amounts to a millionsecond on our 24 biological clock, an amount so infinitesimal that such difference of time is ludicriously insignificant. So don’t sigh but sing that you just hit the centanarian chart. Awesome.

    FRancis Bacon assured us that we don’t have to be anxious about how we should prepare for the end of life because nature will do the job for us. It will let us know at that time when a psychopomp will appear to bring your soul to the beyond. Or in your case, it will be Mothe Mary to whom you used to pray a rosary when you were little. Wouldn’t it be nice for you to meet Mother Mary rather than some scary-looking death angel? I know you have come a long way alone, but this is not the end. Nobody but your fate knows where you go or will go. Yet it would be best if you lived like you are living the second time to keep your youthful spirit.

    All the best,

    Stepheni from the Past

  • Prompt 5

    What is your middle name? Does it carry any special meaning/significance?

    Sometimes I wonder what if I had a different middle name. Would I have been living a different life – for brighter and better? Nominative determinism is not entirely superstitious because your name gives you an identity, an existence. My middle name is Joori, the first name used in Korea, while my first name Stephanie is my baptized Christian name, used in the church community.

    Korean is a unique phonetic language of the Ural-Altaic linguistic family, which includes Japanese, Finnish, Hungarian, and Turkish. “Joo” means red, and “ri” means beneficial. My paternal grandmother named me after the family tradition of using the same first letter of the name according to the gender of the progeny. For instance, my cousin’s name, the daughter of my father’s elder brother, was “Joohyun,” meaning red wisdom. Then the grandmother was then in a cult of an angel called “Chulrikyo,” from which the word “ri” originated. Hence my name is a work of a family tradition and angelic cult.

    My mother has recently revealed that I had no name for a year after the birth for reasons unknown. During the unnamed time, I was called “the baby.” A fortuneteller once told me that I should change my Korean name because it would bring no happiness to my life. Whether or not it is true, I don’t want to dwell on it because, anyway, I am not in Korea, where the spirits of the land may not/will not exert their supernatural concoction to frustrate my life to the extent possible.

  • Prompt 3

    How has a failure, or apparent failure, set you up for later success?

    Truthfully, in every mistake I am making and have been making and will make, I am yet to learn. Perhaps, such a cycle of faux-pas will continue until I meet a psychopomp on my final day on earth. Yet, I move on and march forward to whatever my destiny is. I will most likely be making the same mistakes over and over, falling again and again. Yet the resilient spirit is indomitable, and even fate cannot destroy it unless I voluntarily abandon it to the force of darkness. And I think it is this spirit of resistance against a series of failures that strengthens my will to stand on my feet even after the losses, which makes all my attempts all the more sublime in triumph over despair like Santiago uttering, “Man can be destroyed, but cannot be conquered,” in Hemingway’s Old Man and the Sea.

  • Auto-correction and Titivillus

    Writing has never been easier these days than in the bygone days before the advent of the computer. If you are unsure about how to spell “Tomato,” then the computer will spell it for you by way of auto-correction. And it can even reconstruct your sentences like a pro. The magic is inside the computer, as if it has a mind and even a soul, as it were. This wizardly power of auto-correction can sometimes, however, lead you to an embroglio of nonsense, especially when writing emails or tweeting. Quite devilish, so I think and wonder: are things like auto-correction and the likes a wicked invention of science or science of diabolical existence? Hence, I am talking about Titivillus, the patron demon of scribes.

    The birth of Titivillus could trace back to the 13th century when Franciscan theologian John of Wales pinpointed the malicious demonic trickery for the scriber’s mistakes. That’s not a footless excuse for the faux-pas made in a beautifully ornamented medieval script. In medieval times, copying the passages of the Holy Scripture was a painfully punctilious task for a monk to accomplish with perfect penmanship and exquisite illuminations. And the job cost a good amount of his youth with arched back, squinted eyes, and cramped arms and fingers, not in the least due to the time spent scribing. Toiling (even though for the glory of God) and Rejoicing (for the joy of self-fulfillment), Sorrowing always hoovers over the glories. Titivillus often brings this Sorrowing by making the scriber err in labor, such as misspelling or miscopying. When that happens, a corrector scraped off with a penknife or an acidic solution was applied to loosen the ink. Or sometimes he just made little dots under a wrong word, meaning the reader should ignore that bit. In case of more significant errors, the passages were sometimes lined through, and the correction was written in the margin or copied on a smaller piece of parchment and glued into the book.


    To think of it, Titivillus has not returned to the Ninth Circle of Hell, always making himself a reason to stay as long as humanity continues writing. Writer’s block is a dark cloud hovering over the soul’s palace, the dome of thoughts. Philological carbuncles, including misspellings and awkward syntax, combine the demon’s interruption and the writer’s fear of writing. The fear is more than devilish trickery or neurotic obsession because it stifles creativeness and imagination of the writer. Still, I cannot help but think that today Titivillus manifests himself in the form of auto-correction, which can change the entire meaning of a whole sentence, often most embarrassingly and awkwardly. You agree?

  • ‘Father Goriot’, by Honore de Balzac – reading notes

    Balzac’s Paris is no more different from today’s big cities like Los Angeles or New York City. It populates with the good, the bad, and the ugly, but mostly filling the in-betweens by the middling’s – the not-so-wretchedly poor yet decidedly needy with pride and prejudice –. The story about Father Goriot (no, he’s not a priest.) is about the people around him living inside and outside the Maison Vauquer. It is a boarding house in which the characters bring their stories to pay their dues of existence. The reader sees it as a microscopic view of the contemporary Parisian society where the poor, even in post-revolution, remains at the bottom of society—only the cold, indifferent climb up to the upper echelon.

    The residents of the widow Madame Vauquer are neither defiantly evil nor angelically good but realistically neutral. The house symbolizes the society of the somebodies who long for social mobility for respect and recognition. Balzac’s passionate narrative endures no sight of injustice and proudly averts the eye from inhumanity, making even egotism and selfishness move to a pity dipped in pathos.

    Balzac is a superb writer with detailed descriptions of the state of mind in the art of realism in a classical frame that makes scenes of everyday life a sight of history, banality of ordinary life a profundity of human life. Indeed, any of his famous fellow writers could have done it, but none of them can do it as blatantly well as Balzac does. For he knows how to make a villain sympathetic with an insightful eye looking into the depth of his wounded soul.

  • ‘The Signal-Man’, by Charles Dickens – review

    The Signal-Man (Original 1866 Edition): AnnotatedThe Signal-Man (Original 1866 Edition): Annotated by Charles Dickens

    My rating: 4 of 5 stars

    Charles Dickens wrote this short story of a lonely signalman in 1866 based upon the Clayton tunnel crash in 1861. The setting of the story was a station by this tunnel with a dismal and eerie atmosphere around it, which dovetailed with the ambiance of the story itself. But while I was reading the story and thereupon, I was unsure of who’s the ghost here: the narrator or the signalman? First of all, the image of the narrator calling the signalman’s attention to him from above seems to me uncanny enough to conjure up the calling of a spectre wandering about the haunted tunnel. Or it might be that the signalman, the station, and the train per se were all in fact illusions, bewitched elements of the tunnel crash victims eternally haunting the place, not knowing their demise. Or in terms of modern psychoanalytical perspective, either the narrator or the signalman saw his own representations of the reality in his own mind, the hallucinations, which were different from and invisible to the others. And that is what I found this story at once hauntingly rueful and lingering with the images.