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Korean picture book authors say their stories transcend borders, generations
Author Suzy Lee speaks during an interview with The Korea Times after a lecture at the 2024 Busan International Children's Book Fair held in BEXCO, Thursday. Courtesy of Korean Publishers Association
By Pyo Kyung-min
Cover of "Wave" by Suzy Lee / Courtesy of BIR
BUSAN — "There's a lot of interest in Korean picture books overseas — so much so that even I find myself wondering why."
Suzy Lee, a picture book author and recipient of the prestigious Hans Christian Andersen Award, spoke with The Korea Times on Nov. 28 during the inaugural 2024 Busan International Children's Book Fair, where she offered insights into why Korean picture books have captured the world's attention.
"The common perception is that Korean picture books are dynamic and full of energy."
Lee made history as the first Korean to win the Andersen Award — often referred to as the "Little Nobel Prize" — for her illustrations in 2022 with her book "Summer." Renowned for her wordless picture books, Lee's celebrated works include "Alice in Wonderland," housed in Tate Britain's Artist Book Collection, and "Wave" and "Shadow," both of which were selected as The New York Times Best Illustrated Children's Books.
Global appeal
"Korean picture books are seen as free from bias or preconceived notions, which may be why they're considered so energetic," she said. Lee contrasted this with Japan, where the longer history of picture books has created a multigenerational tradition.
"In Japanese bookstores, you often see older picture books — classics, even — receiving more attention than new releases. This reflects a generation of parents sharing the books they enjoyed as children with their own kids," Lee explained.
"Korea hasn't yet reached that stage, so we're like a burgeoning field, full of fresh energy and lacking the stagnation that can come with long-established norms."
Childrens' book author Hanna Cha signs her books for the visitors to the 2024 Busan International Children's Book Fair held in BEXCO, Thursday. Courtesy of Korean Publishers Association
Cover of "The Truth About Dragons," written by Julie Leung and illustrated by Hanna Cha / Courtesy of Open Kid
Lee isn't the only author experiencing the growing global appeal of Korean literature. Hanna Cha, a Korean American writer and illustrator who also gave a lecture at the book fair, praised the cultural distinctiveness of Korean storytelling.
"Korea, unlike the U.S., which is celebrated for its diversity, stands out with its unique traditions and its depth," Cha said in an interview with The Korea Times. "This distinctiveness resonates in the American children's book market."
This dynamism has led Korean picture book authors to achieve remarkable recognition in recent years. Beyond Lee's Andersen Award, Cha won the Caldecott Honor earlier this year for her illustration of "The Truth about Dragons," while "Cloud Bread" creator Baek Hee-na received the Astrid Lindgren Memorial Award in 2020 and author Lee Geum-yi was shortlisted for the Andersen Award this year.
Not just for kids
Despite this global acclaim, Korean children's literature struggles to gain recognition in the country, especially when compared to the flourishing K-entertainment industry.
"You wouldn't need five fingers to count the number of authors who can make a living solely from their writing — just your thumb and index finger would suffice," Lee remarked. "A more stable infrastructure is needed to support authors."
Author Suzy Lee delivers a lecture at the 2024 Busan International Children's Book Fair held in BEXCO, Thursday. Courtesy of Korean Publishers Association
The challenges facing Korean picture book creators are compounded by the nation's declining birthrate, according to Lee, which has led to a shrinking school-aged population.
"To address these difficulties, it would be wonderful if picture books became part of a broader culture that includes adults as readers, too," Lee said. "I've always considered picture books as something you start with as a child, but not something exclusive to children. I've noticed more adult readers attending my lectures recently."
This trend was evident at Lee's lecture during the book fair, where over 70 percent of the audience were adult women. Among them were parents who cheerfully shared how they had taken the day off to bring their children along.
'Tangible thoughts'
Lee attributes the universal appeal of her work to the interpretive freedom offered by wordless illustrations.
"With text, readers immediately absorb the content. Without text, they must create their own clues and take time to reflect," she said. "At first, they may not understand the story, but on a second read, they often experience a moment of realization. Adults, in particular, seem to gain even more from this process."
While Lee acknowledges that illustrations can exist outside the confines of books, she remains deeply committed to the enduring quality of books as objects. Describing books as "tangible thoughts," she said, "I want to maintain the tactile, colorful spaces that feel as if they're held in a child's hands. This physicality is central to my work, even as I explore new projects."
At the same time, she also emphasized the importance of adapting to technological changes while preserving the unique power of picture books.
"The declining number of young readers, challenges in the publishing industry and the rise of digital technologies have deepened concerns for authors," she said.
"While I don't claim to have all the answers, I believe there will always be new readers and children will continue to exist. No matter how technology evolves, the fundamental question of what medium serves children best will remain constant."