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Winter in sokcho review5/30/2023 Kerrand waits for just the right spark of inspiration. The town waits for warm weather and the tourist season. The country waits for the war with the North to reignite. In Sokcho, everyone is in a holding pattern. Nor does she see her own beauty: those around her suggest that she get plastic surgery, and she struggles with disordered eating, even as she tries to persuade the dismissive Kerrand to try her cooking. Yet Sokcho has beauty that she cannot see: colorful buildings, mountain vistas, beaches, even the fleet of fishing vessels that light up the dark sea. The narrator’s languor is heightened by the fact that Sokcho, in her view, is a dead end. Or perhaps it is his drawings, always so stark and always destroyed by morning, that attract her, even as his behavior repels her. Perhaps that is what draws her to Kerrand: he embodies something she lacks. The narrator is not close to her mother or her boyfriend, and she knows nothing of her father, save that he is French. Each of them seeks something undefinable from the other, even as it becomes apparent that they will not find it. He becomes a source of reluctant fascination for the narrator, a new employee at the isolated guest house where Kerrand is staying. But one tourist comes: Kerrand, a French comic book artist in search of inspiration. Sokcho, a Korean beach resort, has little to offer tourists during the off season. In Elisa Shua Dusapin’s novel Winter in Sokcho, a young woman has a fateful encounter with a man who is as lost as she is.
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