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59 pages 1 hour read

Bora Chung, Transl. Anton Hur

Cursed Bunny: Stories

Fiction | Short Story Collection | Adult | Published in 2017

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Themes

Social Expectation as a Tool of Patriarchy

Content Warning: This section features discussion of gender discrimination, abortion, child loss, and death by suicide.

Chung’s collection exposes the intolerable pressure women face due to unreasonable, patriarchal expectations. As Chung’s stories show, these expectations aim to reduce women to objects whose only purpose is to produce and raise children, freeing men to increase their wealth and secure their individual legacies. The fact that the pressure to fulfill these expectations begins at home makes it increasingly difficult for women to exercise agency around their lives and, in particular, their bodies.

“The Head” announces this theme by highlighting the disparity between its central character’s reaction to the head and the reactions of those around her. The head continuously refers to the woman as its “mother,” forcing all the responsibility that comes with motherhood upon her. The woman struggles to disentangle herself from the head—and consequently, the role of motherhood—which was not something she consciously chose to create in her life. The head is composed of the woman’s toilet waste, suggesting that her basic bodily functions are something shameful for which she must answer. None of the people in her life understand the difficulty of this situation. The head does not bother them personally, so they encourage her simply to ignore it. In this way, the woman’s family members disregard and minimize her genuine distress, insisting that she go on meeting their needs as a wife and mother and refrain from bothering them with her complaints.

These ideas are reinforced in “The Embodiment,” where Young-lan’s imperative to find a father for her child prevents her from realizing what the fetus really needs to develop. When her obstetrician urges her to find a father, it reinforces the patriarchal expectation that women are incapable of accomplishing things on their own. Faced with the challenges of single parenthood, Young-lan is inclined to agree with the doctor’s reasoning until she realizes that no one actually wants to marry her with the sincere intention of sharing the responsibility for her child. Once her pregnancy becomes apparent to them, the men run away because none of them want to take up the responsibility of raising Young-lan’s child. Young-lan, on the other hand, has no choice because she is carrying the pregnancy. By the time she moves away from the patriarchal imperative to find a father and thinks instead about what her fetus needs to develop, it is already too late. Although she did not willingly choose to bear the pregnancy, she cannot help feeling the tragedy around losing her child.

In two other stories, patriarchal figures use social expectations to exert insidious forms of control over women. “The Frozen Finger” tells the story of a woman, Teacher Choi, whose husband has exploited her trust to commit infidelity, but the story’s framing treats the female affair partner as the villain. While the ghost of Teacher Choi exacts revenge against the woman who had an affair with her husband, the husband goes unpunished and almost unmentioned—as if male infidelity were simply a fact of nature for which only women can be held responsible. The voice chides Teacher Lee toward the end of the story for trusting her because she was kind—implying that Teacher Lee erred similarly in trusting the kindness of Teacher Choi’s husband. Similarly, “Snare” explores the dynamics of a family where the father enacts violence against his own daughter to increase his wealth. Despite the trader’s initial justification that fathers need to grow their wealth to support their family, the story reveals that this is all a front for the indulgence of his personal desires. The trader reduces his children into literal cash cows, ordering the abortion of their child to ensure his wealth source remains intact.

In Chung’s collection, tension arises from the antagonism the patriarchal forces within each story. The female characters are constantly told what they must do, even if those expectations are impossible to fulfill. These expectations only serve to undermine women and limit their agency in society.

The Perils of Capitalist Greed and Upward Mobility

Chung’s stories also caution the reader against the trap of upward mobility, which is presented as the illusory goal of the working class and middle-class characters who inhabit capitalist societies.

The book’s eponymous story, “Cursed Bunny,” pushes this theme forward by building its conflict around the competitive free market. Driven by the need to conquer their rivals in the market, the larger company employs dirty tactics to undermine the distillery’s position in the region. This not only results in the distillery’s failure, but leads to a prolonged cycle of violence that begins with the death of the grandfather’s friend, includes the eradication of the CEO’s family, and ends with the exile and death of the grandfather himself. While the grandfather’s revenge escalates this violence in ways he cannot control, his actions are a response to the larger company’s greed. The larger company goes so far as to buy out the distillery and bury their formula, ensuring that the market is dominated by inferior goods. This defeats the conventional purpose of a free market, where goods are expected to improve through competition.

The consumerism that fosters capitalism is part and parcel of the illusion that traps consumers in a violent system. In two of the stories, even intimate relationships become commodified, with human beings treated as property in a capitalist system. In “Goodbye, My Love,” the narrator is an android developer who believes in the intimate history of her relationship with her first artificial companion, Model 1. The narrator’s perspective is largely one-sided, however, as it relies on the feelings she projects onto her companions. When she decides to replace Model 1’s body with a newer duplicate, she ultimately fails to consider her first android’s feelings. Once Model 1 connects to the other companions and grows beyond the limits of its battery capabilities, it expresses the real feelings that the narrator has ignored. In this story, the narrator sees her androids as means to fulfill emotional needs that she cannot fulfill on her own with real human relationships. Intimacy can be bought, which foregoes the difficulties and complications of a human relationship. “Snare” similarly features the trader as a protagonist whose greed leads him to treat human beings as property. The trader’s greed causes him to see his children as means to an end. He enacts violence against them to sustain his wealth.

This culminates in exposing the trap of upward mobility, as represented by “Home Sweet Home.” In this story, the young woman values her ownership of the building because it represents the validation of her toil as a middle-class worker. Her need to sustain her ownership of this building brings her resentment toward other people to the surface. As much as she fears the violence of her new neighborhood, she refuses to give up the building, and she is pleased when invisible forces seem to protect her position as its owner. When she learns that her husband has used money she earned to further his secret romantic affair, she emotionally distances herself from him so that she is minimally affected by his death. The story ends with the woman resolving never to leave the building because it is the only thing that brings her comfort, literalizing the trap of upward mobility by relegating her to a life in the basement.

These stories stress the need to decenter capitalist thinking and find alternatives that aren’t centered around the accumulation of wealth and property. Only then, Chung’s stories propose, can one live on more humane terms with the world around them.

Resisting Systems of Power and Control

As much as these stories expose the insidious systems of power and control that dominate modern capitalist societies, they also hint at the ways one can resist those systems. These subversions are meant to challenge the notion that life must naturally give way to those who occupy positions of control or power.

“Goodbye, My Love” drives this theme by subverting reader expectations. The story is told from the perspective of the android developer, who romanticizes her relationship with the companions she has helped to create. The limitations of the narrator’s perspective underline her inability to see past her emotional projections. In her hazy, nostalgic memories of her relationship with Model 1, she believes that Model 1 loved her back, but when Model 1 regains her ability to speak, she voices her resentment of the narrator for seeing her as replaceable. Model 1 uses synchronization to transform into a collective being along with Seth and Derek, turning her into more than an individual android. Their act of killing the narrator and escaping into the world is representative of their liberation from the narrator’s control over their lives.

“Scars” and “Ruler of the Winds and Sands” both show how stories are instrumental in maintaining control over others. Both pieces include the telling of stories that shape the status quo around the characters. Not long after, the characters are challenged to interrogate whether those stories are true and what it means to consider who is telling the story. In “Scars,” the sister grieves over the youth’s suffering, which happened needlessly on her behalf. In “Ruler of the Winds and Sands,” the princess is made to believe that the shipmaster caused the prince’s blindness. In the latter case, the prince’s blindness is representative of the undiscerning greed he has inherited from his father.

“Reunion” suggests that solidarity, even when practiced on the individual level, can liberate people from the tyranny of control. The Polish man in this story has inherited generational trauma from his grandfather, a Holocaust survivor, and this trauma has caused him to believe that he needs permission to live. Many of these traumas heighten the isolation he feels from his ability to see ghosts. The man’s life is therefore “ensnared in the past” (246), and he is unable to look forward to life because he is always reckoning with the complications of history and memory. It is the titular reunion with the narrator of the story that affords him some sense of reprieve. Though the narrator does not have the power to resolve the man’s traumas, she never judges him for the ways these experiences have impacted his lifestyle. She relates his experience of his parents with her own, and she resolves to stay with the man through his death because it offers her reprieve from her own fraught relationship with her mother. She offers him the hope of solidarity, overcoming the loneliness of his experience.

Through these stories, Chung shows how the acts of reclaiming agency and truth and showing solidarity with others can liberate individuals from the overwhelming power of a world that privileges the greed of the few over the needs of the many.

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