This article examines the life and works of Richard E. K. Kim (1932–2009), a first-generation Korean diasporic writer in the United States. It focuses on how Kim struggled to overcome the nihilism of suffering and death that derived from colonialism and the Korean War through his literary works. Kim witnessed firsthand these two major historical events, which caused irrevocable psychological and physical damage to many people of his generation. In his autobiographical fiction, he conveys painful memories of the events by reviving the voices of people in that era. What his works offer us goes beyond vivid memories of the past, however; they also present the power of forgiveness as a condition to overcome the nihilism of suffering and death. Remembrance and forgiveness are, therefore, two major thematic pillars of his works that enable us to connect to these difficult and traumatic times. These themes are portrayed in such a gripping way mainly because Kim tried to maintain a certain distance—an emotional and linguistic distance—from the familiar, in order to elucidate the reality of the human condition: an ontological position of the exile from which he produced his works. This article argues that Kim’s works provide us the possibility to transcend the nihilism of historical trauma through articulating the meaning of remembrance and forgiveness from his self-assumed position of exile. Keywords: Richard E. K. Kim, diasporic writer, Lost Names, The Martyred, Searching for Lost Times, Japanese colonialism, Korean War, remembrance, forgiveness

This special issue of Cross-Currents—“Diasporic Art and Korean Identity”—is the fruit of a two-day conference on “Korean Diaspora and the Arts” held at The Hebrew University of Jerusalem in May 2017. The contributors explore new delineations of the political, social, cultural, and emotional landscapes inhabited by Koreans living in diaspora. Korean diasporic artists investigate the meaning of “Koreanness” through their paintings, political cartoons, theater, film, documentary, photographs, and multimedia art. This special issue on Korean diasporic art presents creative expressions of a shared history of trauma, suffering, or displacement, affectively reconstructed or nostalgically reimagined, produced in China, Cuba, Japan, Kazakhstan, South Korea, and the United States. The contributors demonstrate how artists are particularly able to captivate audiences and innovate ways of articulating the multiple aspects of the everyday condition of diasporic existence in situ. In this sense, art possesses the potential to lead us beyond dichotomies. In particular, Korean diasporic artists’ experiences and expressions pose questions about the North and South Korean states’ efforts to manage and understand cultural belonging that have, in turn, worked to homogenize Korean identity.