,” in which a woman mysteriously loses the faculty of speech, and signs up for ancient-Greek lessons as a possible remedy. The character says that she did not choose the language specifically—she would have chosen one written in an even more unfamiliar script, like Burmese or Sanskrit, had it been available—but was there something about Greek in particular that attracted you?
It seems important to the character that the classes are in a “dead language,” that is, one that is no longer spoken. What is the relationship between speech and language for her? Yes, there’s an aspect that overlaps between those two characters. The protagonist of “The Vegetarian,” Yeong-hye, refuses violence and eating meat—and, eventually, refuses food altogether—to save herself, whereas the protagonist of this story pushes away language while striving to retrieve it at the same time. There are times when our emotions are tattered, and the language that conveys them is also in tatters.
But there’s a different kind of personal experience that influenced me to think about a protagonist struggling to deal with the language. Before writing this novel, I took about a year off from writing. I had some complicated emotions about language back then, although not as much as the protagonist. I read only books on science—astrophysics in particular—as I was unable to read fiction, and watched only documentaries, as it was unbearable to see fiction movies.
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