Cover Soo Jung Hyun (Photo: Affa Chan / Tatler Hong Kong)

The new Korean director of the city's biggest literary event can attract star power to town, but she has even bigger ambitions

“I was pinching myself; ‘is this real?’” says Soo Jung Hyun as she recalls the late Irish poet and Nobel laureate Seamus Heaney speaking at the 2006 Hong Kong International Literary Festival (HKILF), an event she’d been involved in organising. “Being able to be part of his visit was unreal.

This feeling would well up again 16 years later in April 2022, when Hyun was appointed executive director of the festival, 15 years after she last worked there. Over a video call with Tatler in December 2022, her elation was palpable as she spoke about the 2023 festival featuring Sri Lankan author Shehan Karunatilaka, who won the 2022 Booker Prize for his work The Seven Moons of Maali Almeida. This is the second Booker Prize winner to attend in recent years; South African writer Damon Galgut attended the festival virtually in 2021. This year will also see National Book Award finalist Emily St John Mandel, whose work Station Eleven was adapted into an HBO Max series, in attendance.

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Above Shehan Karunatilaka (Photo: Instagram / The Booker Prizes)

But the new HKILF director, a Hong Kong-raised Korean, isn’t only focused on bringing global industry stars to the city, particularly this year, with a festival theme of Celebrating. “Hong Kong is the heart of that: we want to celebrate the city opening up and passion projects about Hong Kong,” she says. “Traditionally the festival is very strong in terms of literary names, but what I’m very keen to do is to broaden the types of speakers we bring.” Since her appointment, Hyun and her two core teammates, Malaysian writer Maureen Tai and author and teacher Laura Mannering, have been frequenting the Hong Kong sections of bookshops, speaking to readers and searching social media for “local people and groups with passion projects, large or small, about Hong Kong which they have turned into books”.

In December, at the time of writing, half of the 70 featured writers on the line-up were Hong Kong-based or of Asian heritage. “We want to champion voices in Asia writing in English, which is becoming its own genre, as opposed to Asian American writing or British Asian writing,” Hyun says. As well as Karunatilaka, who will be featured in the Hildebrandt Fiction Series, one of the festival’s marquee event for adults that profiles international fiction writers, Hyun, HKILF’s co-chair Jo Lusby, Tai and Mannering have also come up with sharing sessions with Hong Kong-based writers including fiction writer and playwright Dung Kai-cheung; Matt Abergel, chef and co-owner of Yardbird, whose cookbook Chicken and Charcoal won a prestigious James Beard Foundation Award; and former Legco counsellor and chief development strategist at the HKUST Institute for the Environment Christine Loh with her new work How Covid Took Over The World: Lessons for the Future.

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Above Chicken and Charcoal by Matt Abergel (Photo: Instagram / Chicken and Charcoal)

The other marquee event, the Baillie Gifford Non-Fiction series, will feature Jing Tsu, Yale University professor and a finalist of the Baillie Gifford Prize for Non-Fiction for her book about the people who reinvented the Chinese language.

This year’s event will also feature a creative writing workshop for teachers by HKU’s education programme director Tanya Kempston; a workshop for aspiring young illustrators by British writer-illustrator Emily Gravett, a two-time Kate Greenaway Medal winner; and a series of school visits by international writers such as Indigenous Canadian author David A Robertson, a two-time Governor General’s Literary Award winner.

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Hyun thinks that the team’s work is particularly important in further exposing Hong Kong’s future generations of readers to international writing. She believes that Hong Kong has rich literary resources, something she thinks is key to cultivating a healthy reading culture from a young age. “If you’re a child, one of the amazing things about being in Hong Kong is that you have access to children’s books from all over the world,” she explains. The director points out that here, it’s easy to get access to books from the US, the UK, Australia, New Zealand and other countries, whereas the reading culture in the US, which she observed while she was studying at Harvard University, is very focused on American writers. “You don’t even often hear from these other voices.”

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Hyun herself benefited from Hong Kong’s variety of voices. Her parents moved the family to the city from South Korea for better prospects. They thought it was important for their daughters to break the language barrier and so they arranged for an English-speaking Korean friend to take Hyun and her sister to City Hall Library every Saturday, rain or shine, for years. “I read my way through the junior library, and then the senior library,” Hyun recalls. “That was where I learnt English and fell in love with reading.”

As an adult, this love led her to a career related to literature. She met author and journalist Nury Vittachi through work, who, together with writer Jane Camens, set up a festival in 2001 to initiate a literary culture in Hong Kong at a time when such events in Asia were few and far between. Hyun was charged with organising the Young Readers Festival—the children’s edition of the main literary festival—for the first six years.

It was tough going to begin with. In the first year, she had to beg teachers to bring their students to the festival. But it worked, and after that first uphill climb, the festival’s popularity has seen the likes of Ella Enchanted author Gail Carson Levine and The Gruffalo series creator Julia Donaldson attend. Meanwhile luminaries including Margaret Atwood, The Joy Luck Club author Amy Tan and Life of Pi writer Yann Martel have spoken in front of packed houses at the main event. This year, they expect 15,000 people to attend the 150 events.

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Above Magaret Atwood (Photo: Instagram / Margaret Atwood)

Hyun hopes to reach out to even more communities and collaborate on events to expand the festival’s scale and impact. As well as maintaining a longstanding relationship with Women in Publishing and the local chapter of the Society of Children’s Book Writers and Illustrators, the festival team wants to collaborate with Migrant Writers of Hong Kong, a group that collects and champions the writings of migrant and domestic workers and ethnic minorities, and Hong Kong Baptist University, which has its own literary festival.

Hyun’s dream is to turn the festival into a space where writers and collaborators from around the world can meet, and to see more pictures, stories and characters inspired by Hong Kong. “I hope our literary festival becomes a beloved fixture on the calendar—like the Rugby Sevens—which people will want to be part of, be excited by and come to Hong Kong for.”

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