North Korea’s deadliest weapon is sleeper agent Song Sun Young. Married with children and living the good life in New York City, she has waited seven years to activate the mission she was trained to do: infiltrate America’s financial infrastructure. She prays the call from her handlers will never come, because she loves her husband and kids and affluent New York lifestyle. But the call does come. During volatile negotiations between the White House and Pyongyang, Song is hurled back into a reality she had hoped to leave behind forever. Unbeknownst to her, the CIA has already broken her cover. Working with “retired” Israeli operative Dalia Artzi, they track the Korean agent as she relentlessly executes her mission. Langley is pulling strings behind the scenes, confident of its advantage in this high-stakes game—until an unforeseen wild card from within its very ranks hijacks the operation for an unthinkable purpose. Dalia realizes that Song has been the unwitting catalyst for the disaster now unfolding, and that she alone can stop it from engulfing the world.

This book is about ardent Korean female fans of gay representation in the media, their status in contemporary Korean society, their relationship with other groups such as the gay population, and, above all, their contribution to reshaping the Korean media’s portrayal of gay people. Jungmin Kwon names the Korean female fandom for gay portrayals as “FANtasy” subculture, and argues that it adds to the present visibility of the gay body in Korean mainstream media, thus helping to change the public’s perspective toward sexually marginalized groups. The FANtasy subculture started forming around text-based media, such as yaoi, fan fiction, and U.S. gay-themed dramas (like Will & Grace), and has been influenced by diverse social, political, and economic conditions, such as the democratization of Korea, an open policy toward foreign media products, the diffusion of consumerism, government investment in the culture, the Hollywoodization of the film industry, and the popularity of Korean culture abroad. While much scholarly attention has been paid to female fandom for homoerotic cultural texts in many countries, this book seeks to explore a relatively neglected aspect of the subculture: its location in and influence on Korean society at large.

The book focuses on the historical, political, economic, and cultural elements of Korea and the strong influence these have on women leaders in the nation. It examines challenges and opportunities for women leaders as they try to balance their professional and personal lives. A team of leading experts familiar with the aspirations and frustrations of Korean women offer insight into the coexistence of traditional and modern values. It is an eye-opening look at the convergence and divergence across Korean sectors that international leadership researchers, students, and managers need to know in order to realize and appreciate the potential of Korean women leaders.

A New York Times Editors Choice Selection A global sensation, Kim Jiyoung, Born 1982 “has become...a touchstone for a conversation around feminism and gender” (Sarah Shin, Guardian). One of the most notable novels of the year, hailed by both critics and K-pop stars alike, Kim Jiyoung, Born 1982 follows one woman’s psychic deterioration in the face of rampant misogyny. In a tidy apartment on the outskirts of Seoul, millennial “everywoman” Kim Jiyoung spends her days caring for her infant daughter. But strange symptoms appear: Jiyoung begins to impersonate the voices of other women, dead and alive. As she plunges deeper into this psychosis, her concerned husband sends her to a psychiatrist. Jiyoung narrates her story to this doctor—from her birth to parents who expected a son to elementary school teachers who policed girls’ outfits to male coworkers who installed hidden cameras in women’s restrooms. But can her psychiatrist cure her, or even discover what truly ails her? “A social treatise as well as a work of art” (Alexandra Alter, New York Times), Kim Jiyoung, Born 1982 heralds the arrival of international powerhouse Cho Nam-Joo.

Eight stories by Korean writers. In The Last of Hanak O, the male narrator muses on why he is both drawn to and frightened by a college girlfriend, in Almaden, a Korean immigrant to New York tries to understand her obsession with a customer to her liquor store, and Scarlet Fingernails is on a family's reaction to a Communist defector.

Dangerous Women addresses the themes of Korean nationalism and gender construction, as well as various issues related to the colonialization and decolonialization of the Korean nation. The contributors explore the troubled category of "woman," placing it in the specific context of a marginalized and colonized nation. But Korean women are not merely configured here as metaphors for an emasculated and infantilized "homeland;" they are also shown to be products of a problematic gender construction that originates in Korea, and extends even today to Korean communities beyond Asia. Representations of Korean women still attempt to confine them to the status of either mother or prostitute: Dangerous Women rectifies that construction, offering a feminist intervention that might recuperate womanhood.

Arguably the most brutal crime committed by the Japanese military during the Asia-Pacific war was the forced mobilization of 50,000 to 200,000 Asian women to military brothels to sexually serve Japanese soldiers. The majority of these women died, unable to survive the ordeal. Those survivors who came back home kept silent about their brutal experiences for about fifty years. In the late 1980s, the women’s movement in South Korea helped start the redress movement for the victims, encouraging many survivors to come forward to tell what happened to them. With these testimonies, the redress movement gained strong support from the UN, the United States, and other Western countries. Korean “Comfort Women” synthesizes the previous major findings about Japanese military sexual slavery and legal recommendations, and provides new findings about the issues “comfort women” faced for an English-language audience. It also examines the transnational redress movement, revealing that the Japanese government has tried to conceal the crime of sexual slavery and to resolve the women’s human rights issue with diplomacy and economic power.