I have not reviewed a book in the older woman in fiction series for some months. I correct this here with a thriller from Korea, specifically put my way by Global Literature in Libraries Initiative.
What I liked about The Old Woman with the Knife was the serious way it undermined common ideas about how older women should behave, and how they decline physically. Older women often say that they have become invisible, meaning that they are not noticed, do not stand out from other people. The main character exploits this in order to carry out her trade: contract killing.
This is the 57th in the series of older women in fiction which I promote to make older women in fiction more visible. You can find the links at the end of the post to the complete list of 100+ suggested books in the series with links to those I have reviewed.
The Old Woman with the Knife
Hornclaw is 65 and has managed to survive as a contract killer in Korea. We meet her on the subway, when she is very deliberately not standing out from the crowd.
…she is a model senior citizen, wholesome and refined and respectable. Rather than making a show of how deserving she is of a seat, she stands by the full senior section at the end of the car and doesn’t complain. Her clothing is appropriate for a middle-class senior citizen, perfectly aligned with the standard of old age: off-brand but decent clothes, down to her hat and shoes, purchased at Dongdaermun Market or on sale at a department store. Unlike some, she doesn’t bellow songs, her face ruddy with drink, taking up space with various kinds of sporting equipment. She exists like an extra in a movie, woven seamlessly into a scene, behaving as if she had always been there, a retiree thrilled to take care of her grandchildren in her golden years, living the rest of her days with a frugality baked into her bones. People stare at their phones, headphones in their ears, shrinking from and swaying with the unending wave of humanity, quickly forgetting an old person has entered their midst. They excise her from their consciousness as if she’s unimportant, recyclable. Or they never even saw her to begin with. (13)
Many older women readers will recognise the idea of being ‘like an extra in a movie’, being passed over or not seen to begin with. Perhaps it happens to men too.
She has bought her survival as a contract killer at the cost of loneliness, close only to her dog, Deadweight. She has lost everyone she cared for along the way. She began life in a poor family, was sent to live as an unpaid servant in a distant cousin‘s household and abandoned there by her family. She had to find her own way and was helped and then more or less adopted by the mysterious Ryu. It was Ryu who rescued her, taught her the trade of murder and set up a company in which she was the chief worker. Even after many decades it is his voice that she hears guiding her to remain unremarked in a crowd.
In the opening chapter Hornclaw kills a commuter. He was behaving in an obnoxious way towards a young female passenger on the subway. There is, I admit, a small satisfaction in such a man being despatched. On leaving the cloakroom where Hornclaw cleans her poisoned knife she nearly collides with the emergency service workers who are rushing to the scene.
When completing a job in a busy place and turning the corner …
Didn’t I tell you to slow down or stick to the edges but to make a big loop? What if you bump into someone and drop something? You would be announcing, here’s all the evidence, to the whole world.
She can recall Ryu’s expression when he told her that as if it were yesterday, and so she will trace the most complicated route home possible. (20)
But as she had grown older things have changed. In the agency for whom she works a younger male colleague seems bent on ruining her reputation and her effectiveness. A small mistake takes her to the doctor at the clinic, and she develops affection for Dr Kang and his family. This weakness is exploited by her rival and there is a violent showdown.
While I loved the feminist and anti-ageist stance of the story, I also found myself disconcerted by the lack of questioning of the morality of extra-judicial or contract killing. Perhaps I am asking too much. It’s a fantasy after all. But I find it hard to read about such things as though the victims are merely extras in a film, or disposable characters in a video game.
Gu Byeong-mo was born in Seoul, South Korea, in 1976. She made her literary debut in 2009 when her novelWizard Bakery won the second Changbi Prize for Young Adult Fiction. Her 2015 short-story collection Geugeosi namaneun anigireul received the Today’s Writer Award and Hwang Sun-won New Writers’ Award. This is her third novel, and the first to be translated into the English language. [From the Canongate website]
The Old Woman with the Knife by Gu Byeong-mo, first published in 2013, and in the English translation by Canongate in 2022. 281pp. The English version was translated from the Korean by Chi-Young Kim
The Bookword page about the series older women in fiction can be found here.