Authors: Barbara Demick
Her father’s death gave Mrs. Song a pedigree as the child of a “martyr of the Fatherland Liberation War.” The family even got a certificate. It also stamped her psyche with the indelible anti-Americanism that was so central to the country’s ideology. Having spent her impressionable years in the chaos of war, she was ready to embrace the meticulous ordering of her life by the Workers’ Party. And she certainly was poor enough to qualify as a member of the downtrodden underclass that Kim Il-sung claimed to represent. It
was only fitting that a girl with such impeccable Communist credentials would make an excellent marriage. She was introduced to her future husband by a Workers’ Party official. Her intended, Chang-bo, was also a party member—she wouldn’t have dreamed of marrying a man who wasn’t. His father had a good war record as a member of the North Korean intelligence; his younger brother had already joined the North Korean Ministry of Public Security. Chang-bo was a graduate of Kim Il-sung University and was headed for a career in journalism, a highly prestigious profession in North Korea since journalists were considered the mouthpieces of the regime. “Those who write in accordance with the party’s intention are heroes,” Kim Jong-il proclaimed.
Chang-bo was a strapping man, exceptionally tall for a North Korean of his generation. Mrs. Song was barely five feet and could nestle under his arm like a little bird. It was a good match. This handsome, politically correct young couple would have easily qualified to live in Pyongyang. Because Pyongyang is the only North Korean city frequented by foreigners, the regime goes to great lengths to ensure that its inhabitants make a good impression with their appearance and are ideologically sound. Instead, it was decided that the couple was needed to fill out the ranks of the stalwarts in Chongjin and so they were settled there with certain privileges in the best neighborhood in town.
For all the supposed egalitarianism of North Korea, real estate is doled out according to the same hierarchical principles as the class-background registers. The less-desirable neighborhoods are in the south near the coal and kaolin mines where the working stiffs lived in squat whitewashed harmonica houses. Farther north, everything becomes more imposing. As the main road runs through Nanam, the buildings are taller, some up to eighteen stories, the height of modernity at the time they were built. The builders even left shafts for elevators, although they never got around to installing the elevator cabs themselves. The architectural designs for many of the postwar apartments came from East Germany, with adaptations for Korean culture. Between the stories, extra space was provided for the Korean underfloor heating system, and apartment buildings
were equipped with loudspeakers in the individual units to broadcast community notices.
Chongjin is far from the modernity of Pyongyang, but it has its own aura of power. Now the capital of North Hamgyong province, it has large administrative offices for the province and Workers’ Party. The bureaucratic center is laid out in an orderly grid. There is a university, a metallurgy college, a mining college, an agricultural college, an arts college, a foreign languages college, a medical school, three teachers’ colleges, a dozen theaters, and a museum of revolutionary history devoted to the life of Kim Il-sung. Across from the east port is the Chonmasan Hotel for foreign visitors and near that a Russian consulate. The streets and squares in the city center were designed in the ostentatiously oversized style favored in Moscow and other Communist cities that conveys the power of the regime over the individual.
The main thoroughfare known simply as Road No. 1 running the width of the city is so broad it could easily accommodate six lanes of traffic if there were that many cars in Chongjin. On both sides, spaced at regular intervals like sentries on guard duty, are large plane and acacia trees, the lower part of the trunks painted white. The white paint is variously said to keep away insects, protect the tree against harsh temperatures, or to assert that the tree is government property and cannot be chopped for firewood. The curbs are also painted white. Interspersed between the trees are the familiar red signposts with propaganda slogans and behind them soaring street lamps that are seldom switched on. The sidewalks are as broad as the Champs-Élysées—this is supposed to be a grand boulevard, after all—although many pedestrians choose to walk in the road since there is little traffic. There are no traffic lights, instead uniformed traffic police who perform robotic calisthenics with their arms to direct the few cars. The main road comes to a T-stop in front of the North Hamgyong Province Theater, a grand building topped by a twelve-foot-high portrait of Kim Il-sung. Behind the theater, the city comes to an abrupt end where it is hemmed in by Mount Naka to the northeast. These days, the mountainside is dotted with graves and most of the trees have been chopped for firewood, but it still
makes for a pleasant setting. In fact, Chongjin’s downtown, even today, makes a positive first impression, but a closer inspection reveals that chunks of concrete have fallen off the buildings, the streetlights all tilt precariously in different directions, and the trams are cratered with dents, but the few visitors to Chongjin whiz by so quickly that these sights are easily missed.
Mrs. Song’s apartment was on the second floor of an eight-story building that had no elevators. When she first saw it Mrs. Song was amazed to learn that the building had indoor plumbing—regular people like her had never seen anything so modern in the 1960s. Heating radiated up from under the floor as in a traditional Korean house, but it came from water heated by a hydroelectric plant and piped through the building. The young couple didn’t have much in the way of furniture, but they had two separate rooms, one for themselves and another for their growing number of children. Their first daughter, Oak-hee, was born in 1966, followed two years later by another daughter and then another. North Korean medicine was sufficiently developed by this time that most urban women gave birth in the hospital, but Mrs. Song, despite her soft appearance, was built of strong stuff. She delivered all her children by herself without even the help of a midwife. One was born on the side of the road—Mrs. Song had been walking home with a basket of laundry. With the first birth, her mother-in-law cooked her a soup with slimy ribbons of seaweed, a traditional Korean recipe to help a new mother recover her iron. The next time her mother-in-law—disappointed by the birth of another girl—threw the seaweed at Mrs. Song to make the soup herself. After the third girl, she stopped speaking to her.
“You’re doomed to have nothing but girls,” she snapped as her parting shot.
Mrs. Song persevered. The fourth child arrived one afternoon when she was home alone in the apartment. She had left work early that day because her belly was hurting, but she hated to be idle, so she began to scrub the floors. A sharp pain surged through her body and she rushed toward the bathroom. A boy, at last. Mrs. Song was redeemed in the eyes of her family. This time her mother-in-law cooked the seaweed soup.
Chang-bo was on a business trip and received a message the next day. He caught the first train home, stopping on the way to buy a child’s bicycle—a gift for the brand-new baby.
Despite having four children and keeping house, Mrs. Song worked full-time six days a week at the Chosun Clothing factory in Pohang as a clerk in the bookkeeping department of the factory’s day-care center. Women were expected to keep the factories going, since North Korea was perpetually short of men—an estimated 20 percent of working-age men were in the armed services, the largest per capita military in the world. Mrs. Song usually went to work with one baby strapped to her back and one or two others dragging along behind her. Her children basically grew up at the day-care center. She was supposed to work eight hours with a lunch break and nap in the middle of her shift. After work, she had to spend several more hours in ideological training in the factory’s auditorium. One day the lecture might be about the struggle against U.S. imperialism; another time it might be about Kim Il-sung’s exploits (actual or exaggerated) fighting the Japanese during World War II. She had to write essays on the latest pronouncements of the Workers’ Party or analyze the day’s editorials in the
Hambuk Ilbo
newspaper. By the time she got home, it would be 10:30
P.M.
She would do her housework and cooking, then get up before dawn to prepare herself and her family for the day ahead before leaving home at 7:00
A.M.
She seldom slept more than five hours. Some days were harder than others. On Wednesday mornings, she had to report to work early for mandatory meetings of the Socialist Women’s Federation. Friday nights she stayed especially late for self-criticism. In these sessions, members of her work unit—the department to which she was assigned—would stand up and reveal to the group anything they had done wrong. It was the Communist version of the Catholic confessional. Mrs. Song would usually say, in all sincerity, that she feared she wasn’t working hard enough.
Mrs. Song believed what she said. All those years of sleep deprivation, all those lectures and self-criticisms—the very same tools used in brainwashing or interrogations—had wiped out any possibility of resistance. She had been molded into one of Kim Il-sung’s improved
human beings. Kim Il-sung’s goal wasn’t merely to build a new country; he wanted to build better people, to reshape human nature. To that end, he created his own philosophical system,
juche
, which is commonly translated as “self-reliance.”
Juche
drew on Marx’s and Lenin’s ideas about the struggle between landlord and peasant, between rich and poor. It similarly declared that man, not God, shaped his own fate. But Kim Il-sung rejected traditional Communist teachings about universalism and internationalism. He was a Korean nationalist in the extreme. He instructed Koreans that they were special—almost a chosen people—and that they no longer had to rely on their more powerful neighbors, China, Japan, or Russia. The South Koreans were a disgrace because of their dependence on the United States. “Establishing
juche
means, in a nutshell, being the master of revolution and reconstruction in one’s own country. This means holding fast to an independent position, rejecting depen dence on others, using one’s own brains, believing in one’s own strength, displaying the revolutionary spirit of self-reliance,” he expounded in one of his many treatises. This was seductive to a proud people whose dignity had been trampled by its neighbors for centuries.
Once in power, Kim Il-sung retooled the ideas developed during his time as an anti-Japanese guerrilla fighter as instruments of social control. He instructed North Koreans that their power as human beings came from subsuming their individual will to that of the collective. The collective couldn’t go off willy-nilly doing whatever the people chose through some democratic process. The people had to follow an absolute, supreme leader without question. That leader, of course, was Kim Il-sung himself.
And still it was not enough; Kim Il-sung also wanted love. Murals in vivid poster colors showed him surrounded by pink-cheeked children looking on with adoration as he bestowed on them a pearly-toothed, ear-to-ear grin. Toys and bicycles clutter the background of these images—Kim Il-sung didn’t want to be Joseph Stalin; he wanted to be Santa Claus. His dimpled cheeks made him appear more cuddly than other dictators. He was to be regarded as a father, in the Confucian sense of commanding respect and love. He wanted
to ingratiate himself into North Korean families as their own flesh and blood. This kind of Confucian communism bore greater resemblance to the culture of imperial Japan, where the emperor was the sun to which all subjects bowed, than to anything envisioned by Karl Marx.
To a certain extent, all dictatorships are alike. From Stalin’s Soviet Union to Mao’s China, from Ceauşescu’s Romania to Saddam Hussein’s Iraq, all these regimes had the same trappings: the statues looming over every town square, the portraits hung in every office, the wristwatches with the dictator’s face on the dial. But Kim Il-sung took the cult of personality to a new level. What distinguished him in the rogues’ gallery of twentieth-century dictators was his ability to harness the power of faith. Kim Il-sung understood the power of religion. His maternal uncle was a Protestant minister back in the pre-Communist days when Pyongyang had such a vibrant Christian community that it was called the “Jerusalem of the East.” Once in power, Kim Il-sung closed the churches, banned the Bible, deported believers to the hinterlands, and appropriated Christian imagery and dogma for the purpose of self-promotion.
Broadcasters would speak of Kim Il-sung or Kim Jong-il breathlessly, in the manner of Pentecostal preachers. North Korean newspapers carried tales of supernatural phenomena. Stormy seas were said to be calmed when sailors clinging to a sinking ship sang songs in praise of Kim Il-sung. When Kim Jong-il went to the DMZ, a mysterious fog descended to protect him from lurking South Korean snipers. He caused trees to bloom and snow to melt. If Kim Il-sung was God, then Kim Jong-il was the son of God. Like Jesus Christ, Kim Jong-il’s birth was said to have been heralded by a radiant star in the sky and the appearance of a beautiful double rainbow. A swallow descended from heaven to sing of the birth of a “general who will rule the world.”
North Korea invites parody. We laugh at the excesses of the propaganda and the gullibility of the people. But consider that their indoctrination began in infancy, during the fourteen-hour days spent in factory day-care centers; that for the subsequent fifty years, every song, film, newspaper article, and billboard was designed to deify
Kim Il-sung; that the country was hermetically sealed to keep out anything that might cast doubt on Kim Il-sung’s divinity. Who could possibly resist?
IN 1972, ON THE
occasion of his sixtieth birthday, a traditional mile stone in Korean culture, the Workers’ Party began distributing lapel pins of Kim Il-sung. Before long, the entire population was required to wear them on the left breast, over the heart. In Mrs. Song’s home, as in every other, a framed portrait of Kim Il-sung hung on an otherwise bare wall. People were not permitted to put anything else on that wall, not even pictures of their blood relatives. Kim Il-sung was all the family you needed—at least until the 1980s, when portraits of Kim Jong-il, named secretary of the Workers’ Party, were hung alongside those of his father. Later came a third portrait, of the father and son together. The North Korean newspapers liked to run “human interest stories” about heroic citizens who lost their lives rescuing the portraits from fire or flood. The Workers’ Party distributed the portraits free of charge along with a white cloth to be stored in a box beneath them. It could be used only to clean the portraits. This was especially important during the rainy season, when specks of mold would creep under the corners of the glass frame. About once a month, inspectors from the Public Standards Police would drop by to check on the cleanliness of the portraits.