1978, it speaks to the painful social costs of reckless industrialization, even as it tellingly portrays the spiritual malaise of the newly rich and powerful and a working class subject to forces beyond its control. Cho's lean, clipped, deceptively simple style, the rapidly shifting points of view, terse dialogue, and subtle irony evoke the particularities of life in 1970s South Korea in the presence of global economic forces. The desperate realities of life for the dwarf, the proverbial little guy upon whose back Korea's economic transformation largely took place, are emotively rendered in twelve linked stories examining the lives of a laboring family, a family of the newly emerging middle class, and that of a wealthy industrialist.

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