In the world of Korean picture books, Rury Lee (이루리) is often hailed as an idol of the genre. A writer, translator, editor, and publisher, Rury co-founded the publishing house BookGoodCome with his wife, Lee Soon-Young. Together, they have devoted themselves to creating and publishing picture books that bring comfort and healing to readers. His signature work, Coda the Polar Bear, follows the tender journey of a little polar bear named Coda. Through its gentle storytelling, the book explores themes of loneliness, companionship, and love—and has quietly touched the hearts of readers across the world.
Rury didn’t come from a conventional picture book background; he only began creating them in his late twenties. To those unfamiliar with the form, picture books might seem like something “just for children”. But to Rury, they are much more than a literary genre for the young—they’re a powerful way to reconnect with ourselves, to build emotional bridges between people, and to engage more deeply with the world around us. A picture book, in his view, isn’t just a tool for storytelling. It’s a vessel for memory and love, holding within its pages the unspoken feelings and long-buried wishes we often struggle to express.
To Rury, picture books are a doorway into another world—one that feels safe, pure, and sincere. In this space, love and dreams are honoured, and feelings can rest gently without judgement. A picture book becomes a delicate, resilient ribbon that ties together grown-ups and children, past and present. It gives us the chance—and the courage—to rediscover that childlike part of ourselves we may have forgotten.
As a creator, Rury’s wish is simple: “to make people laugh or to move them to tears”. In his words, “I believe a story becomes nourishment when it makes the reader feel something. It’s like food—it can be a festive meal or warm homemade comfort food. I hope that when readers engage with my stories, they are reminded of someone they love—and feel more love in their hearts”. Perhaps it’s this gentle philosophy that allows his work to quietly reach into the hearts of others. And for us, it all began with a single picture book cover that made us pause.
We first met Rury Lee on a quiet corner of the bustling London Book Fair this past spring. Surrounded by hundreds of booths from over a hundred countries, the venue was packed—shoulder to shoulder, a sea of people and stories. We wandered through it all, losing ourselves in books and the unexpected encounters they brought.
That’s when we stumbled upon the BookGoodCome stand. What first caught our eye was a book cover—an image of a mother polar bear holding her baby close, her expression so gentle it stopped us in our tracks. It was then that Rury stepped forward and warmly greeted us. Learning that we didn’t speak Korean, he kindly and patiently shared the story with us in English, page by page: a mother and her cub, nestled together in the snowy Arctic, quietly protecting each other. His voice was low and steady, and in the noise of the fair, a hush seemed to fall around us. A shaft of light fell across the open pages as he read, and before we realised it, our eyes welled with tears. Only after the story ended did we learn that he wasn’t just the author—he was also the publisher. That unexpected meeting became the starting point of this interview.
There’s a Chinese saying: “to cross paths with someone on the same boat takes a hundred lifetimes”. So how many lifetimes must pass before we get to share a story together? Maybe just one fleeting moment. But sometimes, that moment shines like a sudden burst of starlight—illuminating a tender part of our hearts. That brief encounter was just one page in the many passing moments of the book fair, yet it felt as though it had been carefully written into the story of our lives. No matter where we came from or where we’re headed, we had, just for a while, stepped into the same story.
And now, I invite you to step into the world of Rury Lee—a storyteller who protects the child within us, and the quiet, hopeful universe he has woven through his books.
在韓國童書界，Rury Lee（이루리）被譽為「繪本界的偶像」。他不僅是作家、譯者、編輯，也是一位童書出版人。Rury與妻子Lee Soon-Young一同創辦了童書出版社 BookGoodCome，致力於出版能夠撫慰人心的繪本。他的代表作《Coda the Polar Bear（北極熊柯達）》，以小北極熊柯達為主角，細膩地描繪了孤獨、陪伴與愛的課題，融化了全世界無數讀者的心。
他並非是童書路上的「科班生」，他真正開始創作繪本已是幾近而立之年的事。對於從未接觸過繪本的人來說，這些彩色的故事書很容易被誤解成「專屬於孩子的書」。對 Rury 而言，繪本不僅是兒童文學的一種體裁，更是一種讓我們重新理解自己、與他人和這個世界產生情感連結的方式。它不只是講故事的工具，而是一種傳遞記憶與愛的容器，承載著那些未曾說出口的情緒，和深藏在心底沒能實現的願望。 對Rury來說，繪本是通往另一個世界的入口——一個自在純真的世界。在那裡，愛和夢想可以被珍視，情緒也可以好好安放。 繪本成為了大人與孩子、過去與現在的一條溫柔而有韌性的綢帶，讓我們有機會，也有勇氣找回那顆已經落了灰的童心。
作為一名創作者，Rury的心願很簡單：能逗讀者一笑，或感動他們落淚，就足夠了。「當一個故事能讓讀者有所觸動，它才能真正成為養分。就像食物一樣——可以是饕餮盛宴，也可以是一頓撫慰人心的家常菜。我希望人們在閱讀我的故事時，會想起自己愛著的人，並因此感受到更多愛。」
也許正是這樣的信念，讓他的作品總能悄悄地觸碰人心。而我們的相遇，正是從一本讓人駐足的繪本封面開始的——
第一次遇見 Rury Lee，是在今年春日倫敦書展的一隅。展場裡有來自一百多個國家與地區的千餘個展位，摩肩接踵，人潮如海。我們穿梭其間，於書海中流連忘返，與無數故事不期而遇，又悄然作別。
我們無意間來到 BookGoodCome 的展位，原本只是被一本繪本封面吸引——畫面上是一隻北極熊媽媽緊緊摟著她的寶寶，溫柔的神情讓人瞬間駐足，Rury就是在這個時候走上前來與我們熱情的交談。得知我們不講韓語，他便溫柔仔細地用英語，一頁一頁為我們講述，這對母子北極熊在極地白雪間的彼此依偎、相互守護的故事。他的聲音低沉而溫暖，偌大的展廳頃刻間安靜下來，一束追光灑在書頁上，我們靜靜聽着，不知不覺熱淚盈眶。故事讀完，我們才得知原來他不單是創作者，還是出版社的創辦人。這段偶遇，也成為我們後來訪談的起點。
常言道，「百年修得同船渡」。那麼，一起聆聽一場故事，又要歷經多少歲月的緣分？也許只是短短一瞬；可那一瞬，如同星河乍現，照亮了我們心中某個柔軟的角落。
這一隅相逢不過是書展眾多片刻的一頁，卻彷彿生命之書的一次精心安排。無論我們來自哪裡，又將去往何處，我們都行走在各自的人生軌跡上，而在那一刻，我們曾一同走進同一個故事。此時此刻，讓我們一起開啟 Rury Lee 的創作談——一位用故事守護童心的旅人，以及他編織出的純真世界。
Beginnings, Inspirations, and Storytelling with Heart
起點、靈感，以及用心說故事的力量
AZ: You’ve shared that reading John Burningham’s John Patrick Norman McHennessy – the Boy Who Was Always Late in your 30s changed the course of your life. Could you tell us more about why that book had such an impact, and how it led you toward storytelling and picture book publishing?
RL: I had never truly encountered picture books until I was nearly thirty. And perhaps many people may live their entire lives without ever really experiencing the art of picture books. People who haven’t explored them often assume picture books are only for children or have purely educational purposes. I thought so too, not realizing that this was a bias—or a misconception.
John Burningham’s John Patrick Norman McHennessy—the Boy Who Was Always Late shattered that notion completely. I was struck by how violent the story felt. Each time John is late, his teacher punishes him by forcing him to write hundreds of lines: “I will not be late again. I will not tell lies again”. Today, this would be seen as child abuse. Burningham, who likely experienced corporal punishment himself, softened the discipline into repetitive writing—but even that now feels abusive. The most shocking moment comes at the end: the teacher is captured by a gorilla and hung from the ceiling. He asks John for help, but John coldly replies that there are no gorillas in his neighborhood. A child refusing to help his teacher—this was unthinkable to me at the time. That book left me with one big question: What exactly is a picture book? For me, that book opened the door to a whole new world.
AZ: 您曾經（在訪談中）提到，三十歲時讀到約翰·伯寧罕（John Burningham）《遲到大王》這本繪本徹底改變了您的人生方向。能不能和我們談談為什麼這本書帶給您如此深遠的影響？又是如何引領您走向說故事與繪本出版之路的呢？
RL: 我是在快要三十歲的時候才真正「遇見」繪本的。也許很多人一輩子都沒機會體驗到繪本的藝術。沒接觸過繪本的人往往會以為那只是給孩子看的書，或者是單純用來教學的工具。我當時也是這麼想的，直到後來才意識到那其實是一種偏見，或者說，一種誤解。約翰·伯寧罕的這本《遲到大王》完全打破了我對繪本的想像。我被它的敘事方式所震撼——甚至覺得故事中充滿了「暴力」。每當主角約翰遲到時，老師都會處罰他抄寫數百遍「我不會再遲到了。我不會再說謊了」。放在今天，這樣的處罰可能已經會被視為兒童虐待。伯寧罕自己很可能經歷過體罰，他把原本的懲罰「柔化」為反覆抄寫，但即便如此，如今看來依然讓人感到不適。最令人震驚的情節出現在結尾：老師被一隻大猩猩抓走，吊在天花板上，他向約翰求救，但約翰冷冷地回應：「我們家附近沒有大猩猩。」一個孩子拒絕幫助自己的老師——當時這對我來說簡直難以想像。這本書讓我心中浮現了一個巨大的疑問：繪本到底是什麼？ 對我而言，這本書為我打開了一扇通往全新世界的大門。
John Patrick Norman McHennessy—the Boy Who Was Always Late
AZ: Coda the Polar Bear was born from a dream and has since grown into a beloved character across multiple books and countries. Many international readers have been deeply moved by his story—we were even brought to tears when you read it aloud at the London Book Fair. In your view, what gives Coda such universal appeal? And what does he represent to you now, as both a character and a creative companion over the years?
RL: My love for polar bears began when I was eight years old, in the first grade. One day on my way home from school, I saw a newly displayed polar bear plush in a gift shop window. I waited eagerly for my father to return from work so we could go see it together. But the plush was too expensive, and we returned home empty-handed. Then something magical happened. From that day on, whenever a polar bear appeared on TV, I watched the entire show. If I saw a polar bear on the cover of a book at the bookstore, I would read it right there on the spot. The more I learned about polar bears, the more I loved them. Eventually, I realized that polar bears and people are just different in appearance—but the same in spirit.
When I grew up, I founded Bookgoodcome and began writing stories about polar bears. The tale of Coda the little bear and his mother is not only a story about polar bears—it’s a story about humanity. To me, Coda represents children and the future of humankind, while his mother represents adults and the present. Both polar bears and humans are facing crises—not just environmental, but generational. And the only way to overcome these crises is love. Through love, Coda and his mother not only survive, but change the world. Their deep love and wisdom have touched and inspired readers around the globe.
AZ: Many of your stories—such as in the Coda the Polar Bear series—touch on themes like love, separation, and even death. What draws you to these deeper topics, and what role do you think picture books can play in helping both children and adults navigate complex emotions?
RL: When I was in sixth grade, my father asked me what I wanted to be. I said I wanted to become a doctor who saves lives. But he told me we were too poor for college and that I should go to a technical or business high school and find a job. So I started thinking: Is there any way to save lives without studying or going to university?
I found the answer in a secondhand bookstore. I learned that human life isn’t just physical—it also includes the life of the heart. Doctors save the body, but artists save the heart. That’s why we call art “nourishment for the soul“. And many of the writers I admired had little or no formal education. That’s when I decided I would become a writer.
AZ: You once said that books should nourish the heart like food. If your books were flavours or dishes, what would they taste like?
RL: As a writer, I only aim for two things: to make people laugh or to move them to tears. I believe a story becomes nourishment when it makes the reader feel something. It’s like food—it can be a festive meal or warm homemade comfort food. I hope that when readers engage with my stories, they are reminded of someone they love—and feel more love in their hearts.
AZ: 北極熊柯達（Coda the Polar Bear ）是從一個夢開始的角色，如今已成長為一位跨越語言與國界、深受讀者喜愛的角色。許多來自世界各地的讀者都被這個故事深深感動——甚至連我們在倫敦書展現場聽您朗讀時也都忍不住流淚。您覺得是什麼原因引起這麼強烈的共鳴？對您來說，柯達現在又代表着什麼？
RL: 我對北極熊的喜愛可以追溯到我八歲、小學一年級的時候。有一天放學回家的路上，我在一家禮品店的櫥窗裡看見了一隻剛上架的北極熊絨毛玩具。我滿心期待地等爸爸下班，希望我們可以一起去看它。但那隻玩偶實在太貴了，最後我們什麼也沒買，只能空手回家。但奇妙的事發生了：從那天起，只要電視上出現北極熊，我就會把整個節目看完；在書店裡看到有北極熊封面的書，我會當場當場翻開來讀。隨着對北極熊的了解越來越深，我的喜愛也越來越強烈。到後來我才發現，北極熊和人類，其實只是在外表上不同，本質卻擁有相似的靈魂。
長大後，我創辦了 Bookgoodcome，開始創作與北極熊有關的故事。柯達和它媽媽的故事不只是關於北極熊的故事，更像是一則關於人類的寓言。對我來說，柯達代表孩子，也象徵着人類的未來；而它的媽媽則代表大人和我們的此時此刻。
如今，無論是人類還是北極熊，都正面臨着危機——不只是環境的危機，還有代際之間的危機。而我們能夠度過這些危機唯一方式，就是愛。正是因為愛，柯達和它的媽媽不僅活了下來，更改變了世界。他們之間深刻的情感與智慧，感動並啟發了無數世界各地的讀者。
AZ: 您的繪本——例如 Coda the Polar Bear 系列——常常觸及愛、離別，甚至死亡等深刻的主題。是什麼吸引您去談論這些情感層面的議題？您認為繪本對大人與孩子來說，能在處理情緒上發揮什麼樣的作用？
RL: 我讀小學六年級時，有一次爸爸問我長大想做什麼。我說，「我想當能夠救人的醫生」。但他說我們家太窮，沒錢供我上大學，要我去讀技術或商業高中，之後盡快找份工作。於是我開始思考：如果不能上大學，有沒有別的方式可以「救人」呢？
後來，我在一家二手書店裡找到了答案。我開始明白，人的生命不是只有肉體，人也有「心」，也是有生命的。醫生拯救的是人的身體，而藝術家拯救的是人的心靈。這也是為什麼我們說藝術是「心靈的養分」。而那些我敬仰的作家中，有許多人甚至沒受過正規教育。那時我決定了：我要成為一名作家。
AZ: 您曾說，故事應該像食物一樣滋養人的心。如果把您的書比喻成一道道料理，它們會是什麼味道？
RL: 作為創作者，我的願望其實很簡單：要麼讓人發笑，要麼讓人落淚。 我相信，當一個故事能讓讀者有所觸動，它才能真正成為養分。就像食物一樣——可以是饕餮盛宴，也可以是一頓撫慰人心的家常菜。我希望人們在閱讀我的故事時，會想起自己愛著的人，並因此感受到更多愛。
Publishing as Practice – Collaboration, Curation, and Creative Mentorship
出版作為實踐 —— 協作、策展與創意引導
AZ: As editor-in-chief at BookGoodCome and founder of Yrurybooks, how do you and your partner Lee Soon-Young divide your roles in the publishing house? How has this creative partnership shaped the kinds of stories you seek out, and the values or philosophies behind your editorial decisions?
RL: My editorial philosophy is the same as my writing principle: the story must be funny or moving. When selecting foreign titles to publish, my partner Lee Soon-young and I only choose books that make us laugh or cry together. That’s our one and only standard. Today, with over ten staff members, it’s more difficult to agree on taste—but the core value remains.
My role at the publishing house is to discover new talent through workshops and help polish contracted works to the highest standard. Lee Soon-young leads as CEO and main translator. In fact, most of our translated picture books are brought to life through her.
This editorial principle—”funny or moving“—has helped Bookgoodcome grow into an internationally respected publisher. We do not select books based on the author’s fame or résumé, but purely on the quality of the work. We’ve debuted many well-known authors and exported numerous rights internationally. This commitment to artistic value has earned us global recognition and trust.
AZ: You’ve worked with many first-time illustrators and writers. What advice would you give to younger creators who want to tell meaningful stories for children today?
RL: The aspiring authors who attend my workshops range from teenagers to those in their sixties. I always tell them: the only true ingredients in art are freedom and sincerity. I encourage them to leave their possibilities open. Limitations are often self-imposed. If you believe something is impossible, it will be. But if you believe it’s possible, then anything is. That’s the spirit of both art and life.
I also tell them not to aim for perfection—just enjoy the challenge. Until you create something, you won’t know what your art is really about, or who it’s for. Some who came to make picture books discovered they were meant to be novelists, cartoonists, or emoji artists instead.
We are all born artists. But unless we try and express ourselves, we’ll never know where our true artistic path lies. I don’t want to be a teacher who trains writers and illustrators—I want to be a mentor who sets their spirits free.
AZ: BookGoodCome has published so many titles over the years. For someone new to your publishing house, which books would you recommend as a starting point, and why? Could you share one or two titles that you feel represent your creative vision, values, or breakthroughs—whether emotionally, thematically, or in terms of market impact?
RL: Of course, the series that made Bookgoodcome what it is today is the Coda the Polar Bear series—including Black Coda, Coda the Polar Bear, Warm Breath, and Always Beside You—which has been translated and sold in 11 countries. These books, carrying messages of healing and environmental concern, are our flagship titles. That they were written by a Korean author and illustrated by an Italian artist symbolizes our belief that books can transcend time and borders through love.
If the Coda series falls into the category of “moving picture books“, then Here Comes the Monster by Shin Sung-hee and Tori with Red Hair by Yoon Young-chul are “funny picture books” that have also been translated into over ten languages. These stories make readers laugh but also leave them with deep reflections—stories that spark questions and invite discovery.
More recently, Choi Young-ah’s The Moon Rabbit, Snow White, and Sunshower have received growing attention. One look at the covers, painted in a style inspired by traditional Korean folk art, reveals why they are so beloved around the world.
AZ: 您是 BookGoodCome 的總編輯，也是 Yrurybooks 的創辦人。您與合作夥伴李順英女士如何分工？這段創意夥伴關係如何影響您們挑選故事的方向，以及您們在編輯決策背後的理念與價值？
RL: 我的編輯理念其實和我寫作的原則一樣：故事一定要「讓人發笑，或讓人落淚」。每當我們要挑選國外作品進行引進出版時，我和我愛人李順英唯一的標準就是：這本書能不能讓我們一起笑，或一起哭。就這麼簡單。現在我們團隊已有十多位員工了，品味越來越多元，要想完全達成共識會變得困難，但這個核心標準始終沒變。
在出版社裡，我主要負責透過工作坊發掘新人，並協助我們簽下的作品做最後階段的內容提升，讓每一本書都能以最完整、最動人的樣貌與讀者見面。李順英是我們的首席執行官，也是我們的主要翻譯者。事實上，我們所出版的大多數翻譯繪本，都是透過她重新賦予生命的。
這套「讓人笑或讓人哭」的選書標準，正是 BookGoodCome 得以成為國際知名出版社的關鍵。我們從不以作者的知名度和履歷作為選書依據，而是單純看作品本身是否具有質感與力量。有不少如今成名的作家，其實都是從我們這裡發表了第一篇作品開始的，我們也成功將許多版權推向國際市場。對藝術價值的堅持，讓我們贏得了世界各地的信任與支持。
AZ: 您曾與許多初次創作繪本的插畫家與作家合作。對於現在這一代希望為孩子創作有意義故事的年輕創作者，您會給出什麼建議？
RL: 來參加我工作坊的創作者，年齡從十幾歲到六十幾歲都有。我總是告訴他們：藝術真正的養分只有兩樣——自由與真誠。我鼓勵他們保持開放的心，別太早設限。很多時候，限制是我們自己加諸在自己身上的。如果你一開始就覺得「做不到」，那它就真的會變得不可能；但如果你相信「也許可以」，那很多事情就真的有可能實現。這不只是藝術的精神，其實也是生活的真諦。
我也會跟他們說，不需要追求完美。創作的過程本身就是樂趣。沒有動手做，你永遠不知道你的藝術是什麼，也不知道它真正想說的是什麼、是給誰看的。有些人原本是來做繪本的，做到最後卻發現自己其實是小說家、漫畫家，甚至是 emoji 設計師。
我們每個人天生都是藝術家。但如果不去嘗試、不去表達，就永遠不會知道自己的藝術之路在哪裡。我不想當一個訓練作家和插畫家的老師，我想成為一個讓他們靈魂自由飛翔的引路人。
AZ: 這些年來，BookGoodCome 出版了非常多的作品。如果是第一次接觸你們出版社的新讀者，您會推薦哪幾本作為入門書？能否分享一兩本特別代表您創作理念、情感核心，或者在市場上產生重大影響的作品？
RL: 當然可以，北極熊柯達系列讓 BookGoodCome 發展成今天的樣子，包括《黑色柯達》、《溫暖的氣息》與《永遠在你身邊》等作品，這個系列至今已被翻譯成 11 種語言，在很多國家發行。這些作品傳達的是療癒與環境關懷的信息，也成為我們出版社的代表作。而這個系列由韓國作家創作、由義大利插畫家繪製，本身就象徵了我們對出版理念的堅信：真正的故事可以超越語言與邊界，只要有愛，就能傳遞。
如果說「北極熊柯達」系列屬於「感人」型的繪本，那麼申成熙的《怪獸來了（Here Comes the Monster）》和尹永哲的《紅髮托里（Tori with Red Hair）》則屬於「幽默」型繪本的代表。這兩本同樣被翻譯成十多種語言。這些故事不僅讓讀者開懷一笑，同時也留下餘韻，引人深思——它們激發思考，也邀請我們踏上一段探索之旅。
最近幾年，崔英雅的《月兔》（Moon Rabbit）、《白雪公主》（Snow White）與《太陽雨》（Sunshower）等作品也逐漸受到關注。只要看一眼那融合了韓國傳統民畫風格的封面，便不難理解為什麼它們深受全球讀者的喜愛了。
From Korea to the World – Crossing Borders, Translating Emotions, and Looking Ahead
從韓國走向世界 —— 跨越邊界，翻譯情感，展望未來
AZ: Over the years, what have been some of the most difficult moments you and your team have faced—whether financially, logistically, or emotionally? What helped you get through those times?
RL: In the 17 years I’ve run two publishing houses and one bookstore, our biggest challenge has always been securing investment. Bookgoodcome began in our home office with a small retirement fund, and we’ve faced countless financial crises since. Angel investment in arts and culture is still rare in Korea. But what carried us through was the love and support of our readers, and the belief in our mission. Public institutions like Korea’s Credit Guarantee Fund and dear friends have become our strong allies. The survival and growth of Bookgoodcome truly is a miracle made possible by love.
AZ: How have you seen the children’s book publishing landscape change over the past decade—in Korea or internationally? What trends have you noticed in reading habits, parental involvement, or the shift between digital and print?
RL: Korea is known worldwide for its intense educational culture. Many parents focus solely on college entrance exams. But something remarkable happened: parents who began reading picture books to their children for educational reasons ended up falling in love with picture books themselves. Thanks to children, Korean adults have grown closer to books—and this has led to a rise in both reading and creative communities. Today, Korea has over 60,000 registered publishers and more than 30,000 web novel authors. As a result, the Korean picture book market has flourished and is now becoming a leader on the global stage.
AZ: BookGoodCome has published over 300 titles and sold rights in over 13 countries. When your books are translated into different languages, what parts of the story or feeling do you worry might get “lost”? How do you ensure your message carries across cultures?
RL: At Bookgoodcome, we deeply value the editors, designers, translators, and marketers who help bring each book to life. Our contracts are built on mutual trust, and we respect cultural differences and artistic preferences. Above all, we believe that artists are not here to deliver messages but to offer joy and emotional resonance. The role of interpretation belongs entirely to the reader. If the artist has the freedom to create, then the reader has the freedom to feel and think.
AZ: The name BookGoodCome is particularly distinctive and memorable. Intriguingly, it sounds remarkably similar to the Korean word for polar bear (북극곰), and your most beloved character, Coda, is a polar bear himself. Was this similarity intentional?
RL: Yes! I’m amazed you noticed that! In fact, the Korean word 북극곰 is quite difficult for non-Korean speakers to pronounce. I wanted to find a way to make the sound easier and friendlier for everyone to say. That’s how the name BookGoodCome was born. When spoken aloud, it sounds very similar to 북극곰—almost like a playful echo of the Korean pronunciation. So yes, BookGoodCome is actually a creative and phonetic way of saying “polar bear” in Korean.
AZ: Looking ahead, are there any personal dreams or goals—creative, collaborative, or cultural—you still hope to pursue through children’s books? Are there stories you hope to adapt into other formats, such as film, animation, or theatre—and what would you love to see come to life?
RL: Both Bookgoodcome and Yrurybooks have many original works. My dream is to build a comprehensive entertainment group based on these creations. We plan to expand into animation, film, TV dramas, theater, games, music, talk shows, and more. If we meet the right investors who understand the value of what we’ve created, everything can move quickly. Until then, I will keep creating and dreaming—because I never stop until it becomes real.
AZ: Imagine you could write a picture book for children 20 years in the future. What would it be about, and what message would you most want to pass on to the next generation?
RL: I believe that we are all connected—not just people, but animals and plants, too. That’s why I so naturally immerse myself in everything I love. I will continue to write knowledge-based picture books about the things I’m curious about—I’ve already published four. I’ve reimagined traditional folktales into three new stories. I’m writing a picture book travel series called Dear Moon, Why Are You Following Me? and I plan to keep exploring picture books that use the alphabets of different countries.
Every day, I write down stories from my dreams. In short, I plan to keep writing about the things and people I love—until the moment I become a star. Because I believe we are born into this world to love and be loved. My art is a love song dedicated to all living things.
AZ: 這些年來，您和團隊面對過哪些最艱難的時刻？不論是在財務、營運或情感層面？是什麼讓您們能夠走過這些難關？
RL: 在這十七年間，我一邊經營兩家出版社與一家書店，一邊經歷了無數挑戰，而最大的難題始終是資金的籌措。BookGoodCome 剛開始是在我們家裡的小書房裡成立的，資金來自一筆微薄的退休金。從那時起，我們歷經了無數次財務危機。在韓國，對藝術與文化的天使投資仍十分罕見。是讀者的愛與支持，以及我們對所做之事的堅定信念，一路支撐著我們走過這些艱難的時刻。像韓國信用保證基金這樣的公共機構，以及一些摯友，也成了我們堅強的後盾。BookGoodCome 能夠生存並成長到今天，對我而言，真的是一場由愛促成的奇蹟。
AZ: 過去十年間，您觀察到韓國或國際間童書出版的哪些變化？在閱讀習慣、父母參與程度，或紙本與數位的轉換之間，有哪些趨勢值得注意？
RL: 韓國在全球間素有「教育強國」之稱，很多家長將全部的重心都放在孩子的升學與考試上。然而，令人意想不到的事情發生了：那些原本是為了教育目的而開始為孩子朗讀繪本的家長，最後自己也深深愛上了繪本。因為孩子的緣故，韓國的大人們開始重新親近書本。這不僅促進了閱讀風氣，也帶動了創作社群的興起。
如今，韓國已有超過六萬家註冊出版社，以及三萬多位網路小說作家。在這樣蓬勃發展的創作土壤中，韓國的繪本市場也迅速茁壯，逐漸走向世界舞台，成為全球童書領域的重要力量。
AZ: BookGoodCome 至今已出版超過 300 本書，並將版權銷售至 13 個以上的國家。當您的書被翻譯成不同語言時，是否會擔心故事中的某些細節或情感「失真」？您如何確保這些作品能跨文化地傳達出原本的精神？
RL: 在 BookGoodCome，我們非常珍惜每一位參與圖書誕生的夥伴——無論是編輯、設計師、翻譯，還是行銷人員，因為正是他們一起讓每本書真正「活」了起來。我們的合作建立在信任之上，也尊重彼此在文化與藝術上的差異與選擇。最重要的是，我們相信，藝術家的角色不是為了傳遞某種訊息，而是為了帶來喜悅與情感共鳴。詮釋的權利，屬於每一位讀者。只要創作者擁有創作的自由，讀者自然也會擁有感受與思考的自由。
AZ: BookGoodCome 這個名字非常特別，令人印象深刻。我注意到它的發音與韓語「北極熊」（북극곰）非常相近，而您筆下最受歡迎的角色 Coda柯達 也正是一隻北極熊。這樣的呼應是您有意安排的嗎？
RL: 是的！你能發現這一點，真的讓我很驚喜！其實，「북극곰」這個詞對非韓語母語者來說發音並不容易。我當時就在想，有沒有一種方式，能讓這個詞的發音聽起來更輕鬆、更親切一些，讓大家都能輕鬆地說出來。於是就有了 BookGoodCome 這個名字。當它被念出來的時候，聽起來和「북극곰」非常相似，就像是一個俏皮又親切的發音回應。所以BookGoodCome 實際上就是一個用創意與諧音方式表達「北極熊」的名字。
AZ: 展望未來，您還有哪些個人夢想或目標——無論是創作、合作或文化實踐——希望藉由童書來實現？有沒有想過把某些故事改編為其他形式，例如動畫、電影或舞台劇？您最希望看到什麼作品被實現？
RL: BookGoodCome 和 Yrurybooks 至今已累積了許多原創作品。我的夢想是，能夠以這些創作為基礎，打造一個完整的綜合型娛樂集團。我們計劃拓展至動畫、電影、電視劇、舞台劇、遊戲、音樂、脫口秀等領域。如果有幸遇到真正理解我們創作價值的投資人，那麼一切都能迅速啟動。而在那之前，我會持續創作、持續做夢——因為只要夢想還沒實現，我就不會停下腳步。
AZ: 如果讓您為20年後的孩子們創作一本繪本，它會是什麼樣的故事？您最想對下一代傳遞的訊息是什麼？
RL: 我始终相信，這個世界上的一切都是相連的——不只是人类，還包括動物與植物。也正因如此，我總能全心沉浸於自己所愛的事物之中。
我會继续创作那些基於「好奇心」的知識型繪本，目前已經出版了四本。我也將傳統民間故事重新演繹，轉化為三個全新的故事版本。最近，我正在創作一套旅行主題的繪本系列，書名是《親愛的月亮，你為什麼一直跟着我？》。此外，我還計劃創作一系列以不同國家文字為基礎的字母繪本。
每天，我都會記下夢中浮現的故事。簡單來說，我會保持創作——為我所愛的事物和人寫寫故事，一直到我化作一顆星的那一天。因為我相信，我們生而為人，就是去愛，與被愛。而我的創作，是一首獻給所有生命的情歌。
Text by 撰文 x Dr. Hening Zhang 張鶴寧
Edited by 編輯 x Michelle Yu 余小悦
