The Disaster Tourist is a short (185 pages) novel, a surreal satire translated from Korean in a crisp tone. I was about to say it’s deadpan and heartless -“The deaths were unadvertised disasters, unexpected by the travellers” – but instead I’ll say it’s angry. Funny, but angry. Appalling and appalled.
It makes me feel much better about not being able to travel. And much worse about previous holidays in other people’s misery.
The Disaster Tourist looks at the contemporary (pre-COVID) model of Third World tourism, specifically Pacific island tourism, and lays bare the commercial drivers and marketing strategies, in catastrophically exaggerated form.
The premise is this: A disaster occurs. Lives are lost. But a catastrophe is also an opportunity. A sensational disaster will attract foreign funding (foreign aid) and put an otherwise obscure location on the map (even as it wipes it off the map). Righteous tourists will come to put things right. They will come to experience authenticity, what life is really all about (death). They will come to rubber-neck: to gape, to tut-tut, to experience shock and awe.
If a community has nothing else to offer, being poor, not scenic, its indigenous culture beaten down or dismissed as unremarkable, might it not make sense to manufacture a disaster? To script a catastrophe? To create spectacle? Might that not also provide vested interests an opportunity to rewrite the narrative, to rebuild to design, eliminating or minimising undesirable elements?
Ko Yo-na – or Yona Ko, as the translation insists – is clinging precariously to a ten-year career designing and promoting “Disaster Tourist” travel packages. She’s on the out at work, possibly for reporting her manager for sexual harassment. Her resignation is not accepted. Instead, management proposes she tests out one of their holiday packages, as a guest (expenses paid by the company), writes a token report, then reports back at work refreshed after her “break”.
Yona chooses the Mui package: an island off the coast of Vietnam where an ethnic massacre occurred decades ago. It has sinkholes and a dormant volcano.
Things go terribly wrong for Yona, her own personal disaster tour. But even more terribly wrong is the context: Mui is run by a shadowy corporation known as Paul, and the mechanics of what Paul has planned for Mui’s people and its future is something most tourists would wish to shut their eyes to.
By the time Yona realises she is living within the constraints of a script – an actual script, written by an actual scriptwriter – she’s lost all control of her circumstances.
What is her assigned role? What is the role of Luck? And what of the crocodiles?
The Disaster Tourist recalls for me Amy Tan’s novel Saving Fish From Drowning, and some of J.G. Ballard’s satire. Also the 1998 film Wag the Dog, and its precursor The Mouse That Roared (1959).
Did I enjoy reading it? Not hugely. It was hard and cold, like a pebble. Like a pebble in my shoe, it disturbed my comfort.

HUNGRY GHOSTS SUITE – Exercise towards short stories 4/3/14
Hungry Ghosts on the N53
It’s night
And this bus takes forever.
This is the endless bus
The one that travels everywhere.
The ghost bus.
Spectre people sit glum
Sunk in jackets
Flesh grey and loose
The air about them heavy
with the absence
of connection. No conversation.
This bus tours history
Traverses an empire
Conveys a common wealth
But inside all are worn
Too tired
Too hollow.
It’s too late
For the dead.
Subversion
Under an overhang
Where no one can see
No one is watching
You and me.
Tales of subversion
Resentment and pain
No one is watching
Nothing to gain.
Tear down a village
Put up a fraud
No one is watching
Maybe they’re bored.
Theme park Morocco
Fuchsia and blue
No one is watching
Me and you.
No one is watching
No one can see
They’ll come to take you
They’ll ignore me.
Grunts
The office is divided
by corridors: this side
that side
In the centre a common meeting ground
Reception
With its wall-size red logo
W for War
The foot soldiers tramp
through the common area
primed for hostilities
ready to do damage
and die. Metaphorically.
They know so little.
God
God sees the sparrow fall.
But does He care for cats?
ICU
The shadow puppet is practising for death.
It moves in jerks.
No voice.
It is diminished,
Its rictus face a memento mori.
It dances, stiffly, behind a screen.
Big City
It’s a laser beam battle
In the city centre
Spears of light thrusting forward
Flung backward
The angles are askew
The speed an assault
The sound all surrounding
the pavement in revolt.
I cannot find my way.
The light darts target me
Shattering what’s solid
Glaring through dark space
Spinning me off centre
Blaring blasting blinding
I cannot find my feet.