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In this article, we examine the ‘subject’in Kim Kuyoung’s poetic works in general and his ‘novella poems’in particular which mainly shape his reputation of impenetrability, though they show arguably one of the highest peaks of modern Korean poetry. The subject in Kim Kuyong, is above all the linguistic subject. It’s the subject of split and desire, and it is produced by the dominance of the Other as language. A subject appears as signifier and is alienated by signifier, though the birth of subject is completed only through entering the chain of meaning of the symbolic, i.e. language. In his works the split subject is caused by the split of signifier and signified, and it is represented as the opposition of ‘subject symbolized’and ‘subject without symbolic address’. The latter hangs around the former. In this context the subject is nothing but a series of effects of signifiers. “The Postmark”demonstrates the condition of the subject as the place, the arrangement or the effect of signifiers. In the poem we could not find any rational reasoning that “I”, the innocent, is indicted on murder charge. The only possible answer is, the signifier of murderer he got is no more than a certain ensemble of what happened to be around him that day. The subject is coagulated as a signifier, for the subject is nothing but the effect of a series of signifiers. Kim Kuyong has a special name for this sort of coagulation. It is ‘imprisonment’. In fact, imprisonment is a rather frequent word in his works.“ The Postmark” is a brilliant showcase of his unique use of the imprisonment motif. Though he never actually killed anyone, he is a murderer in so far as he is represented as murderer signifier. The subject exists as enlisted in the symbolic system of the Other. Interesting is the subject in another novella poem “Dreamy Ideal” because it shows a denial of the disappearance of subject in the chain of meaning of the Other, in opposition to “the Postmark”. The pursuits of his desire and the phantastic union with the cause of desire - an orange - keep him, in this case, from disappearing in the chain. It seems it says the Other’s domination over the subject could not be perfect. In other words, the subject’s immersion in the symbolic system is not complete because there is always something lost when he has become a linguistic being. Desiring ‘something lost’, the subject could separate himself from the Other. The pursuit of an orange and the phantasy that he would succeed in imaginary union with that let him separate from the Other. “Dreamy Ideal”clearly points out that the separation of the subject from the Other is made possible by phantasy - and traversing the phantasy. In this poem exist uncannily Lacanian shifts from pursuit to jouissance, from desire to pleasure. The subject of the jouissance is eventually freed from desire and perversion, i.e. the power of the symbolic. The motif of the subject dominated by the Other, forms the core of Kim Kuyong’s works. The subject of desire is split, alienated, and imprisoned. On the other hand Kim Kuyong knew the possibility that the subject would traverse the phantasy. There is no trace of similar subject in the modern poetical lineage in Korea. In spite of the severe literary and intellectual isolation, Kim Kuyong’s works anticipate the subject of split and desire, only elucidated by the recent development of western philosophy and psychoanalysis. It seems he, a dozen years earlier, simply invented his own Lacanian philosophy of subject. This article is a call to an attention to the untouched mysteries of his works ? modern, resourceful and ever impenetrable.