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This study explores the Japanese-language narratives of Kim Moon-jip (1907??), a Korean writer who produced literary works in Japanese during the Japanese colonial period, focusing on his linguistic experimentation and colonial hybridity. By comparing Secret Flower Garden(Bihwawon, 1939) and Onna Z?ri to Boku no Seishun(Women’s Sandals and My Youth, 1958), this research examines the critical dimension of Kim’s literature, which exposes the inner fragmentation and linguistic duality of the colonial intellectual. Although both works were written in Japanese, they develop distinct networks of meaning according to differences in publication period and medium. The newspaper-serialized Secret Flower Garden depicts the violence of wartime journalism and the desperation of survival, revealing the oppressive structure inherent in colonial reality. In contrast, Onna Z?ri to Boku no Seishun, rewritten two decades later in the context of postwar Japan, transforms the same experience of shame and solitude into a reflective, self-critical narrative. Kim’s act of self-repetition is not a mere reproduction but a re-creation of language that establishes an inner critical space where coloniality and decoloniality intersect. While appropriating the imperial language, Kim introduces fractures within its order, thereby creating an “outsider’s language” from within Japanese itself. Grammatically, his prose conforms to the imperial tongue, yet emotionally it carries the rhythm and sensibility of Korea?a boundary language in which colonial anxiety and resistance coexist. Ultimately, Kim Moon-jip’s Japanese narratives can be understood as a “bilingual experiment in criticism,” through which the imperial language becomes a medium of self-reflexive thought. By transforming the language of colonial shame into one of irony and laughter, Kim demonstrates that language itself can serve as a site of critique.