IntroductionBased on the 1969 film of the same name, adapted by the Phibada Opera Troupe under the supervision of Kim Jong Il, and performed over 1,500 times since its premier at the Pyongyang Grand Theater in July 1971, of Blood stands as the foremost Stalinist in North Korea. The fountainhead of the socialist realist Sea of Blood-style opera, it is also the first of the five revolutionary operas. of Blood contains a relatively uncomplicated plot: a beleaguered Korean peasant mother in colonial-era Manchuria loses her husband and youngest son to the Japanese Imperial Army and subsequently joins the national-liberation guerrilla struggle of Kim Il Sung. Although the work supposedly delineates the ideological and moral transformation from passive victim to politically committed hero, of Blood is a homiletic nationalist allegory whose officially designated truthfulness is betrayed by a crude symbolic mode that departs from everyday life. Profound sociological and aesthetic incongruities make the production artistically false and misleading. The mythopoeic representations and nationalist allegory of the North Korean opera render it antithetical to the objective characteristics of a realistic literature.Nationalist AllegoryWhat is nationalist allegory? It is an orthodox Marxist term, derived from Leon Trotsky's 1923 classic Literature and Revolution, which defines an anti-realist pseudoart that is essentially religious and/or moralistic and characterized by an irrational reactionary fixation with the archaic nation-state system. The most indubitable feature of this conservative, idealist symbolic mode is that it not only fixates on, but apotheosizes the bourgeois state, placing it above time, space, and society in one way or another. Nationalist allegories may be of an ultra-relativist or populist or totalitarian character. Whatever fetishistic incarnation it assumes, the allegorized nation state and its representative forms and figures function as false ideological abstractions for the activities of certain (possibly, but not necessarily, marginalized) social groups, imagined communities, or racial populations. The nation state is turned into a mystical symbol in the narrative text and becomes a god or an idol into which is projected a lost sense of wholeness, a lost sense of being in the world. Consequently, the literary demography therein is torn away from life and ceases to be truly social in its human essence, that is, truly international. The aesthetic character of nationalist based ultimately in social inequality and alienation, is pathogenic and signifies an ailing or repressed artistic consciousness. In this deepgoing spiritual crisis, the truthful objective element and value of art is, if not altogether absent, compromised by the subjectivism and ideology of the producer of nationalist allegory. The nationalist allegorist, who is essentially a opportunist with a talent for the pen or brush, ignores the objective lessons of history, religiously invests in a moribund nineteenth-century political system, and attempts to stir deep emotional forces and reactions in the reader or audience in order to valorize an eternal identity and separatism.The content of nationalist allegory is unlike that of American critical theorist Fredric Jameson's well-known and disputatious concept of national allegory, which is basically a symbolic commentary or diagnostic critique of the nation in thirdworld literatures (Jameson, 1986). Nationalist allegory is a symbolic infatuation, defense, and mystification of the decaying nation-state form in the epoch of imperialism, that is, the epoch of world economy and the domination of finance capital. But if it is backwards and retrogressive, how can nationalist allegory genuinely entice the writer or reader, as it has done in and outside North Korea? Does this suggest something inherently appealing about allegoricity, about the aesthetic predominance of the allegorical at the expense of the real? …