The purpose of this study is to explore cultural politics of Kim, Sang-hun’s poems during 1945∼1948. Kim, Sang-hun represents Chosun youths that constructed the narration of ego from a ‘colonized’ to ‘emancipated’ youth. As in his transfer from “The Landowner’s First Son” to “The Poem of a Poor Guy”, such tradition of his is associated with the selection of revolution ideology to build a new country more than anything else. But he did not degrade poetry as a tool of revolution but concentrated to build a new country through interaction between poetry and revolution instead. For this, he focused on the scenes to convert farmers to laborers and acquire the consciousness of revolution. To concretize this, he took as the core of his narration the conflict that farmers were likely to face against the landed class in rural area. From this, his persistent interest emerged in the polarized situation surrounding the landowner and the tenant farmer’s family, that is, the family’s ‘intimacy’ and the conflict against ‘the intimate enemy’ which broke it down. Also, to observe the problem of ‘the intimate enemy’ profoundly, Kim, Sang-hun dared to do an experiment to set ‘forbidden love’, say, fallen love against moral laws of family relationship intentionally. As he selected dialect as poetic words, this kind of tendency of his is understood as aesthetic consideration to be more faithful to the reality of life and emotion of subordinate subjects. This is why his diverse narrations and aesthetic experiments can be evaluated that they were like a warm breeze blowing to frozen land in the reality of literature during the emancipation that the poems of revolution or traditional lyrics formed the majority.