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The Haksanhanun(�Qɽ�e��), an early Yadam Anthology, included not only realistic narratives but also supernatural narratives. Its editor Sindonbok(���؏�) had a very specific idea about the eccentric works[�殐]. Because the eccentric works including ghost stories contained fundamental truth about all things in the universe, he insisted that all eccentric works, whether they are realistic or supernatural, should be accepted as Yadam.
Therefore, both realistic and supernatural perspectives existed in Haksanhanun. Such coexistence was made possible by the fact that ethical lessons could be extracted from all the eccentric and extraordinary works. Realistic orientation and supernatural orientation interact with each other either directly or indirectly. Such stories as animal stories, seclusion stories, utopia stories, function as intermediates between the two orientations. Coexistence of the opposite narrarive orientations allowed 'expansion of experiential space', 'exploration of the root of the eccentricity', 'revelation of the essence of the eccentricity' and 'the paradoxical integration of the opposite narrative perspectives'.
Most of the works in Haksanhanun portrayed the inclination toward the financial and sexual desires of the people of the late Yi dynasty. Although the editor Sindonbok took a critical view towards such desires personally, Haksanhanun showed strong interest in the consequences of those desires. By acutely observing the changes in the spiritual attitudes of the people and incorporating that observation through the integration of the opposite narrative perspectives, Haksanhanun played a foundational role in the establishment of Yadam.