He actively introduced Western literature in the literary journal Taeseomunyesinbo (태서문예신보) founded in 1918 and published his poem "Bomeun ganda" (봄은 간다 Spring is Leaving; 1918).

[3] He published poetry collections Geummorae (금모래 Golden Sand) and Bomeui norae (봄의 노래 Song of Spring) in 1925 and became the editor-in-chief of the literary journal Gameyon (가면 Mask).

In 1946, after Korea's liberation from the Japanese rule, he was the executive editor for a publishing house named Suseonsa, and he gave lectures on literature in various schools.

[4] When the Korean War erupted in 1950, he was unable to flee south and remained at his home in Gye-dong, Seoul, and was abducted to North Korea.

[4] Until the early 1920s, Kim Ok mainly introduced foreign literary theories to Korea and pursued Western-style free verse, freely singing of his emotions.

It maintains the four-meter form[3] and the fixed pattern of traditional poetry but shows aspects of modern free verse in that it emphasizes the symbolism and significance of poetic language and gives shape to an individual's subjective emotions.

In addition, he used classic poetic language (aeoche 雅語體) to sing about an individual's emotions and was praised for opening the horizons for free verse in Korea.

In particular, "Oda gada" (오다 가다 Come and Go) in Anseo sijip makes a perfect use of a fixed rhythm and emphasizes the poetic words such as "mountain path" and "apricot blossom", showing an Eastern worldview with a will to return to nature.

He also propagated the use of Esperanto and even introduced the Indian poet Tagore to Korea through poetry translations, such as Gitanjari (기탄자리 Gitanjali; 1923), Sinwol (신월 The Crescent Moon; 1924), and Wonjeong (원정 The Gardener; 1924).