In this paper, I analyze Nora Okja Keller`s Comfort Woman and prove that the novel is based on so-called "chronotope of congregation" as literary totality where images congregate to reflect the witers` concrete experiences in the actual spaces. In this chronotope of congregation, Soon Hyo and Beccah expand their intersubjective relations into trans-subjective relations, reflecting and contrasting voices and experiences from many women who had to suffer from colonialization and patriarchal violence. Soon Hyo, as a trans-subjective/spatial narrator performs and practices shamanic rituals that create poetic relations among women across various spaces. This poetic relations also bring up poetic totality among all beings-in-the-world who/which suffered. In the same token, Soon Hyo`s storytelling supplemented by Korean folklore subverts the hierarchy of truth and lie to resist historical interment of comfort women`s stories and to disinter hidden historical violence. Beccah, as a narratee and translator, contends with and translates stories told by women including Soon Hyo, Soon Hyo`s mother, Induk, and so on. Beccah`s hybrid identity ontologically, linguistically help modal translation across various painful experience women in different spaces testify. With Soon Hyo`s storytelling and Beccah`s translation, the chronotope of congregation turns into a trans-subjective, trans-spatial choral for healing ritual.