It is impossible to describe Incheon as a single, unified impression. It is not only because of the complexity that a metropolis comes to take on but because of the hybridity that Incheon uniquely has. It can be said that such hybridity is attributed to a tremendous speed of change that Incheon did experience in the processes from port opening, colonization, national division, war, and up to industrialization. The time that Incheon began to appear as the major background in Korean literature is the modern age. Along with the port opening, Incheon came to be transformed to a modern city representing Korea, and this situation naturally made Incheon a central place in the history of modern literature in Korea. When a region appears in literature, it may function only as an index. This means that a concrete place may be inserted into a work as endemism that a mere decoration or name of a place is equipped with. The place as an index has a limitation that it cannot be connected with the context that is the concrete life or the patterns of life in that region. This article intends to examine the works where Incheon appears as ‘a place as experience’ intensively except for those in which it appears as an index. For this, the paper has intensively investigated the novels regarding the coastal, poor villages where the placeness of Incheon is revealed clearly. Those works have one thing in common; they take children as their main characters. The representation of children forms imaginative geography that Incheon is a new city with short history. Next, in those novels, children appear as the beings that are hardly taken care of without any special protection from adults. This creates the imaginative geography of Incheon where they have to face the monster of modernism with no special preparation. Second, Incheon is represented as hybrid space nationally. As it developed through port opening at first, Incheon showed hybrid characteristics nationally from its birth. Even today, Incheon still remains as the city showing the third highest ratio of foreigners to the total population in Korea. In Han Nam-gyu and Oh Jung-hee’s novels, Incheon is described as a city thickly shaded with the US armed forces and Chinese. Third, Incheon is represented as a place playing roles as a gateway to a foreign land. In Eom Hong-seop’s 「The Sea at the Dawn」, what Mr. Choi did was to carry the wicker trunks of Gyeongsang-do women sold to Dalian. And what he always thinks about is who will be the girls that will have him carry their baggage tomorrow. Lastly, Incheon is represented as a city of which major population consists of foreigners, not the natives. In 『Gwaengiburimal Children』, the social and historic background that Incheon has as a city of immigrants is revealed the most precisely. In every moment of sudden changes that took place in the modern history of Korea, the poor spread all throughout the country came to flow into Incheon. It explains that Gwaengiburimal came to be full of those evicted from their dwellings for the foreigners right after the port opening, laborers coming to the factory to find their job during the Japanese colonial era, refugees after the Korean War, and farmers at the period that industrialization was genuinely done. It describes that Gwaengiburimal is “a village of people forcibly coming from somewhere unknown” and village of “those that are poor and helpless”. And this can possibly be extended to the general characteristic of Incheon.