초판 임학수 시선(큰글씨책)

임학수

≪八道風物詩集≫
人定閣 ······················3
北漢山 ······················5
南漢山城 ·····················6
崇禮門 ······················8
慶會樓 ······················9
八角堂 ·····················10
鐘路 ······················12
南海에서 ····················13
石窟庵 ·····················14
石窟庵觀音像의노래 ··············16
高麗磁器賦 ···················17
太極扇 ·····················19
朴淵 ······················20
滿月臺 ·····················23
上八潭古事 ···················25
海金剛에서 ···················26
天仙臺 ·····················27
叢石亭 ·····················28
落花巖 ·····················29
江西大墓天神圖 ·················30
雙楹塚九人供養圖 ···············32
밤停車場 ····················34
萬波息笛 ····················36

≪匹夫의노래≫
棕櫚樹 ·····················41
겨울의노래 ···················43
自畵像 ·····················45
秋風嶺에올라北方을바라며 ···········47
搖籃 ······················49
曠野에서서 ···················51
拉濱線安家에서 ·················53
哈爾濱驛에서 ··················54
松花江 ·····················56
바다 ······················57
散步 ······················58
꿈 ·······················60
山居 ······················61
別離 ······················62
하이커의노래 ··················64
새날을맞음 ···················66
東方의靈山 ···················68
獅子 ······················70
기다림 ·····················71
싸움 ······················73
흐르는불빛 ···················74
落葉 ······················75
나의太陽 ····················76
불을켜라 ····················78
즐거운설날 ···················80
데모크라씨 ···················83
快晴 ······················85
가까워온다 ···················86
行列 ······················88
언제나오느냐 ··················90
閑山島 ·····················91
豫言 ······················93

해설 ······················95
지은이에대해 ··················105
엮은이에대해 ··················108

지식을만드는지식‘초판본한국근현대시선’은점점사라져가는원본을재출간하겠다는기획의도에따라한국문학평론가협회에서작가100명을엄선하고각각의작가에대해권위를인정받은평론가들을엮은이로추천했다.엮은이는직접작품을선정하고원전을찾아냈으며해설과주석을덧붙였다.
각작품들은초판본을수정없이그대로타이핑해서실었다.초판본을구하지못한작품은원전에가장근접한것을사용했다.저본에실린표기를그대로살렸고,오기가분명한경우만바로잡았다.단,띄어쓰기는읽기편하게현대의표기법에맞춰고쳤다.


1931년＜우울(憂鬱)＞과＜여름의일순(一瞬)＞을≪동아일보≫에발표하면서문단활동을시작한임학수(林學洙,1911∼1982)는1930년대초반부터6·25전쟁이전까지시인이자영문학번역가로활발한활동을펼쳤다.그는1937년시집≪석류(石榴)≫(1937)의간행을시작으로해방전≪팔도풍물시집(八道風物詩集)≫(1938),≪후조(候鳥)≫(1939),≪전선시집(戰線詩集)≫(1939)을냈고,해방후에도시집≪필부(匹夫)의노래≫(1948)를낼정도로활발히시작활동을했다.더욱이그는1930년대≪시문학(詩文學)≫동인으로김영랑,박용철등과활동하면서1933년12월에창간된순수문학동인지인≪문학(文學)≫에참여하여박용철과함께순수문학을주도하기도했다.또한1934년신석정,김영랑,유치환등이중심이된≪신인문학≫의동인으로도참여했으며,1939년최재서가주재한≪인문평론≫에도적극적으로가담했다.뿐만아니라역시집≪현대영시선≫(1939)과소설호메로스의≪일리어드≫(1940),찰스디킨스의≪이도애화(二都哀話)≫(1941)를번역하는등번역가로서도활발한활동을보였다.
이처럼임학수는1930∼1940년대시인이자번역가로활발한활동을했음에도불구하고그의시에대한논의는거의없는편이다.그에대한논의가활발하지못한이유는그가1930년대후반≪전선시집≫과같은일제의국책에협력하는문필활동을했기때문이기도하려니와6·25전쟁중에납북되어말년까지북한에서영문학자로서활동했기때문이기도하다.친일과납북은그에대한논의를금기시하게만들었다.물론1980년대중반해금이후그에대한논의의길이열리긴했으나여전히그에대한논의는빈약한형편이다.이로인해임학수문학은정당한평가를받지못한채유보된상태로남아있다.하지만그의시세계에대한연구는그동안등한시되어온납·월북문인의연구를통해우리현대문학사의총체적인복원을위해서꼭필요한것이아닐수없다.
임학수시인의납북이전의평들은대체로서정성을기초로낭만적인세계관을보여준시인이라는것이다.그의시는서정을밑바탕으로하여민족의식과역사의식을보여줄뿐더러일제치하의고통속에서신음하는우리민족의슬픔과절망을그리고있다.그는서정성을밑바탕으로하여일제치하에서신음하는우리민족의설움과절망을그리면서도우리민족의민족의식과역사의식을고취하려했다.비관적현실속에서도그가끝까지믿었던단하나는우수한우리민족의문화와거기에깃든정신이우리를희망의날,즉그가꿈꾸는‘새날’로인도할것이라는점이다.그렇기에시인은자유시뿐만아니라기행시,산문시,풍물시등과같은실험정신이엿보이는시들을통해그날을기원하고있다.일제의강압에의해황군작가위문단의일원으로전선을시찰한후쓴≪전선시집≫으로인해친일작가로낙인찍히고,6·25전쟁때납북되어제대로된평가를받지못했던그의문학이정당한평가를받아야하는이유가여기있으며,앞으로그의문학에대한많은연구와정당한평가가있길기대해본다.