초판 김영태 시선 (큰글씨책)

김영태

≪누군가다녀갔듯이≫
누군가다녀갔듯이 ·················3
정적 ·······················4
虛行抄시상식 ···················5
얼룩 ·······················6
風景人 ······················7
염화미소 ····················12
불타는마즈르카 ·················13
정처 ······················15
장구소리 ····················16
太平舞 ·····················17
진주妖花舞 ···················18
과꽃 ······················19

≪남몰래흐르는눈물≫
남몰래흐르는눈물24 ··············23
남몰래흐르는눈물3 ···············24
진도북춤 ····················25
전람회 ·····················26

≪느리고무겁게그리고우울하게≫
시만쓰다가 ···················29
눈송이 ·····················31
느리고무겁게그리고우울하게 ···········32
꽃·2 ······················36
꽃·3 ······················37
꽃·10 ·····················38

≪여울목비오리≫
눈 ·······················41
별하나나하나 ··················42
水仙花근처 ···················43
달 ·······················44
空 ·······················45
등신같이 ····················46
메뉴 ······················49


≪北호텔≫
北호텔 ·····················53
雪景 ······················54
寂寥 ······················55
첼로 ······················57
눈 ·······················59
모리스라벨의죽음 ················60
비 ·······················61
流配 ······················62
無光澤賞 ····················63
詩·Ⅴ ·····················65
詩·Ⅵ ·····················66
종이꽃 ·····················67
草芥手帖 ····················69
저녁風景 ····················74
金洙暎을추모하는저녁미사곡 ··········76
오리 ······················78
새 ·······················79
나비 ······················80


≪그늘반근≫
그늘 ······················83
굳은살 ·····················84
너무많이울어버린여인 ·············85
開花 ······················86
비명 ······················89
봄장마 ·····················90
길 ·······················91
임동창의집 ···················92
클림트의鉛筆畵1 ················94
그늘반근2 ···················95
사라지는寺院위에달이내리고 ··········96
책마흔여섯권 ··················97
금환빌딩302호 ··················99


해설 ······················101
지은이에대해 ··················125
엮은이에대해 ··················128

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


김영태는무(無)를통해미(美)를완성하려한다.불합리한힘,더러움,권력,불순물이제거된깨끗한흰눈과같은상태를시인은아름다움의절정으로보았다.이러한미의식때문에유령처럼평생혼자겪게된적요,적막이그의시세계전반에걸쳐노정(露呈)되어있다.무화에대한갈망과자유에대한열정이그의시의처음과마지막을이끌고있는것이다.무화와갈망에대한열정도궁극에는미의식으로귀결된다는점에서그는미의근본주의자라고볼수있다.
김영태시인은구석을편애한다.중심보다는‘쬐그맣게’적은구석의이름을편애한다.구석은얼룩과닿아있다.김영태가생각하는생의질량은얼룩이다.생의궁극도얼룩이다.얼룩은찰나이고직관의영역이다.끝장난얼룩을직관적으로느끼는김영태는존재의무게감을궁극적으로는무로보았다.생의궁극,무에대한인식을향기혹은얼룩이라는표상을통해보여주고있는것이다.김영태의시＜메뉴＞에는빵점,빵,빵떡에관한사유들이드러나있다.빵과빵점과눈은미물을표상한다.조금씩뜯어먹으면없어지는것이빵인것처럼지구상의모든존재는사라진다.“조그만미물이지구에서없어진다면”“빵점화”된다면그다음에남는것은풍경이다.미물로분류되지않는것은없다.모든것이미물이기에생도존재도생사의사이클에서“메뉴”에지나지않는것이다.피할수없는원리는모든생이빵점화혹은영점화수순을밟는다는것이다.눈처럼뜯어먹어없어지는빵처럼되어가는것이다.예외는없다.“누가뜯어먹다만빵같은나”라고시인은스스로를인식한다.
김영태는얼룩을통해자신의존재를확인한다.구석,쬐그맣게로표현되는얼룩에대한그의편애는빛나는것을무화시키는의식으로연결된다.그에게별은“빵떡”같은존재이기도하다.“빵떡”같은별을향해가고있는눈가린조랑말처럼시인은아름다운세계를향해예민하게,맹목적으로다가간다.과시하지않는아름다움,목소리가크지않은아름다움을그는쬐그맣게,유별나게,예리하게말한다.그러므로그의아름다움은지나가는아름다움이다.그아름다움은향기라고해도무방하다.시적에피파니혹은아무것도아닌것이라고해도상관없다.그것은또한시선과연결되기도한다.지나가는시선은다름아니라섬광과도같은것이다.찰나의아름다움은그의시가직관혹은암시의시학으로해석될수있음을의미한다.결국은끝장난얼룩처럼모든것은사라지게되어있다.끝장은더하지도덜하지도않은있는그대로의객관적세계인식이지비극주의나패배주의는아니다.생의궁극혹은생의질량을얼룩으로인식하는그는그런면에서실존적이다.
그끝은무이기도하고감각의세계이기도하다.시인은끝에이르는모든것의몸이“남색끝동으로거기에있다”(＜풍경인＞)고했다.끝동의선이몸이라고했다.총체성으로서몸과선이같다고시인은인식하고있다.몸혹은육체에대한인식을시인은무시하거나게을리하지않았다.그는리얼리즘에대한강박관념혹은부채의식을갖고있진않지만현존재에대한관심을놓지않는다.시편곳곳에그런흔적이남아있다.그러므로‘김영태의풍경’은삶이거세된풍경이아니다.