초판 권환 시선 (큰글씨책)

권환

경남창원군진전면오서리에서태어났다.서울중앙중학과휘문중학을거쳐제일고보를졸업했다.이후일본의야마가타고교에서수학하고교토제국대학에서독문학을전공했다.교토대학재학시절인1927년유학생잡지인≪학조≫에작품을발표하면서문학활동을시작하지만1929년필화사건으로일본경찰에피검되었다.이때그는사회주의사상에깊이경도되어자신의문학적경향을내재했다.그리고그해조선으로귀국해카프와본격적인인연을맺었다.카프중앙집행위원에피선된그는당시카프의예술대중화론에입각한혁명적노동의식을전면적으로주창했다.그사이에1931년11월20일조성남(趙聖南)과결혼을했다.이후카프1차검거시기불기소처분을받으면서폐결핵을얻었다.1946년그는조선문학가동맹의핵심인물로등장하면서본격적인문학조직활동을재개했다.그러나남북한이단독정부를수립하고분단이현실화하면서좌익문단의분열과갈등은심화되었다.이과정에서조선문학가동맹의문인들은대부분월북을선택했다.그러나1948년그는마침부친이사망하고자신의병세도악화되어다른문인들과는달리월북을선택하지않았다.그리고마산완월동작은판잣집에서폐결핵과싸우던시인은마침내1954년7월7일자택에서사망했다.좌와우,그대립의근현대사속에서노동자와농민의삶자체를진정으로사랑했던시인권환은이제불우한우리근대문학사의한상징으로남아있다.

停止한機械 ···················3
그대 ·······················6
우리를가난한집녀자이라고 ············9
가랴거든가거라 ·················12
少年工의노래 ··················14
墮落 ······················16
明日 ······················18
山과구름 ····················21
魔術 ······················23
憧憬 ······················24
雪景 ······················25
古談冊 ·····················26
沐浴湯 ·····················27
自?像 ·····················28
微笑 ······················30
별의心臟 ····················31
봄 ·······················32
希望 ······················35
寒驛 ······················37
病牀斷想 ····················38
風景 ······················40
狐皮 ······················41
木乃伊 ·····················42
夏夢 ······················43
與君對酌(1) ···················45
石炭 ······················47
가을 ······················48
時計 ······················50
電車 ······················54
제비 ······················55
運命 ······················57
與君對酌(2) ···················58
구름 ······················59
故鄕 ······················60
아침의出發 ···················61
눈[雪] ······················64
접동새 ·····················65
어머니의꿈 ···················67
귀뚜라미 ····················69
벼락 ······················70
倫理 ······················72
집 ·······················74
農民 ······················76
深海魚 ·····················77
허수아비 ····················78
除夕 ······················79
幸福 ······················80
心自閒 ·····················81
急行列車 ····················82
왜가리 ·····················83
又與君對酌 ···················84
아리랑고개 ···················86
追憶 ······················90
별과귀?라미 ··················91
두할머니 ····················92
錦上添花 ····················93
荒鷲 ······················94
秋夜長 ·····················95
時計 ······················96
푸로펠러 ····················97
幸福의風景 ···················98
까마귀 ·····················99
豆腐 ······················102
달 ·······················103
뒤ㅅ山 ·····················105
街燈 ······················106
어머니 ·····················108
遺言狀 ·····················109
倫理 ······················113

해설 ······················115
지은이에대해 ··················124
엮은이에대해 ··················128

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

권환은1927년교토제국대학독문과재학시절유학생잡지였던≪학조(學潮)≫제2호에소설＜앓고있는영＞을발표하며작품활동을시작한다.이시기그는일제에두차례나피검되는등사회주의운동에적극적인활동을전개한바이작품또한사회주의사상을그내용으로하고있다.그의본격적인활동은1930년7월귀국,카프중앙집행위원으로선출되면서시작된다.특히1930년카프의예술대중화논쟁에적극참여하면서그는‘전위의눈으로세계를보라’,‘당의문학에헌신하라’등자신의입장을평론을통해발표한다.즉볼셰비즘(당파성)중심의대중화론을주창한것이다.이시기＜가랴거든가거라＞,＜停止한機械＞등의작품에는그의당파성과그에입각한노동자들의혁명성이그대로표출되고있다.
그러나1930년대를지나면서그는이러한혁명적계급성을시적과제로여전히설정하면서도한편으로현실에대한계급의식의과잉을지적하는이중성을보여준다.이는결국카프해체이후권환시의변화로이어진다.1943년발표한시집≪자화상≫에실린일련의작품들은초기현실에대한혁명성을농촌서정과심상혹은소박한삶의풍경이미지로전환하는변곡점을보여준다.팔봉김기진이밝힌것처럼‘옛날의순박하고순수한평민시인의전형’을보여준≪자화상≫의시편들은권환시의새로운지점이었다.
한편,권환은≪자화상≫을통해현실도피와함께자기반성의과정을시화하고있다.그것은1930년대격정의카프시절에대한반성이며현재자신의슬픈자화상을보여주는것이었다.식민지와해방,그숨막히는근대사속에서그는노동자의혁명을통한새로운세상을찾았고,다시실패와고뇌의현실을넘어민중의일상과민족정서속에서시적자아의실체를발견한한국근대시사의몇안되는시인가운데하나였다.