초판 김상훈 시선 (큰글씨책)

김상훈

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


김상훈은해방공간에서가장눈에띄는활동을했던시인중하나였다.항일유격활동으로일제에검거되어복역중에해방을맞은그는채얼마지나지않아≪민중조선≫이라는잡지를발행한다.안타깝게도창간호를발행하는데에그치고말았지만,잡지발간이후에도유진오등여러동료와공동으로시집을출간하면서본격적인시인의걸을걷기시작한다.뿐만아니라그해말에결성된‘학병동맹’에서활동하거나,연이어개인시집≪대열≫과≪가족≫을발간하는등짧은기간동안왕성한활동을통해이른바새로운시대를살아가는‘전위시인’의역할을자처했다.좌익계열문인들에대한탄압이시작되고,김상훈역시반공법위반으로옥고를치르며활동이축소될수밖에없는상황에서도그는평론을발표하고고전을번역·출간하는등문학에대한열망을지속해나갔다.
우리근대문학사의많은인물들이그렇듯김상훈역시당대의사회·역사적현실과떼어놓고그의문학세계를논할수는없다.실제작품들중상당수는직접적인목적을가진소위‘행사시’로쓰이기도했고,소재면에서도‘깃발,노동자,항쟁’등당시그가추구했던이념적가치들을선명하게연상시키는것들이빈번하게사용되었다.따라서김상훈이작품을발표하던당시부터,그의문학에대한연구가본격적으로시작된1980년대이후지금에이르기까지김상훈의문학은‘시대적이념구현’이라는측면을중심으로다루어져왔다.
하지만이와같은관점에서의문학사적평가는때로우리근대문학,특히일제말에서해방공간에이르는시기의문학을대할때그성과를축소할수밖에없는스스로의모순과상존한다.
시인은지식인으로서먼저시대적전형성을확보하기위한객관적관찰을통해시적대상으로서‘무력한사람들’을호출해낸다.그러나무엇보다도중요한것은이관찰의이면에그들과자신의처지를동일하게인식하는공감과연민의정서가자리잡고있다는점이다.따라서그의시는‘민중’을새로운시대의주역으로내세운동시대다른시인들의작품보다더핍진하게그들의삶을그려내고있다.그리고다른작품들과달리미래의전망을향해선뜻발걸음을내딛기보다는그들의실제삶속에머물게되는것이다.