초판 이광웅 시선 (큰글씨책)

이광웅

제1시집≪대숲≫
유치한저녁상 ···················3
면도의날 ·····················6
바깥풍경 ····················10
보충수업10년 ··················13
李鍾根 ·····················15
예언서 ·····················17
주시망상 ····················18
꿈 ·······················20
비의暗層 ····················23
대밭 ······················26
버림받은하늘 ··················29
한밥집식탁 ···················31
램프의아침 ···················34
묵은노우트 ···················37
달빛 ······················39
종이꽃 ·····················40

제2시집≪목숨을걸고≫
양담배 ·····················45
그때그순간악마가… ··············47
사회참관 ····················50
바깥의노래 ···················52
담안의노래 ···················54
햇빛의말씀 ···················57
징역생각난다 ··················58
목숨을걸고 ···················60
전라도거리 ···················61
연 ·······················63
달동네꽃동네 ··················70
눈다친아이 ···················71
심연 ······················74
아들생각 ····················75
작은평화 ····················77
밤그늘 ·····················79
아름다운영혼은 ·················81
순서정해진여자의마음 ··············83
크리스마스카드만해도 ··············86
제자 ······················89
제자들이죽어가고있다 ··············90

제3시집≪수선화≫
폭설의광야에서 ·················95
옆사람의웃음 ··················97
황야의등불 ···················99
마음이넓은사람 ················100
떠나지않는사람 ················102
수선화 ·····················103
시 ·······················105
전향서쓰듯 ···················106
장군봉아래운동장아이들 ············108
이웃의얼굴 ···················110
시인에게 ····················112
시인의취미 ···················113
봄의속삭임 ···················115
오빠는운동권이아니었어요 ···········116

해설 ······················117
지은이에대해 ··················131
엮은이에대해 ··················133

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


이광웅시인의시를되새기는이순간,마음이무겁다.‘투사’로서의삶에가려진그의‘시’의‘속살’을이제야눈여겨보게되었다는때늦은후회와더불어,‘목숨을걸고’‘진짜’로살아가려한‘시인’의순정한마음이‘지금여기’의경박한현실을되짚어보게하기때문이다.
먼저,‘산같은침묵을깨뜨리고’(＜햇빛의말씀＞)‘슬픔의바다’에뛰노는‘빛(새)’의언어(＜사회참관＞)를길어올린이광웅시의저수지를엿보기로하자.＜대밭＞은이광웅시의원형질이투영되어있는작품이다.경쾌하고감칠맛나는언어의질감이손에잡힐듯눈앞에서꿈틀거린다.‘대밭’의언어는민족사의아픔을승화하는서정의결을풍성하게보여주고있다.시인은민족적삶의애환이묻어있는구체적언어를통해역사의현장을생생하게되살려내고있다.
어느순간시인의시에서‘대밭’의언어가사라졌다.시인은‘대밭’의언어를잃어버렸다.아니,버렸다.‘대밭을떠내밀며잠을설’치던풍요로운유년의풍경이‘지저분한/간음의꿈’을견디는앙상한중년의모습으로몸을바꾼다.그사이이른바‘오송회사건’이가로놓여있다.치욕스런역사의해프닝(아이러니)이한시인의삶을절망의나락으로떨어뜨렸다.1982년월북시인의작품을읽었다는이유로전·현직교사9명이구속되었다.이들은20여일의모진고문끝에‘교사간첩단’으로둔갑되었다.주동인물로지목된이광웅시인은7년형을선고받고수감생활을하다가1987년특별사면으로풀려난다.시인은억울한감옥생활을통해삶에대해새로운눈을뜨기시작한다.이후1988년복직되었으나이듬해전교조에가입하면서다시교단에서밀려난다.그는고문과투옥후유증으로1992년한많은세상을떠난다.시인은2008년이되어서야비로소명예를되찾는다.하지만그는이미세상을떠난뒤였다.이렇듯진실은늘한발자국더디게온다.
하지만시인은이러한‘간음의꿈’마저쓰다듬으며다시일어선다.시인은‘무겁고고단한잠’벗어버릴‘쉼터를구하지못하’고‘낯선광야,낯선밤’‘아무데나’쓰러진다.이‘이슬젖은’‘잠자리’에서시인은‘항행하는유령의배와/피냄새나는’우리의‘역사’를대면한다.이‘빈터’에는‘그리운’유년의‘물결’이‘너울’거리기도하고,고통스런‘어제의편력’이출렁이기도한다.하지만시인은이과거의기억에안주하거나몰입하지않는다.과거의기억그자체는‘밤가운데’사라지는‘별똥별’일뿐이다.‘살찐송아지’의‘닳아지는목숨’을통해‘회생의기름방울’을채워주신선조들처럼,시인은자신의삶(언어,기억)을통해우리역사의현장을정화하고자한다.