초판 권구현 시선 (큰글씨책) (반품불가)

권구현

1970년에 충북 보은에서 태어났다. 서울대학교 국어국문학과를 졸업하고 동 대학원에서 ＜염상섭 소설의 추리소설적 성격 연구＞로 문학 박사 학위를 받았다. 세종대학교 교양학부 초빙 교수와 고려대 BK21 한국어문학교육연구단 연구 교수를 지냈다. 서울시립대 글쓰기센터 연구 교수로 있다.＜김승옥 소설에 나타난 화자의 성격 연구＞, ＜염상섭 소설의 추리소설적 성격 연구＞, ＜≪사랑과 죄≫에 나타난 연애의 성립 과정＞ 등 염상섭의 소설에 대한 다수의 논문을 발표했고, ≪염상섭 소설 다시 읽기≫를 냈다.

黑房의 선물
其一·······················3
其二·······················4
其三·······················5
其四·······················6
其五·······················7
其六·······················8
其七·······················9
其八······················10
其九······················11
其十······················12
其十一·····················13
其十二·····················14
其十三·····················15
其十四·····················16
其十五·····················17
其十六·····················18
其十八·····················19
其十九·····················20
其二十·····················21
其二十一····················22
其二十二····················23
其二十三····················24
其二十四····················25
其二十五····················26
其二十六····················27
其二十七····················28
其二十八····················29
其二十九····················30
其三十·····················31
其三十一····················32
其三十二····················33
其三十三····················34
其三十四····················35
其三十五····················36
其三十六····················37
其三十七····················38
其三十八····················39
其三十九····················40
其四十·····················41
其四十一····················42
其四十二····················43
其四十三····················44
其四十四····················45
其四十五····················46
其四十六····················47
其四十七····················48
其四十八····················49
其四十九····················50
其五十·····················51


無主魂의 獨語
永遠의 悲哀···················55
奏樂······················56
도라를 가자···················57
黎明······················58
악이의 자랑···················59
無主魂의 獨語··················60
現象······················61
歡樂과 孤獨···················62
屠獸場·····················63
벗이여·····················65
나아가자····················66
暴風雨의 밤···················68
樂園······················69
煽動······················70
바다······················71
여름 길·····················73
田園으로····················74
나그내의 길···················75
斷章 (其一)···················76
虛無······················77
經驗······················78
偶吟······················79
밤낫 괴로워···················80
斷章 (其二)···················82


봄?을 그리며
봄 동산에서···················85
가지이다····················86
별불······················87
이저지오라···················88
片戀······················89
? 안인 이 ?에··················90
아아 그대야···················91
님이여·····················92
가을 거리에서··················93
사랑의 ?····················94
病床에서····················95
그대는 별이오니·················96
眞珠······················97
입[口]······················98
마음······················99
生命花·····················100
少女의 畵像··················101
??리 집····················102
永生花?····················103
孤獨者여····················104
님·······················105
가신 님의 墓 위에서···············106

해설······················107
지은이에 대해··················120
엮은이에 대해··················126

지식을만드는지식 ‘한국 근현대시 초판본 100종’은 점점 사라져 가는 원본을 재출간하겠다는 기획 의도에 따라 한국문학평론가협회에서 작가 100명을 엄선하고 각각의 작가에 대해 권위를 인정받은 평론가들을 엮은이로 추천했다. 엮은이는 직접 작품을 선정하고 원전을 찾아냈으며 해설과 주석을 덧붙였다.
각 작품들은 초판본을 수정 없이 그대로 타이핑해서 실었다. 초판본을 구하지 못한 작품은 원전에 가장 근접한 것을 사용했다. 저본에 실린 표기를 그대로 살렸고, 오기가 분명한 경우만 바로잡았다. 단, 띄어쓰기는 읽기 편하게 현대의 표기법에 맞춰 고쳤다.

권구현 시의 문학사적 의의는 당시 주류를 형성했던 계급문학의 내용 중심주의를 비판하고, 문학 자체의 의의를 옹호하며 아나키즘 사상을 기반으로 한 데 있다. 권구현의 자유시는 이원적 대립 구조를 통해 지배계급에 대한 저항 의식을 드러내면서도 문학을 정치 선전의 도구나 계몽의 수단으로 삼았던 계급문학가들과는 다른 문학적 성과를 보여 주었다. 문학 자체의 자율성을 중시했던 그는 극난하고 고통스러운 현실을 읊을 뿐 적극적인 대항을 노래하지 않는다.
시조 창작은 특히 주목할 만하다. 당시 좌파 문인들은 시조를 양반 문학으로 규정하고 돌아볼 가치가 없으며 배격되어야 하는 구시대 유물로 치부했다. 카프 맹원으로서 좌파 문인에 분류되던 권구현이 시조 창작에 열의를 보인 것은 특이한 일이다. ≪흑방의 선물≫에 실린 시조 50수를 ‘단곡’이라 부르는 데서 그의 시조 창작이 유랑 극단 단원으로 활동하며 단가를 불렀던 시인의 이력과 무관하지 않음을 짐작할 수 있다. 권구현은 협의의 시조 전통을 계승해 재래의 화조풍월만 읊던 양식에서 벗어나 민중의 비참하고 고달픈 삶을 날것 그대로 시조 형식에 담아낸다.

권구현의 시는 오늘날 우리에게 권력이 어디에서 오는 것이며, 어떻게 쓰여야 하는가를 묻는다.