초판 김기림 시선(큰글씨책)

김기림

저자김기림의필명은편석촌이다.1908년도에함경북도학성군학중면에서출생하였으며,6·25전쟁때납북되어사망연도는알려진바없다.서울보성고보와일본니혼대학을거쳐,도호쿠제국대학영어영문과를졸업하였다.1930년대초반에[조선일보]기자로활동하면서문단에등단하였다.문학활동은구인회에가담한1933년경부터본격화되었는데,영미주지주의와이미지즘에근거한모더니즘문학이론을자신의시에도입하여우리나라에소개한것은문학사적공적으로남아있다.모더니즘이론에입각하여창자고가비평에서두루활동하였으며,해방후에는조선문학가동맹에가담하여다소정치적편향을보이기도하였다.대학교에서영미문학을강의하다가6·25전쟁때납북되었다.대표저서로는시집<기상도>,<태양의풍속>,<바다와나비>,<새노래>,등이있으며,수필집<바다와육체>,등이있고,비평및이론서<문학개론>,<시론>,<시의이해>,등이있다.

≪氣象圖≫
世界의아츰 ·····················3
市民行列 ······················6
颱風의起寢時間 ··················9
자최 ························13
病든風景 ·····················21
올배미의呪文 ···················24
쇠바퀴의노래 ···················29

≪太陽의風俗≫
太陽의風俗 ····················35
海圖에대하야 ···················36
鄕愁 ························38
첫사랑 ·······················39
람푸 ························42
꿈꾸는眞珠여바다로가자 ··············43
感傷風景 ·····················46
離別 ························48
가거라새로운生活로 ················49
먼들에서는 ····················51
憂鬱한天使 ····················52
봄은電報도안치고 ·················53
祈願 ························55
‘커?’盞을들고 ···················56
旗빨 ························57
噴水 ························58
바다의아츰 ····················60
제비의家族 ····················61
나의掃除夫 ····················62
들은우리를불으오 ·················63
새날이밝는다 ···················65
出發 ························67
아츰飛行機 ····················69
日曜日行進曲 ···················70
‘스케이팅’ ·····················72
旅行 ························74
아스팔트 ······················78
가을의太陽은‘풀라티나’의燕尾服을입고 ·······80

≪바다와나비≫
모다들도라와있고나 ················83
어린共和國이여 ··················84
두견새 ·······················86
바다와나비 ····················89
共同墓地 ······················90
바다 ························91
아?리카狂想曲 ··················94
連禱 ························97
유리창 ·······················99
쥬피타追放 ····················100
世界에웨치노라 ··················105

≪새노래≫
새나라頌 ·····················113
데모크라시에부치는노래 ··············116
壁을헐자 ·····················118
肉體禮讚 ·····················119
오늘도故鄕은 ···················120
오늘은악마의것이나 ················121

시집미수록시
슈?르레알리스트 ·················125
詩論 ·······················127
날개만도치면 ···················132
어머니어서이러나요 ················134
林檎밭 ······················136
초승달은掃除夫 ··················138
年輪 ·······················140
靑銅 ·······················142


해설 ·······················143
지은이에대해 ···················151
엮은이에대해 ···················153

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

김기림은1930년대활동했던한국모더니즘시인들의대부라고해도과언이아니다.이상과정지용,김광균,오장환,장만영,백석등은실제로김기림에의해언급된이래로비로소한국문학사에서모더니즘시인으로자리를굳히게된경우라고할수있다.말하자면김기림은이들모더니즘시인들의실질적인매개항이며구심점역할을했던것이다.
물론김기림의서구모더니즘문학에대한이해가처음부터완벽했던것은아니다.초기에발표한시나글들을보면이부분과관련된그의이해는다소간소박한수준에머물러있음을알수있다.과거의시적전통으로부터벗어나야한다는강박관념과조급성이그에게지나치게단순화된논법으로모더니즘을대하게만들었고,그결과그는현대서구문명이던지는인상을단순히단편적이고피상적인차원에서받아들이는데급급했기때문이다.모더니즘의기본개념이나원리에대해정확하게이해하는면이있는가하면,어떤부분에서는별근거가없는이야기를늘어놓기도하고,때로는앞뒤가맞지않는논리를전개하는등의자기모순을노출하기도했던것이다.
그러나그는그런자신의문제점을곧인지했고,곧이어본격적으로모더니즘자체에대한심도있는고민과모색의필요성에대해눈을뜨게되었다.모더니즘이란반드시현대문명의밝은면만을조명하는것이아니라,문명이던지는어두운면,부정적인면에대해서도동일하게주의를기울이는사조라는것을깨닫게된것이다.나아가그것이우리의현실에올바로밀착되지못할때외래에서유입된한갓유행사조의차원에머물고말리라는반성또한하게된다.
이런반성적사유가응집되어잘나타난것이바로그의대표작이라고할수있는장시＜기상도＞다.그는모더니즘의기반이되는당대자본주의문명이이제막다른한계점에봉착했다고생각하기시작한다.그리고이러한사태에적절히대응해나가기위해서문학은응당문명비판의형식을취하지않으면안된다고판단한다.문명에대한밝고명랑한전망으로가득한이미지들로부터출발해서,문명이낳은갖가지병폐와혼란들,파괴적인양상들을묘사한중반부를거쳐,모든것이파괴되고몰락한이후새로운출발의가능성을암시하는결말부분에이르기까지,＜기상도＞의구성은문명에대한비판과위기의식뿐아니라그것의극복과초극을위한희망섞인전망까지도한꺼번에내포한것으로이해된다.
이러한구성방식을통해그가암시하고자한것은현대문명의구원가능성이아니라,그것의파멸이돌이킬수없는지점에도달했다는인식이며,뒤를이을시대는이제까지진행되어온문명사의흐름과는관계없이새로운질서와문명에의해건설된시대여야한다는사실이다.그것의극복을위해우리시대는현대문명에서버려야할것과보존하고계승해야할것들을취사선택해앞으로의역사진로에적극적으로대비해야한다는것이그의생각이었다.