초판 박봉우 시선(큰글씨책)

박봉우

1934년전남순천에서태어나광주에서성장했다.광주서중과광주고를졸업한뒤전남대정치학과에서수학했다.1952년광주고재학당시주간지'문학예술'에시'석상의노래'가당선된바있으며.1955년강태열,김정옥,박성룡,이일,정현웅,주명영등과시동인'영도'를결성했다.1956년'조선일보'신춘문예에시'휴전선'으로등단했다.시집으로'휴전선'(1957),'겨울에도피는꽃나무'(1959),'사월의화요일'(1962),'황지의풀잎'(1976),'서울하야식'(1986)'딸의손을잡고'(1987)와시선집'나비와철조망'(1991)이있으며,산문집'사랑의시인상'(1969)등을발간했다.'전라남도도문화상','현대문학상','현산문학상'등을수상했으며,생전에자유실천문인협의회창립회원으로참여한바있다.1990년3월1일,전주시립도서관촉탁사원으로재직중지병으로별세,‘민족시인박봉우선생장’(장례위원장:김중배)으로전주시립효자공원묘지에안장되었다.2001년임진강역구내에그의대표시'휴전선'을새긴시비가건립되었다.

≪휴전선≫
나비와鐵條網 ···················3
新世代 ······················5
思美人曲 ·····················7
窓은 ·······················9
休戰線 ·····················12
花草들의이야기 ·················14
抵抗의노래 ···················15
思春記 ·····················17
果木의受難 ···················18
능금나무 ····················20
果樹園 ·····················22
受難民 ·····················24
音樂을죽인射擊手 ················26
石像의노래 ···················31
눈길속의카츄샤 ················33
당신의눈 ····················35
山菊花 ·····················37
바다의思想과微笑 ················39
목숨의詩 ····················41
바위 ······················43
新綠地帶 ····················45
餘白 ······················47
俯瞰圖 ·····················49
蒼白한病院 ···················52
사랑뒤에오는餘白 ···············54

≪겨울에도피는꽃나무≫
惡의봄 ·····················59
都市의무덤 ···················61
겨울에도피는꽃나무 ···············63
孤獨한旅行者 ··················66
黑室素描 ····················73
病情葉書 ····················75
古宮風景에서 ··················77
어느旅人宿 ···················80
사랑뒤에오는餘白 ···············82
검은寢室 ····················84
陰謀日誌 ····················88
死守派 ·····················90
뒷골목의受難史 ·················93

≪사월의화요일≫
1素描 ·····················101
2素描 ·····················103
3素描 ·····················105
5素描 ·····················107
6素描 ·····················109
9素描 ·····················111
10素描 ····················112
13素描 ····················113
14素描 ····················114
33素描 ····················115
진달래도피면무엇하리 ·············117
陽地를向해 ··················119
참으로오랜만에 ················120
兩斷된戀人들 ·················124
젊은火山 ···················126

≪황지의풀잎≫
서울下野式 ··················133
窓이없는집 ··················135
경제학교수휴강 ················137
荒地의풀잎 ··················139
진달래꽃 ····················141
1960年代의휴지통과詩論 ············143

≪딸의손을잡고≫
내딸의손을잡고1 ···············147
내딸의손을잡고2 ···············148
겨울포장집의아내 ···············149
쓰레기통의대조각가 ··············151
신화 ······················152
휴전선의나비 ·················153
分斷아! ····················155


해설 ······················157
지은이에대해 ·················171
엮은이에대해 ·················174

박봉우는문단에데뷔한이래1990년작고할때까지≪휴전선≫(1957),≪겨울에도피는꽃나무≫(1959),≪사월의화요일≫(1962),≪황지의풀잎≫(1976),≪딸의손을잡고≫(1987)등다섯권의시집과,유고시선집≪나비와철조망≫(1991)을포함해두권의시선집을상재했다.이시집들은한결같이분단극복의주제를형상화한다.데뷔작＜휴전선＞은그출발지점에놓여있는작품이다.특히이시는데뷔작이면서도동시에그의대표작으로평가받을만큼박봉우시문학의정점에해당한다.여기서제기된분단극복의지와민족화해의지향이라는주제는이후의시편들에서도꾸준히전개된다.분단극복의지와민족의동질성회복에대한염원은박봉우시인이평생에걸쳐,그자신의말마따나“신화”처럼떠받든시적주제다.이러한주제의식은1987년발표된그의마지막시집≪딸의손을잡고≫에이르기까지지속적으로나타난다.＜전쟁아가거라＞,＜그날을어찌잊으랴＞,＜휴전선의나비＞,＜분단아!＞,＜우리는가슴이아프다＞등이대표적인예에해당한다.
한사회가특정이데올로기에의해불합리하게강제될때,그사회에는억압적인시대담론에저항하는사회적광인들이나타나게마련이다.어떤의미에서시인이란이런시대의대표적인광인들이다.부조리한현실의사유에저항하고현실저너머의세계와소통하며구원을꿈꾸는자,바로시인이기때문이다.박봉우시인은이런측면에서분단시대를살아낸일종의‘사회적광인’이라할수있다.반공이데올로기가강요된전후시대의한복판에서분단의아픔을노래하고,시작(詩作)활동의전기간을통해이를극복하고자노력했던시인이바로박봉우인까닭이다.그는1950년대중반등단이후줄곧분단문제를깊이있게천착하고이를시로써형상화하는데주력해왔다.이과정에서그의시는앞서의언급대로형식차원의단순성,유사주제의식의반복표출,소박하고상투적인표현기법등적지않은한계를가지고있는것이사실이다.그럼에도그의시는전쟁이후남북대결의모순적공간에서분단극복의지와민족동질성회복이라는주제를일관되게추구했다는점에서나름의의의를부여할수있다.이러한박봉우의시적주제의식은그의시의형성원리이자더나아가분단시대를살아가는삶의원리로서작용하고있다.이런의미에서박봉우의시는전후한국현대시의시적대응방식을분명하게보여준다고하겠다.