초판 이찬 시선(큰글씨책)

이찬

1970년충북진천에서태어나고자랐다.1997년경기대학교국어국문학과를졸업했고,고려대학교대학원에서현대소설과현대비평을전공했다.1999년'김동리문학연구'로석사학위를,2005년'20세기후반한국현대시론연구'로박사학위를받았다.2007서울신문신춘문예문학평론부문에'시적에피파니를위하여-이장욱론'이당선되어비평활동을시작했다.2009년'현대한국문학의지도와성좌들',2010년'20세기후반한국현대시론의계보',2011년'김동리문학의반근대주의'등을출간했다.고려대,경기대,전주대,대진대,서울예대에서현대문학사,사고와표현,문예비평론,언어와문학,문학과예술,한국현대시강독등을강의했다.현재고려대학교BK21한국어문학교육단연구교수로재직하고있다.비평적글쓰기의새로운패러다임을실험하고있으며,현대한국문학의담론과역사를계보학적으로탐사할수있는방법론을모색하고있다.

제1부북관천리
밤차 ·······················3
북방의길 ·····················4
떠나는마을 ····················5
북만주로가는月이 ················7
國境一折 ····················9
別後 ······················11
月夜 ······················13
北國傳說 ····················16
눈나리는堡城의밤 ···············18
北關千里 ····················20
厚峙嶺 ·····················23
國境의밤 ····················27
白山嶺上俯瞰圖 ·················29
소묘·北國漁港 ·················31
北方圖 ·····················34

제2부가구야말려느냐
썰매 ······················37
가라지의설움 ··················39
하얼빈 ·····················41
氷原 ······················43
사막 ······················45
茫洋 ······················47
바리우는이없는정거장 ··············49
對岸의一夜 ···················51
가구야말려느냐 ·················53
면회 ······················56
結氷期 ·····················60
滿期 ······················62
邂逅 ······················65
頌·아리나레 ··················69
대망 ······················71

제3부조국이여!
동모여 ·····················74
이러진花園 ···················75
고향에돌아와서 ·················76
아편處 ·····················79
避難民列車 ···················81
祖國이여! ····················83
어머니 ·····················85
花園 ······················87
鐘路네거리에서 ·················89
八·一五 ····················91
三月가까운거리에서 ···············93
窓을열면 ····················95
달과딸과어머니와 ················97
배낭 ······················100
바리움 ·····················102
아오라지나루 ··················104
그노래 ·····················106
어느고지에서 ··················109
현해탄 ·····················113

제4부길을열자
밝은세월 ····················115
기어이가시려거던 ················117
즐거운로력 ···················120
용해공의노래 ··················122
어로공금녀 ···················124
붉은兵士 ····················128
원동초원에서 ··················130
쏘베트병사 ···················132
흘러라보통강노래처럼그림처럼 ·········134
千萬의感激! ··················137
祝宴 ······················139
진펄 ······················141
그사람들 ····················144
힘 ·······················146
못할일있으랴 ·················149
길을열자 ····················151


해설 ······················153
지은이에대해 ··················174
엮은이에대해 ··················176

이찬의시는분단시대60여년의세월동안한국문학사의어느장에서도찾을수없는매몰의시간을경험했다.이는우리민족사에어떠한굴절과은폐와이질적인것들이존재했던가를보여주는것인데,그과정은민족주체성의분열과망각에맞닿아있는것이다.이제비교적제한된폭이지만몇몇연구자들의노력과문제제기가있고,그의작품의전모를밝히려는과정에서우리는다시한번민족주체성을잃어버린일제강점의시대를생각해본다.더불어다시금민족주체성확립의이름으로잃어버린모국어와민족문학의모든것들의복원을생각해야할것이다.
이찬은경성제2고보4학년재학시절인1927년9월부터작품활동을시작하여1946년해방직후＜피난민열차＞를≪중앙일보≫에발표한후남한의지면에서사라져북한에서주요활동을한것으로알려져있다.극한적인식민지상황의30년대를고스란히그속에서살아야했던민족성원과개인으로서의시인이찬은식민지의모습을그대로닮아있다해도과언이아니다.
특히이찬의고향체험과변방지역주민들의삶의모습은가난과추위에시달리고뿌리를잃어버린반인간적,반민족적식민지상황에더욱대응되는것이었다.이찬의이러한현실에대한대응은우리에게이미반세기동안잊힌북국의풍경과변방의생활을담은시작품에서쉽게찾을수있다.그것은식민지시절국경지역이라는특수한현실에서의구체적인삶의또다른위치에서보여주는충실한문학적보고서이기도하다.
우리현대시에서향토서정은한국적정서의일부를보여준다는점에서의미하는바가크다.그러므로지금까지향토서정이라하면김영랑을대표로하는남도서정이대부분을차지하고있는상황에서북방토착민의삶을독특한시어로묘출해낸백석과‘침울한북방의정서를’남다르게형상화한이용악등의작품에서나타나는북국정서는우리의주목을끄는것이다.특히백석은식민지시대에모국어의의미를복원코자했던주체적시정신을평북지방방언으로잘드러낸바있다.북방정서는김소월과백석이보여준평안도정서와한반도최북단의두만강지역의변방민의삶을표현한이용악,김동환의시세계로크게대별된다.우리에게북방은잃어버린민족의일부이며그리움의지역이다.지금우리가이찬의시를통하여북방정서를복원하고자하는남다른뜻은반세기동안을아무런변화없이지속되고있는분단때문이다.때문에이찬의시세계에싱싱하게나타나는북방지역의독특한정서는현재의말할수없이위축되고섬약해진민족정서를강건하게재구축하고되살려가는일에매우유익한자료가된다고확신한다.
이찬의시에담긴북방정서는침울한북국의정경묘사와유랑체험을통한국경지역의삶의애련을담은작품에서찾을수있다.그의시세계는북국의차가운대지속에민족공동체를희원하는시인의비감한민족적영감으로일제통치의변두리에서민족언어를통해솟구쳐오른민족시의자리에있는것이다.