초판 박남수 시선(큰글씨책)

박남수

저자박남수(朴南秀,1918∼1994)시인은1918년5월3일평안남도평양시진향리에서태어났다.평양의숭실상업학교를다니다가일본의중앙대학에입학했다.처음에그는희곡창작에뜻을두었으나곧바로시창작으로돌아서서평생을시인으로살아갔다.1939년10월≪문장≫에시＜심야＞,＜마을＞이정지용의추천으로게재된후1940년1월까지＜마을＞,＜주막＞,＜초롱불＞,＜밤길＞,＜거리＞등을연속적으로발표하면서등단의과정을거쳤다.그는등단이전에도＜삶의오료(梧了)＞(≪조선중앙일보≫,1932),＜여수＞(≪시건설≫,1935),＜제비＞(≪조선문학≫,1936),＜행복＞(≪맥≫,1938)등의작품을발표한경력이있다.그의실질적인창작활동은정식등단보다몇해앞서시작되었다고할수있다.1940년에박남수는첫시집≪초롱불≫을발간하고,이듬해에는일본중앙대학법학부를졸업했다.첫시집에는모더니즘적기법에기반을두고감각적이미지의세계를형상화하는시가많은편이다.1945년에는조선식산은행진남포지점에입사해평양지점장을맡는등직장생활에충실하기도했지만,1951년1.4후퇴때월남한이후로는직장생활보다는집필활동에많은비중을두고살아가게된다.1952년에는현수(玄秀)라는이름으로≪적치6년의북한문단≫을간행하고,1954년에는문예지≪문학예술≫을주재하면서문단활동을적극적으로해나갔다.또한1957년에는유치환,조지훈,박목월등과‘한국시인협회’를창립하고,같은해제5회아시아자유문학상을수상하기도했다.그는첫시집간행후18년이지난1958년에이르러서제2시집≪갈매기소묘(素描)≫를간행했는데,이시집의시편들은이전의이미지즘의경향을유지하면서도삶에대한존재론적성찰을드러내는특성을보여준다.이후1964년에는제3시집≪신(神)의쓰레기≫를간행하는한편,1965년부터1973년까지는한양대학교국어국문학과강사로교편을잡기도했다.이시기에그는불안정한시간강사신분으로불규칙한집필활동을하면서마음의안정을찾지못했던것으로보인다.그와중에도그는1970년에는제4시집≪새의암장(暗葬)≫을발간하고,1975년에는장편서사시＜단한번세웠던무지개－살수대첩＞을발표하는등왕성한창작활동을실천해나갔다.1975년에는이미이민을가서미국에살고있는가족들을찾아고국을떠나게된다.이시기에박남수시인은플로리다,뉴욕,뉴저지등지에서과일장사를하는등생활인으로서의삶에충실했다고전해진다.자연히시창작과는거리를두었던것으로보인다.미국에정착한후6년이지난1981년에이르러서야그는제5시집≪사슴의관(冠)≫을발간했다.이후다시10여년간의침묵생활을거친뒤1992년이되어서제6시집≪서쪽,그실은동쪽≫을발간하기에이른다.이즈음에박남수시인은아주활발한작품활동을한다.그결과1993년에는제7시집≪그리고그이후≫를발간했으며,이듬해에는다시제8시집≪소로(小路)≫를발간하고‘공초문학상’을수상하기도했다.그러나제8시집을간행하던그해에박남수시인은숙환으로세상을하직하게된다.

≪초롱불≫
酒幕 ·······················3
距離 ·······················4
초롱불 ······················5

≪갈매기素描≫
바람 ·······················9
江 ·······················13
持續 ······················16
갈매기素描 ···················17
生成의꽃 ····················28
다섯篇의쏘? ··················34
할머니꽃씨를받으시다 ··············40

≪神의쓰레기≫
새壹 ······················45
새參 ······················47
종달새 ·····················49
神의쓰레기 ···················51
焚身 ······················53
잔등의詩 ····················55
귀 ·······················57
손 ·······················59
解土 ······················60
解土貳 ·····················62
無題 ······················64
나무 ······················65
鐘소리 ·····················66
소리 ······················68
釣魚 ······················70

≪새의暗葬≫
言語 ······················75
아침이미지壹 ··················76
아침이미지貳 ··················77
아침이미지參 ··················79
아침이미지四 ··················80
아침이미지五 ··················82
밤壹 ······················83
밤貳 ······················84
窓 ·······················86
어딘지모르는숲의記憶 ·············87
열매 ······················90
새의暗葬壹 ···················91
새의暗葬貳 ···················92
호르라기의장난 ·················94
바다의勞動 ···················96

≪사슴의冠≫
한방울의눈물 ·················101
바다壹 ·····················103
거울 ······················105
江 ·······················106
絶叫 ······················107
숨가쁜언덕을넘어 ···············108
메르헨參 ····················109
흰갈대머리가,바람에 ··············110
사슴의冠 ····················112
말貳 ······················114
秋夕 ······················115
새 ·······················116

≪서쪽,그실은동쪽≫
몸짓 ······················121
소리 ······················122
서글픈暗喩1 ··················124
回歸1 ·····················126
춤壹 ······················128
맨하탄의갈매기 ·················132
生活 ······················133
피난길 ·····················135
바람 ······················136

≪그리고그以後≫
온전한視力 ···················139
별똥 ······················141
마지막나들이 ··················143
下直 ······················144


≪小路≫
새털 ······················149
씨 ·······················151
나의사막에는낙타가없다 ············152
빛과어둠 ····················156
하루살이 ····················158

시집미수록작품
물구나무서서 ··················161
연꽃 ······················163

해설 ······················165
지은이에대해 ··················174
엮은이에대해 ··················177

박남수시인은감각적,존재론적이미지와표현미를중시했다는점에서전형적인모더니스트다.다만미국으로이민한이후의시에는인생에대한감성적인식이주조를이룬다는점에서리리시즘적인성향을보여주기도했다.그의시는대략세시기로구분할수있다.제1기는첫시집≪초롱불≫(1939)을출간한시기로서감각적,예술적이미지를강조하는시를보여준다.제2기는≪갈매기소묘≫(1958),≪신의쓰레기≫(1964),≪새의암장≫(1970)등을출간한시기로서지성적,존재론적이미지를형상화하는데많은노력을기울인다.그리고제3기는≪사슴의관≫(1981),≪서쪽그실은동쪽≫(1992),≪그리고그이후≫(1993),≪소로≫(1994)를출간한시기로서이민생활의향수와인생의본질에대한성찰을빈도높게드러낸다.
북한에서태어나일본으로유학을다녀오고월남해부산과서울에서살다가미국으로이민을떠나그곳에서하직한그의삶은,유랑그자체였다.그역사적배경인일제치하와광복전후의혼란기,그리고급속한산업화와도시화의과정은시인에게많은번민과고통을안겨주었다.이우여곡절의생애를살아가면서도50여년을이어온그의시작활동은시대사적인면과함께문예미학의차원에서도의미있는자산으로기록되어야할것이다.