에베르 시선

안에베르

저자안에베르(AnneH?bert,1916~2000)는1916년8월1일캐나다퀘벡시근처의작은마을에서태어난안에베르는랭보,클로델,보들레르,발자크,위고등프랑스작가의작품에대한강독을통해작가공부를했으며,특히1930년대후반에이미퀘벡의현대시를개척한시인으로인정받고있던사촌생드니가르노의영향을많이받았다.1939년4월≪프랑스캐나다≫지에＜빗속에서＞라는시를처음으로발표함으로써퀘벡문단에등단한그녀는1942년1월17일첫시집≪불안정한꿈들≫을상재한다.4부로이루어진이시집에는모두44편의시가담겨있는데,여러잡지에발표한것은6편에불과했으며,대부분미발표시편들이었다.1950년에는단편소설집≪급류≫가나온다.1963년에두작품이추가되어재판본이나온이소설집에는격렬하고폭력적인이야기들이있으며,이는향후안에베르소설의문체그리고내용의독창적성격을예고하는것이었다.그렇지만이시기의안에베르는시에더욱전념해첫시집이후1952년10월까지쓴27편의시를실은≪왕들의무덤≫을1953년에간행한다.이시편들은여러잡지에재간행되면서안에베르를생드니가르노,알랭그랑부아와함께퀘벡의대표적인현대시인의반열에올려놓게된다.1958년에그녀의첫장편소설≪숲속의방≫이프랑스쇠이유출판사에서나오고,1954년에쓴＜빵의탄생＞과1957년의＜하루의연금술＞을비롯해뚜렷하게산문시의형태를지닌환상적이미지와상징주의적인심상을담고있는≪언어의신비≫가≪왕들의무덤≫과함께묶여1960년4월역시쇠이유출판사에서발간된다.≪시편들≫이라는제하의문집이나온다음해인1961년부터여러잡지에안에베르는지속적으로시작품들을기고하지만,이들이≪낮은밤외에비길만한것이없다≫라는제목의시집으로묶여나오는것은오랜세월이흐른1992년의일이다.알랭그랑부아문학상을받게되는이시집은1961년에서1980년까지쓴시편들과1987년부터1989년사이에나온것들,총49편의시들을각각“옛시편들”과“새로운시편들”이라는제목아래나누어싣고있다.
이시집이발간될때까지안에베르가몰두한것은소설적글쓰기였다.안에베르를진정한소설가로인정받게만든≪카무라스카≫는1970년에나온다.그렇지만그녀는이미1965년부터4년이상이소설에매달렸던것이다.안에베르의시적화자는모두여성이었다.작가는이여성들을소설의무대에재등장시켜,역사와사회로부터운명적으로받은자기존재의소외그리고자아분열이라는실존적비극을독자로하여금체험하게한다.이렇게자기상실의늪에빠진여주인공들의자의식분출은격렬하고때로는폭력적이지만,그내면에는비극적인장엄함과아름다움이존재하며,이것이바로안에베르작품의독보적인특징인것이다.안에베르는1967년에＜야만적시대＞외여러편이담긴희곡집을발표하고,1990년에＜새장＞이라는희곡을내기도하지만,역시그녀가집중했던것은소설이었다.1975년에는소설≪마녀집회의자식들≫이있고,1980년에그녀의네번째소설≪엘로이즈≫가나오지만,가브리엘루아에이어퀘벡의작가로서는두번째로그녀에게프랑스의대표적인문학상인페미나상을선사한작품은1982년에나온소설≪가마우지떼≫였다.안에베르의대표적인작품인≪카무라스카≫와함께이≪가마우지떼≫는에베르자신의시나리오를바탕으로영화로만들어져큰반향을일으켰다.이어누벨프랑스를세운여인들에대한이야기를담은≪최초의정원≫은1988년에그리고≪꿈에찬아이≫는1992년에출판된다.1993년에는≪시작품(1950∼1990)≫으로≪왕들의무덤≫,≪언어의신비≫,≪낮은밤외에비길만한것이없다≫라는기존의세시집을묶어놓고있으며,1997년에는마지막시집≪왼손을위한시편들≫을,1999년에는마지막소설≪빛의옷≫을남겨놓고,2000년1월22일몬트리올의한병원에서83세의나이로세상을떠난다.

≪왕들의무덤(Letombeaudesrois)≫
샘물가에서깨어나·················3
빗속에서·····················5
커다란샘물들··················7
낚시꾼들·····················9
손·······················11
작은절망····················13
밤·······················14
새소리·····················16
작은도시들···················18
목록······················21
낡은그림····················24
깡마른소녀···················26
축제를대신해··················29
기껏해야담장하나················31
닫힌방·····················34
숲속의방····················37
점차더좁게··················40
그대발길을돌려라················42
어느가련한죽음·················44
정원에우리두손을················46
분명누군가있다·················48
세상의이면···················50
성(城)에서의삶·················53
고난의골짜기에서구르다·············55
풍경······················57
비단소리····················58
왕들의무덤···················60


≪언어의신비(Myst?redelaparole)≫
언어의신비···················67
빵의탄생····················71
하루의연금술··················76
장미가바람에실려오길··············81
나는땅이요물이니라···············83
눈[雪]······················86
눈먼계절····················87
도시의봄····················89
지혜는내팔을부러뜨렸다·············92
살해당한도시··················95
설익은큰덕목들·················98
수태고지····················99
너무도좁은곳에서···············100
이브······················102
사로잡힌신들··················106


해설······················109
지은이에대해··················121
옮긴이에대해··················125

?책소개
퀘벡현대시의개척자안에베르의대표적인시집≪왕들의무덤≫과≪언어의신비≫를엮었다.억압받고학대받은퀘벡여성들의고독과소외를강렬한언어로노래한다.소설과는또다른모습의안에베르를만날수있다.

?출판사책소개
생드니가르노,알랭그랑부아와함께퀘벡현대시의개척자로알려진안에베르는평생시와소설로퀘벡문단을지배했다.에베르는1942년첫시집≪불안정한꿈들≫을상재하면서데뷔하지만그녀를작가들과독자들에게진정시인으로인식시켜준것은1953년에나온두번째시집≪왕들의무덤≫이었다.이시집의절제된간결한언어는그의사촌인생드니가르노의문체를잇고있으며,에베르의시학은프랑스시인클로델이나엘뤼아르에동화되어있다고볼수있다.이시집에서놀라운것은낡은이미지의고요한세상에대한묘사속에서끊임없이솟구쳐오르는격렬함이다.이는기존의삶에대한항거이며,틀에갇혀버린세상에서의탈주이고내면의열등의식에서벗어나고자하는인간의식의본능적발로다.특히여성작가인에베르의시적저항은오랫동안가톨릭과농촌의삶이지배하고있던퀘벡사회에서억눌려있던여성자의식의해방으로해석할수있는것이다.시에서뿐아니라,그녀를진정한퀘벡의대작가로만들어준소설들에서,예컨대≪가마우지떼≫에서볼수있는여성주인공들의불행에대항하는처절한몸부림은매우충격적인방식으로다가온다.종교와남성사회의절대적권위로부터벗어나고자하는여성들의무서운욕망이지배하는이음울한소설은퀘벡전통사회의깊은어둠을증거하고있다.
1960년에나온≪언어의신비≫는≪왕들의무덤≫과는매우대조적이다.간결과고요그리고내적인저항이라는시적고독이후,이시집의각시편들은폭력성에구원적인덕목을부여하는긴시행들로구성되어있기때문이다.형태와내용에서분명하게대비됨으로써시인이면서동시에소설가인작가의글쓰기적인특성을드러내는이두시집은퀘벡시문학의백미로간주되고있다.≪불안정한꿈들≫을비롯한이런에베르의초기시편들은≪임무교대≫,≪프랑스캐나다≫,≪프랑스아메리카≫등여러문예지에간행되었다.
안에베르에게시는억압받는존재의고독과소외에대한항거와분노의언어이며,그의고통스런내면적체험에대한발로의표현이었다.