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µµ¼­ÃâÆÇ ¾Æ½Ã¾Æ°¡ À̹ø¿¡ Ãâ°£ÇÏ´Â ¡¶¹ÙÀ̸µ±È ¿¡µð¼Ç : Çѱ¹ Çö´ë ¼Ò¼³¡· ½Ã¸®Áî´Â Áö³­ ¹Ý¼¼±â µ¿¾ÈÀÇ Çѱ¹¿¡¼­ ³ª¿Â °¡Àå Áß¿äÇÏ°í ÷¿¹ÇÑ ¹®Á¦ÀǽÄÀ» °¡Áø ÀÛ°¡µéÀÇ ÀÛÇ°À» ´Ù¾çÇÑ ÁÖÁ¦º°·Î ¾ö¼±ÇÏ¿© Á¦°øÇÔÀ¸·Î½á ¼¼°è ¹®ÇÐÀÇ Àå¿¡ ÁÖ¿äÇÑ ±â¿©¸¦ ÇÏ°í ÀÖ´Ù. Çѱ¹ ¹®ÇÐ ¹ø¿ªÀÇ °ÅÀåµéÀÌ ¿µ¿ªÇÑ ÀÌ ´ë¿ª¼± ½Ã¸®Áî´Â ÀÏ¹Ý µ¶ÀÚµéÀ̳ª Çѱ¹°ú Çѱ¹¾î, Çѱ¹ ¹®È­¸¦ ¹è¿ì°íÀÚ ÇÏ´Â Çлýµé¿¡°Ô ¸ðµÎ ¼ÒÁßÇÑ ÀÚ»êÀÌ µÉ °ÍÀÌ´Ù. Çö´ë Çѱ¹ ¹®Çаú ¹®È­ÀÇ Ç³ºÎÇÔÀ» µé¿©´Ù º¼ ¼ö Àִ âÀ» ±¸ÇÏ°í ÀÖ´Â µ¶Àڵ鿡°Ô °­·ÂÇÏ°Ô ÃßõÇÑ´Ù.
- Å׿Àµµ¾î ÈÞÁî (Ä÷³ºñ¾Æ´ëÇб³ µ¿¾Æ½Ã¾ÆÇаú Çѱ¹¹®ÇÐ ±³¼ö)

Asia Publishers¡¯ Korean-English ¡¶Bi-lingual Edition: Modern Korean Literature¡· makes a major contribution to world literature, offering a thematically organized, diverse collection of the most important, cutting edge Korean writers working over the last fifty years. Masterfully translated, this bilingual series will prove invaluable to readers everywhere and to the classroom. Most highly recommended for those seeking a window to the richness of modern Korean literature and culture.
- Theodore Q. Hughes, Columbia University
(Korea Foundation Associate Professor of Korean Studies in the Humanities, Department of East Asian Languages and Cultures)

À̹ø¿¡ µµ¼­ÃâÆÇ ¾Æ½Ã¾Æ¿¡¼­ »õ·Ó°Ô ¼±º¸ÀÌ´Â ¡¶¹ÙÀ̸µ±È ¿¡µð¼Ç : Çѱ¹ Çö´ë ¼Ò¼³¡· ½Ã¸®Áî·Î ÀÎÇØ Çѱ¹¹®ÇÐÀÇ ±³À°ÀÚµéÀº ´ë´ÜÈ÷ Áß¿äÇÑ ±³À° ÀڷḦ ¾ò°Ô µÇ¾ú´Ù. ÀÌ ºÐ¾ß¿¡¼­ °¡Àå °æÇèÀÌ Ç³ºÎÇÑ ÃÖ»óÀÇ ÆíÁýÀÚµé°ú ¹ø¿ªÀÚµéÀÌ ÆíÁý, ¹ø¿ªÇÑ ÀÌ ½Ã¸®Áî¿¡ ¼±Á¤µÈ ÀÛÇ°µéÀº Çѱ¹ÀÇ Çö´ë ¹®ÇаèÀÇ ÇÙ½ÉÀ» ÀÌ·ç´Â °ÍµéÀÌ´Ù. Çѱ¹¹®ÇÐÀº ÀÌ ½Ã¸®ÁîÀÇ ´öºÐ¿¡ ¼¼°è¹®ÇаèÀÇ µ¶ÀÚÃþ¿¡°Ô ÀÌÀü°ú´Â ´Ù¸¥ Â÷¿øÀ¸·Î ¼ºÅ­ ´Ù°¡°¥ °ÍÀ̸ç Çѱ¹ÀÇ Æ¯Á¤ ÀÛ°¡µé°ú ±×µéÀÇ ÀÛÇ°µéÀÌ µ¶Àڵ鿡°Ô ¾Ë·ÁÁö°í »ç¶ûÀ» ¹ÞÀ» ±âȸµµ Å©°Ô È®´ëµÇ¾ú´Ù. µ¿½Ã¿¡ ÀÌ ÀÛÇ°µéÀÌ ´ë¿ªÆÇÀÇ ÇüÅ·ΠÃâÆǵǾú±â ¶§¹®¿¡ °í±Þ Çѱ¹¾î ¼ö¾÷À̳ª Çѱ¹¹®Çп¡ °üÇÑ °­ÀÇ¿¡µµ »õ·Î¿î ±³ÀçÀÇ »ùÀÌ ±íÀº °÷¿¡¼­ ¼Ú¾Æ³­ ¼ÀÀÌ´Ù. Çѱ¹¹®ÇÐÀ» °¡¸£Ä¡°í Áñ±â´Â µ¶Àڷμ­ ÀÌ »õ ½Ã¸®ÁîÀÇ Ãâ°£À» Áø½ÉÀ¸·Î ȯ¿µÇÏ´Â ¹ÙÀÌ´Ù.
- µ¥À̺ñµå ¸Åĵ (ÇϹöµå´ëÇб³ µ¿¾Æ½Ã¾ÆÇаú Çѱ¹¹®ÇÐ ±³¼ö)

The new Asia Publishers series of Korean literary works will be a most welcome addition deed to the resources for teaching about Korean literature. The editors and translators are among the very best and most widely experienced in the field, and the works chosen for the series are key parts of the modern to contemporary literary world of Korea. Korean literature¡¯s reach, the chance for particular writers and their works to be known and enjoyed, will be wonderfully extended for an international readership, but at the same time, to have the texts in bilingual editions means also that for advanced Korean language classes as well as courses on Korean literature, a deep new well-spring of fresh materials has been opened. As someone who teaches and reads Korean literary work, I am delighted to welcome the new series.
- David R. McCann, Harvard University
(Korea Foundation Professor of Korean Literature)

¸ñÂ÷

´ç½Å¿¡ ´ëÇؼ­ 007
On You

Çؼ³ 101
Afterword

ºñÆòÀÇ ¸ñ¼Ò¸® 111
Critical Acclaim

ÀÛ°¡ ¼Ò°³ 118
About the Author

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ÀÌ ¼Ò¼³ ÀбâÀÇ µ¿·ÂÀÎ, ¶Ç ÇϳªÀÇ ´ç½Å? ¸öÀÌ ¸¶ÁÖÄ¡´Â ÀÚ¸®¿¡¼­´Â ÀÚ½ÅÀÇ ½ÇÁõÀû Ç¥»óÀÎ ¾ó±¼ ¶§¹®¿¡ ¼²ºÒ¸® ³ªÅ¸³ªÁö ¾Ê´Â, ÀÌ·¸°Ô ÀÌ·± ¼Ò¼³ÀÇ ¡®´ç½Å¡¯À» ¿ë³³ÇÔÀ¸·Î½á³ª ½½¸ç½Ã ½º¸ç³ª¿À´Â, ±×·¯¸é¼­µµ ¿©ÀüÈ÷ ¾îµð¿¡ ¾î¶»°Ô Æ÷°³Á® ÀÖ´ÂÁö ºÒÈ®½ÇÇÑ, ´ç½ÅÀ̸鼭 ´ç½ÅÀÌ ¾Æ´Ñ, ¶Ç ÇϳªÀÇ ´ç½Å¡ª¿ì¼±Àº ±×·¸°Ô ÀÏÄþîµÎÀÚ. ±×·¯¸é Èñ¹ÌÇÏ°Ô³ª¸¶ ÀǽÄÇϰڴ°¡, ´ç½ÅÀÌ ³ª¸¦ Ç꺸¸ç ¼Ò¸® ¾øÀÌ ¸»À» µÇ¹Þ¾Æ °Ç³Ù »ó´ë°¡ ½Ç»óÀº ±× ¶Ç ÇϳªÀÇ ´ç½ÅÀ̾úÀ½À». ±×¸®ÇÏ¿© ´ç½ÅÀÇ ´ç½Å ÀڽŰú ³ªÀÇ ¡®´ç½Å¡¯ÀÎ ´ç½ÅÀ» ²÷ÀÓ¾øÀÌ ¿À°¡´Â ³ÐÀÌ ¼Ó¿¡ ºÎµæÀÌ ÆîÃÄÁø ´ç½Å! ¿©±â¼­ ´ç½ÅÀº ±×ÁßÀÇ ÇÑÂÊÀ¸·Î °íÁ¤µÉ ¼ö ¾ø´Ù. ±× µÎ ´ç½ÅÀ» ÇϳªÀÇ ´ç½ÅÀ¸·Î ºÎ¸£´Â ³ª¿¡ ÀÇÇØ.±×·¯¹Ç·Î ¸¸¾à ÀÌ »õ·Î¿î ¾î¿ ¼ö ¾øÀ½ÀÌ ±ÛÀбâÀÇ ´«Áþ ¼Ó¿¡ ±íÀÌ ¹è¾îµé±â¸¦ Èñ¸ÁÇÑ´Ù¸é, ´ç½ÅÀº, Â÷ÈÄ, Àû¾îµµ Çà°£À» ¶ç¿ì´Â ÀÚ¸®¿¡¼­¸¸Àº, ÀǽÄÀûÀ¸·Î¶óµµ ´«±æÀ» ¸ØÃß¾î¾ß¸¸ Çϸ®¶ó.

Is it, then, another you that powers your reading of this story? A you that is usually hidden, in meetings of bodies, behind the empirical representation of the you that is your face, now gently starting to reveal itself as you begin to accept the you of a story like this, though it is, of course, not yet completely clear, exactly how and where they all fold in together, this other you who both is, and is not you. Let us leave it at that for now. Can you sense it now, if only faintly? How you mistook me? How the object of your silent retorts was actually yet another you? And so there you are, necessarily spread across that vast distance between you yourself and the you that is my you! It is impossible, here, to fasten you to either one of these sides. Not when I am calling upon these two yous as one.Therefore, if we are to hope that this new necessity might steep its way into the reading action of the eyes themselves, you must, from now on, if only when skipping those spaces between lines, momentarily (and if needs be, consciously) stop the progress of your gaze.
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