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µµ¼­ÃâÆÇ ¾Æ½Ã¾Æ¿¡¼­ °£ÇàµÈ ¹ÙÀ̸µ±È ¿¡µð¼Ç Çѱ¹ ´ëÇ¥ ¼Ò¼³ ½Ã¸®Áî´Â Çѱ¹¾î ¿ø¹®°ú ¿µ¾î ¹ø¿ªº»À» µ¿½Ã¿¡ ¼ö·ÏÇÑ ÃÖÃÊÀÇ ¿¬¼Ó ½Ã¸®ÁîÀÌ´Ù. ¿©·¯ »ç¶÷µéÀÇ ¸ñ¼Ò¸®°¡ ¹Ý¿µµÇ¾î Áö±Ý±îÁö ¹ø¿ª¿¡ µÎ°¢À» º¸ÀÌÁö ¾Ê¾Ò´ø ¸¹Àº À̵éÀÌ Ãµ ³âµµ ³Ñ°Ô À̾îÁø ¹®ÇÐÀû ÀüÅëÀÇ È°·ÂÀ» º¸¿©ÁÖ¾î ±¹Á¦ÀûÀÎ ÁÖ¸ñÀ» ¹Þ°í ÀÖ´Ù. ¸Å·ÂÀûÀÎ µðÀÚÀΰú ÇÕ¸®ÀûÀÎ °¡°ÝÀ¸·Î ³ª¿Â ÀÌ ½Ã¸®Áî´Â ¿­°ú ¼ºÀ» ´ÙÇØ Çѱ¹ Çö´ë ¼Ò¼³À» Á¦´ë·Î ¼Ò°³ÇÏ°í ÀÖ´Ù.
- ºê·ç½º Ç®ÅÏ(ºê¸®Æ¼½Ã Ä÷³ºñ¾Æ ´ëÇб³ ±³¼ö)

The Bilingual Editions of modern Korean fiction issued by ASIA Publishers constitute the first extended series of Korean literature that incorporates both the original Korean text and an English translation. The variety of voices included, many of them underrepresented in translation until now, bespeaks the vibrancy of a millennia-old literary tradition that is finally gaining international visibility. Attractively produced and reasonably priced, these volumes offer an excellent introduction to the heart and soul of modern Korean fiction.
- Bruce Fulton, University of British Columbia

µµ¼­ÃâÆÇ ¾Æ½Ã¾Æ°¡ À̹ø¿¡ Ãâ°£ÇÏ´Â [¹ÙÀ̸µ±È ¿¡µð¼Ç : Çѱ¹ ´ëÇ¥ 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 ´ëÇ¥ 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)

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Three Days of Autumn, 1948
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Afterword
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Critical Acclaim
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About the Author

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¾î¸¥µéÀº ¾î¸¥µé Ã¥µé µ¹º¼ Æ´µµ ¾ø¾ú´Ù. ±×µéÀº Á¤Ä¡ÇÏ·ª, Àå»çÇÏ·ª, Á¤½ÅµéÀÌ ¾ø¾ú´Ù. ±×µéÀÇ ¸¶À½Àº ´ÊµÇ¾î ¾î¸°À̵éÀÇ ¸¶À½°ú °°¾Ò°í, ¾î¸°À̵éÀº ¿ÃµÇ¾î ¾î¸¥°ú °°¾Ò´Ù. ¾î¸¥µéÀº ¾î¸°À̵éó·³ ´úµÇ¾ú°í, ¾î¸°À̵éÀº ¾î¸¥µéó·³ °Ñ´Ä¾ú´Ù. µÑ ´Ù ºÒÇàÀ̾ú´Ù. ¾î¸¥µéÀÌ ¾î¸¥ ³ë¸©°ú ¾î¸°ÀÌ ³ë¸©À» ÇÏ°í, ¾î¸°À̵éÀÌ ¾î¸°ÀÌ ³ë¸©°ú ¾î¸¥ ³ë¸©À» ÇÏ´Â °ÍÀº µÑ Áß ´©±¸µµ µÎ ³ë¸©µé Áß ¾î´À Çϳª Á¦´ë·Î ¸øÇÏ´Â °ÍÀ̾ú´Ù. ¾î¸°ÀÌ ¼¼°è¿¡ ¸Ó¹°·¯ ÀÖ´Â ¾î¸¥µµ º¼Ç°¾øÁö¸¸, ¾î¸¥ ¼¼°è¿¡ ¶Ù¾îµç ¾î¸°À̵µ º¼½é»ç³ª¿ü´Ù. ÀÖ¾î¾ß ÇÒ °÷¿¡ ÀÖÁö ¾Ê´Â À߸øÀº ¹Ýµå½Ã ÀÖÁö ¾Ê¾Æ¾ß ÇÒ °÷¿¡ ÀÖ´Â À߸ø°ú ¸Â¹°·Á µÎ °¡Áö Á˸¦ ÀúÁú·¶´Ù. ¾î¸°À̵éÀÌ ¾ø°í ¾î¸¥µéÀÌ ¾ø¾ú´Ù. ¾î¸°À̵éÀº ¾î¸¥ Ç༼¸¦ Çؼ­ ¾î¸°À̸¦ ¾ø¾Ý°í, ¾î¸¥µéÀº ¾î¸°ÀÌ ÁþÀ» Çؼ­ ¾î¸¥À» ¾ø¾Ý´Ù. ÁøÂ¥´Â »ç¶óÁö°í °¡Â¥°¡ »ý°å´Ù. ¾î¸°ÀÌ ¾Æ´Ñ ¾î¸°ÀÌ´Â ¾î¸°ÀÌ°¡ ¾Æ´Ï¾ú°í, ¾î¸¥ ¾Æ´Ñ ¾î¸¥Àº ¾î¸¥ÀÌ ¾Æ´Ï¾ú´Ù. ¾î¸¥°ú ¾î¸°ÀÌ·Î µÈ ¼¼»ó¿¡¼­ ¾î¸¥°ú ¾î¸°ÀÌ°¡ ¾øÀ¸¸é ¹«¾ùÀÌ ³²´Â°¡? Áü½Â. »ì¾Æ³²±â À§Çؼ­ »ç´Â Áü½ÂÀÌ ÀÖ¾ú´Ù.

Adults were too busy to read adult books. They were busy with politics and business. Their minds were immature like children¡¯s, and children¡¯s minds were mature like adults.¡¯ The adults were immature like children, and the children were mature like adults. This was a tragedy for everyone. Adults acting like adults and children. Children acting like children and adults. This meant that neither could do a good job of being either. Adults being childish was unseemly, but children in the world of adults was ghastly. The crime of not being where one should be, mixed with the crime of being where one should not be. It was two crimes at once. There were no children, and there were no adults. Children acted like adults, thereby eliminating children. Adults acted like children, thereby eliminating adults. The real disappeared and the fake emerged. Children who were not children were not children, and adults who were not adults were not adults. In a world made of adults and children, what remains when adults and children disappear? Animals. Animals
living just to survive.
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