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Çѱ¹ ¹®´ÜÀ» ´ëÇ¥ÇÏ´Â ÀÛ°¡µéÀÇ ´ÜÆí ÀÛÇ°À» Çѱ۰ú ¿µ¾î·Î µ¿½Ã¿¡ ÀÐÀ» ¼ö ÀÖ´Â [¹ÙÀ̸µ±È ¿¡µð¼Ç Çѱ¹ ´ëÇ¥ ¼Ò¼³] ½Ã¸®Áî. [»óÇÏÀÌ¿¡ µÎ°í ¿Â »ç¶÷µé] ¼Ó È­ÀÚÀÎ, ¡®³ª¡¯´Â Èñ¹ÌÇÑ ¿¾»ç¶ûÀÇ ±×¸²ÀڷκÎÅÍ ¹þ¾î³ª±â À§ÇØ/´õµë±â À§ÇØ ÈĹ谡 ÀÖ´Â Áß±¹Çà ºñÇà±â¿¡ ¸öÀ» ½Æ´Â´Ù. »óÇØÀÇ ¹Î¹ÚÁý¿¡¼­ ³ª´Â ±×°÷¿¡¼­ ÀÏÇÏ°í ÀÖ´Â Á¶¼±Á· ¿©ÀÚ¿Í ÇÔ²² ¾Æ¹öÁöÀÇ ÈçÀûÀ» ãÀ¸·¯ Áß±¹¿¡ ¿Â ÇÑ ³ëÀÎÀ» ¸¸³­´Ù. Á¶¼±Á· ¿©ÀÚ´Â ÇҾƹöÁö °íÇâÀÌ °æ»óµµ ¾Èµ¿À̶ó¸ç °°Àº ¼º¾¾ÀÎ ³ª¿¡°Ô Ä£±Ù°¨À» Ç¥½ÃÇϴµ¥, ÀÌ´Â Çѱ¹À¸·Î µ¹¾Æ°¡¼­ ÀÚ½ÅÀ» ģôÀ¸·Î ÃÊûÇØÁÙ °ÍÀ» ºÎŹÇϱâ À§ÇÔÀÌ´Ù. ÇÏÁö¸¸ ¹Î¹ÚÁý¿¡¼­ ¸¸³­ À̵éÀº ³ª¿¡°Ô´Â ºÒû°´¸¸ °°¾Æ¼­ °ÅÃßÀ彺·¯¿î Á¸ÀçÀÏ »ÓÀÌ´Ù. Ç×ÁÖÇà ƼÄÏÀ» ²÷°í ³ª´Â À̵é°ú Çì¾îÁö°í ½Í¾úÁö¸¸ ¶æ´ë·Î µÇÁö ¾Ê´Â´Ù. [»óÇÏÀÌ¿¡ µÎ°í ¿Â »ç¶÷µé]Àº ÀÌ»óÀÇ ÀÛ°¡Àû ŵµ¸¦ ¿©½ÇÈ÷ º¸¿©ÁÖ´Â °¡¿îµ¥, µð¾Æ½ºÆ÷¶óÀû Á¸Àç ȤÀº »çȸÀû ¼Ò¼öÀÚµé°ú ¾î¶»°Ô ¸¸³ª°í ¼ÒÅëÇÒ °ÍÀΰ¡ÀÇ ¹®Á¦, ±×¸®°í º¸´Ù º¸ÆíÀûÀÎ Â÷¿ø¿¡¼­, °³°³ÀÎ ¾È¿¡ ³»ÀçµÇ¾î Àִ ŸÀΰúÀÇ ¡®°ø°¨ÀÇ ´É·Â¡¯¿¡ ´ëÇØ ¹¯°í ÀÖ´Ù.

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Çѱ¹ ¹®´ÜÀ» ´ëÇ¥ÇÏ´Â ÀÛ°¡µéÀÇ ´ÜÆí ÀÛÇ°À» Çѱ۰ú ¿µ¾î·Î µ¿½Ã¿¡ ÀÐÀ» ¼ö ÀÖ´Â [¹ÙÀ̸µ±È ¿¡µð¼Ç Çѱ¹ ´ëÇ¥ ¼Ò¼³] ½Ã¸®ÁîÀÇ ³× ¹ø° ¼¼Æ®(46~60¹ø)°¡ Ãâ°£µÇ¾ú´Ù. ¾Æ½Ã¾Æ ÃâÆÇ»ç´Â Áö³­ ¹Ý¼¼±â µ¿¾È Çѱ¹¿¡¼­ ³ª¿Â °¡Àå Áß¿äÇÏ°í ÷¿¹ÇÑ ¹®Á¦ÀǽÄÀ» °¡Áø ÀÛ°¡µéÀÇ ÀÛÇ°µéÀ» ¼±º°ÇÏ¿© ÃÑ 105±ÇÀÇ ½Ã¸®Á ±âȹÇÏ¿´´Ù.
[»óÇÏÀÌ¿¡ µÎ°í ¿Â »ç¶÷µé] ¼Ó È­ÀÚÀÎ, ¡®³ª¡¯´Â Èñ¹ÌÇÑ ¿¾»ç¶ûÀÇ ±×¸²ÀڷκÎÅÍ ¹þ¾î³ª±â À§ÇØ/´õµë±â À§ÇØ ÈĹ谡 ÀÖ´Â Áß±¹Çà ºñÇà±â¿¡ ¸öÀ» ½Æ´Â´Ù. »óÇØÀÇ ¹Î¹ÚÁý¿¡¼­ ³ª´Â ±×°÷¿¡¼­ ÀÏÇÏ°í ÀÖ´Â Á¶¼±Á· ¿©ÀÚ¿Í ÇÔ²² ¾Æ¹öÁöÀÇ ÈçÀûÀ» ãÀ¸·¯ Áß±¹¿¡ ¿Â ÇÑ ³ëÀÎÀ» ¸¸³­´Ù. Á¶¼±Á· ¿©ÀÚ´Â ÇҾƹöÁö °íÇâÀÌ °æ»óµµ ¾Èµ¿À̶ó¸ç °°Àº ¼º¾¾ÀÎ ³ª¿¡°Ô Ä£±Ù°¨À» Ç¥½ÃÇϴµ¥, ÀÌ´Â Çѱ¹À¸·Î µ¹¾Æ°¡¼­ ÀÚ½ÅÀ» ģôÀ¸·Î ÃÊûÇØÁÙ °ÍÀ» ºÎŹÇϱâ À§ÇÔÀÌ´Ù. ÇÏÁö¸¸ ¹Î¹ÚÁý¿¡¼­ ¸¸³­ À̵éÀº ³ª¿¡°Ô´Â ºÒû°´¸¸ °°¾Æ¼­ °ÅÃßÀ彺·¯¿î Á¸ÀçÀÏ »ÓÀÌ´Ù. Ç×ÁÖÇà ƼÄÏÀ» ²÷°í ³ª´Â À̵é°ú Çì¾îÁö°í ½Í¾úÁö¸¸ ¶æ´ë·Î µÇÁö ¾Ê´Â´Ù. [»óÇÏÀÌ¿¡ µÎ°í ¿Â »ç¶÷µé]Àº ÀÌ»óÀÇ ÀÛ°¡Àû ŵµ¸¦ ¿©½ÇÈ÷ º¸¿©ÁÖ´Â °¡¿îµ¥, µð¾Æ½ºÆ÷¶óÀû Á¸Àç ȤÀº »çȸÀû ¼Ò¼öÀÚµé°ú ¾î¶»°Ô ¸¸³ª°í ¼ÒÅëÇÒ °ÍÀΰ¡ÀÇ ¹®Á¦, ±×¸®°í º¸´Ù º¸ÆíÀûÀÎ Â÷¿ø¿¡¼­, °³°³ÀÎ ¾È¿¡ ³»ÀçµÇ¾î Àִ ŸÀΰúÀÇ ¡®°ø°¨ÀÇ ´É·Â¡¯¿¡ ´ëÇØ ¹¯°í ÀÖ´Ù.

¼¼°èÀε鿡°Ô Çѱ¹ ´ÜÆí ¼Ò¼³ÀÇ ±íÀÌ¿Í Ç°°ÝÀ» ÀüÇÏ´Â ÀÌ ½Ã´ëÀÇ °ÉÀÛ
Çѱ¹ ¹®´ÜÀ» ´ëÇ¥ÇÏ´Â ÀÛ°¡µéÀÇ ´ÜÆí ÀÛÇ°À» Çѱ۰ú ¿µ¾î·Î µ¿½Ã¿¡ ÀÐÀ» ¼ö ÀÖ´Â [¹ÙÀ̸µ±È ¿¡µð¼Ç Çѱ¹ ´ëÇ¥ ¼Ò¼³] ½Ã¸®ÁîÀÇ ³× ¹ø° ¼¼Æ®(46~60¹ø)°¡ Ãâ°£µÇ¾ú´Ù. ¾Æ½Ã¾Æ ÃâÆÇ»ç´Â Áö³­ ¹Ý¼¼±â µ¿¾È Çѱ¹¿¡¼­ ³ª¿Â °¡Àå Áß¿äÇÏ°í ÷¿¹ÇÑ ¹®Á¦ÀǽÄÀ» °¡Áø ÀÛ°¡µéÀÇ ÀÛÇ°µéÀ» ¼±º°ÇÏ¿© ÃÑ 105±ÇÀÇ ½Ã¸®Á ±âȹÇÏ¿´´Ù.
À̹ø¿¡ Ãâ°£µÈ ³× ¹ø° ¼¼Æ®´Â ¡®µð¾Æ½ºÆ÷¶ó(Diaspora)¡¯, ¡®°¡Á·(Family)¡¯, ¡®À¯¸Ó(Humor)¡¯¶ó´Â Ä«Å×°í¸®·Î ³ª´©¾î ±è³²ÀÏ, °ø¼±¿Á, ±è¿¬¼ö, ±èÀ翵, ÀÌ°æ (µð¾Æ½ºÆ÷¶ó) / õ½Â¼¼, Àü»ó±¹, À̵¿ÇÏ, ÀÌÇý°æ, ±Ç¿©¼± (°¡Á·) / ÇÑâÈÆ, Àü¼ºÅÂ, À̱âÈ£, ±èÁßÇõ, ±èÁ¾±¤ (À¯¸Ó) µî Çѱ¹ ´ëÇ¥ ÀÛ°¡µéÀÇ Áß¿ä ´ÜÆí ¼Ò¼³µéÀ» ±âȹ, ºÐ·ùÇÏ¿© ¼ö·ÏÇÏ¿´´Ù.
À̹ø¿¡ Ãâ°£µÈ ³× ¹ø° ¼¼Æ®¿¡´Â °¡Á·À̶ó´Â °ü°èÀÇ ÀüÇüÀûÀÎ Àǹ̰¡ Á¡Á¡ ´Ù¾çÇÑ ÇüÅ·ΠºÐÈ­µÇ¾î °¡´Â Çѱ¹ »çȸÀÇ ¸ð½ÀÀ» ´Ù·ç°í ÀÖ´Ù. ´ÜÀϹÎÁ·À¸·Î¼­ ¹ÎÁ· °øµ¿Ã¼¸¦ Áß½ÃÇÏ´ø °ú°ÅÀÇ ¸ð½À°ú ´Þ¸® ÀÌÁ¦ »õ·Ó°Ô °¡Á·, °øµ¿Ã¼, ŸÀÎÀÇ Àǹ̸¦ ¸¸µé¾î°¡°í ÀÖ´Â Çѱ¹ »çȸÀÇ ¸ð½ÀÀ» ÁýÁß Á¶¸íÇß´Ù. ¶ÇÇÑ À¯¸Ó(Humor)¶ó´Â Ä«Å×°í¸®¸¦ ÅëÇØ ½Ä¹ÎÁö, ÀüÀï, ºÐ´Ü, µ¶Àç µî ºÒ¿ÏÀüÇÑ ´ë³»¿ÜÀû Á¤Ä¡ »óȲÀÌ Á¡Â÷ ¾ÈÁ¤µÇ¾î°¨¿¡ µû¶ó ´Þ¶óÁø Çѱ¹¹®ÇÐÀÇ »ö´Ù¸¥ ¸é¸ð¸¦ º¸¿©ÁÖ¾ú´Ù.
¡°¹ÙÀ̸µ±È ¿¡µð¼Ç ½Ã¸®Áî´Â Çѱ¹¹®ÇÐÀÇ °³¼º°ú ¼¼°è¹®ÇÐÀÇ º¸Æí¼º »çÀÌ¿¡¼­ Á¢Á¡À» ãÀ¸·Á´Â ³ë·ÂÀ̶ó°í »ý°¢ÇÑ´Ù¡±¶ó°í ÇÑ ÀÌÇý°æ ÀÛ°¡ÀÇ Æò°ú °°ÀÌ, ¹ÙÀ̸µ±È ¿¡µð¼Ç Çѱ¹ ´ëÇ¥ ¼Ò¼³ ÀüÁý¿¡´Â ¼¼°èÀÇ µ¶Àڵ鵵 ±íÀÌ °ø°¨Çϸç È£ÈíÇÒ ¼ö ÀÖ´Â Çѱ¹¹®ÇÐÀÇ Á¤¼ö¸¦ ´ã°í ÀÖ´Ù.
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ÀÌ ½Ã¸®Áî´Â ÇϹöµå Çѱ¹ÇÐ ¿¬±¸¿ø ¹× ¼¼°è °¢±¹ÀÇ ¿ì¼öÇÑ ¹ø¿ªÁøµéÀÌ Âü¿©ÇÏ¿© ¿Ü±¹ÀεéÀÌ Àо ¾î»öÇÔÀÌ ´À²¸ÁöÁö ¾Ê´Â ¼Õ»ö¾ø´Â ÀÛÇ°À¸·Î Àçź»ýÇÏ¿© ¿øÀÛÀÇ Ç°°Ý°ú ¸Å·ÂÀ» »ì·È´Ù. ¿µ¾î ¹ø¿ªÀÇ ÁúÀ» ÃÖ¿ì¼±À¸·Î »ï°í ºê·ç½º Ç®ÅÏ(ºê¸®Æ¼½Ã Ä÷³ºñ¾Æ´ë), Å׿Àµµ¸£ ÈÞÁî(Ä÷³ºñ¾Æ ´ëÇб³), ¾È¼±Àç(¼­°­´ëÇб³ ¿µ¹®ÇÐ ¸í¿¹±³¼ö), Àü½ÂÈñ(ÇϹöµå´ëÇб³ Çѱ¹ÇÐ ¿¬±¸¼Ò ¿¬±¸¿ø) µî Çѱ¹ ¹®ÇÐ ¹ø¿ª ±ÇÀ§ÀÚµéÀº ¹°·Ð ÇöÁö ³»·¯Æ¼ºê ¹ø¿ªÀÚµéÀÌ ´ë°Å Âü¿©ÇÏ¿´´Ù. ±×¸®ÇÏ¿© ±×°£ Çѱ¹ ¹®ÇÐÀ» ¿µ¾î·Î ¹ø¿ªÇßÀ» ¶§ ´À²¸Áö´Â ¹ø¿ªÅõÀÇ ¾î»öÇÔ°ú µüµüÇÔÀ» ¹þ¾î´øÁø, ¿µ¾î µ¶Àڵ鵵 ÀÚ¿¬½º·´°Ô ÀÐÀ» ¼ö ÀÖ´Â ÅؽºÆ®·Î °¥°í ´Û¾Ò´Ù.

Áö³­ ¹Ý¼¼±â µ¿¾È Çѱ¹¿¡¼­ ³ª¿Â °¡Àå Áß¿äÇÏ°í ÷¿¹ÇÑ ¹®Á¦ÀǽÄÀ» °¡Áø ÀÛ°¡µéÀÇ ÀÛÇ°
¹Ì±¹ Ä÷³ºñ¾Æ´ëÇб³ µ¿¾Æ½Ã¾ÆÇаú Çѱ¹¹®ÇÐ ±³¼öÀÎ Å׿Àµµ¾î ÈÞÁî¿Í ÇϹöµå´ëÇб³ µ¿¾Æ½Ã¾ÆÇаú Çѱ¹¹®ÇÐ ±³¼öÀÎ µ¥À̺ñµå ¸ÅĵÀÌ [¹ÙÀ̸µ±È ¿¡µð¼Ç Çѱ¹ ´ëÇ¥ ¼Ò¼³] ½Ã¸®ÁîÀÇ Ãâ°£À» ¹Ý±â¸ç Ãßõ»ç¸¦ ½è´Ù. Å׿Àµµ¾î ÈÞÁî´Â ÀÌ ½Ã¸®Áî°¡ ¼¼°èÀÇ µ¶Àڵ鿡°Ô ¡°Çѱ¹ ¹®ÇÐÀÇ Ç³ºÎÇÔÀ» µé¿©´Ù º¼ ¼ö Àִ â¡±ÀÌ µÉ °ÍÀ¸·Î ÃßõÇß´Ù. µ¥À̺ñµå ¸ÅĵÀº ¡°ÃÖ»óÀÇ ¹ø¿ªÀÚ¿Í ÆíÁýÀÚµéÀÌ ÀÛ¾÷ÇÑ ½Ã¸®Á·Î ĪÂùÇÏ¸ç ±¹°æ°ú ¾ð¾îÀÇ º®À» ³Ñ¾î »ç¶û¹Þ´Â Çѱ¹ ¹®Çп¡ ´ëÇÑ ±â´ë¸¦ Ç¥ÇöÇß´Ù.

°ø°¨ÀÇ ´É·Â
³ª¿¡°Ô Çì¾îÁø ¾ÖÀÎÀÌ ÀÌÁ¦´Â Èñ¹ÌÇÑ ¿¾»ç¶ûÀÇ ±×¸²ÀÚ·Î ³²Àº °Íó·³, µð¾Æ½ºÆ÷¶óµé¿¡°Ô ¹ÎÁ· °øµ¿Ã¼ÀÇ ±â¾ïÀº Èñ¹ÌÇÑ ÈçÀûÀ¸·Î¸¸ ³²¾Æ ÀÖ´Â °ÍÀÌ´Ù. µû¶ó¼­ ÀÌ ÀÛÇ°¿¡¼­ ¿¾»ç¶ûÀÇ ±â¾ïÀ» Ãß¾ïÇÏ´Â °ÍÀº µð¾Æ½ºÆ÷¶óÀÇ ÈçÀûÀ» ´õµë´Â ÀÏ°ú °°Àº Àǹ̸¦ ³»Æ÷ÇÏ°Ô µÈ´Ù. ³»°¡ Áß±¹¿¡¼­ »ç¶ûÀÇ ±â¾ïÀ» ȯ±âÇϵíÀÌ, ³ëÀÎ ¿ª½Ã Áß±¹¿¡¼­ ÀÚ½ÅÀÇ »Ñ¸®ÀÌÀÚ Á¸ÀçÀÇ ±â¿øÀÎ ¾Æ¹öÁöÀÇ ÈçÀûÀ» ã¾Æ ´õµë°í ÀÖ´Ù. ¹Î¹ÚÁý »ç¶÷µéÀ» ¸ÅÁ¤ÇÏ°Ô »Ñ¸®ÃÆ´ø ³»°¡, ¼Ò¼³ÀÇ °á¸»¿¡¼­ ºñÆÄ °ú¼ö¿øÀ» Áö³ª´Ù ±×µéÀ» ¶°¿Ã¸®°í ¹«½É°á¿¡ °ú¼ö¿øÀ¸·Î ¹ß±æÀ» µ¹¸®´Â Àå¸éÀº, Çì¾îÁø ¾ÖÀÎÀÇ ±â¾ïÀ» ´õµë´Â ÀÏÀÌ, µð¾Æ½ºÆ÷¶óÀû Á¸ÀçµéÀ» º¸µë°í Æ÷¿ëÇÏ´Â ÀÏÀÌ ±×¸¸Å­ ´õµð°í Áö³­ÇÑ °úÁ¤ÀÓÀ» ¾Ï½ÃÇÑ´Ù.
-À̵µ¿¬ (¹®ÇÐÆò·Ð°¡)

Ãßõ»ç Àü¹®
ÀÌÇضõ °æÇèÀÌ´Ù. ³»°¡ ¿ÏÀüÈ÷ »ç¶óÁö´Â °æÇè. ³¸¼± ¹æ¹®°´Àº ³ª¿¡°Ô ÀÌÇظ¦ °¡¸£Ä¡±â À§ÇØ Ã£¾Æ¿À´Â ½º½ÂÀÌ´Ù. ±× ½º½Â ¾Õ¿¡¼­ ³ª´Â ºÒ¾ÈÇÏÁö¸¸, ±× ºÒ¾È¿¡¼­ ¿ì¸®ÀÇ À̾߱â´Â ½ÃÀ۵Ǹ®¶ó.
_´ÜÆí [¸ðµÎ¿¡°Ô º¹µÈ »õÇØ]ÀÇ ¼Ò¼³°¡ ±è¿¬¼ö (Novelist Kim Yeon-su)

¼¼°è¸¦ ÇâÇØ ¿­·Á ÀÖ´Â Çѱ¹¹®ÇÐÀÇ »õ·Î¿î â, 4ºÎ µð¾Æ½ºÆ÷¶ó ¹®ÇÐÀ» ±â´ëÇÕ´Ï´Ù!
I look forward to reading the ¡°Diaspora Literature¡± series, Korean literature's newly opened window to the world.
_´ÜÆí [ÄÚ³¢¸®]ÀÇ ¼Ò¼³°¡ ±èÀ翵 (Novelist Kim Jae-young)

º¸´Ù ¸¹Àº ¼¼°èÀÇ µ¶ÀÚµéÀÌ Èï¹Ì·Ó°íµµ ¿­Á¤ÀûÀÎ Çѱ¹¼Ò¼³¿¡ Ž´ÐÇÏ´Â °è±â°¡ µÇ±â¸¦ ºñ¼ÕÇÕ´Ï´Ù.
I sincerely pray that this story will provide an opportunity to attract more readers around the world to the fascinating, passionate world of Korean literature.
_´ÜÆí [Àü´çÆ÷¸¦ ã¾Æ¼­]ÀÇ ¼Ò¼³°¡ ±èÁ¾±¤ (Novelist Kim Chong-kwang)

¾î¼´Ù ±æÀ» ÀÒ°Ô µÇ¾ú´Âµ¥, ½Ä»çµ¿ °¡±¸°øÀå ÀÏ´ë¿´½À´Ï´Ù. ÁøÈë±æÀ̾ú°í, ±æ¸¶´Ù ŸÀ̾î ÀÚ±¹ÀÌ ±í°Ô Æоî ÀÖ¾ú½À´Ï´Ù. °øÀ帶´Ù ¹®À» Ȱ¦ ¿­¾î³õ¾Æ¼­ ÀÏÇÏ´Â ¿Ü±¹ÀÎ ³ëµ¿ÀÚµéÀ» º¼ ¼ö ÀÖ¾ú½À´Ï´Ù. °¡²û Á¦ ÂÊÀ» Èê±ê´ò½À´Ï´Ù. ³¸¼± ¿©ÀÚ°¡ À̹æÀÎó·³ º¸¿´°ÚÁö¿ä. [¸ÕÁöº°]ÀÌ ´Ù¸¥ ³ª¶ó ¸»·Î, ´Ù¸¥ ³ª¶óÀÇ µ¶ÀÚ¸¦ ¸¸³­´Ù´Ï ¹«Ã´ ±â»Þ´Ï´Ù. ´Ù½Ã °øÀåÀ» ±â¿ô´ë´Â ³¸¼± ¿©ÀÚ°¡ µÈ ±âºÐÀÔ´Ï´Ù. ºÎµð, ³¸¼± Ç༺¿¡ ¹«»çÈ÷ Âø·úÇϱ⸦ ¹Ù¶ø´Ï´Ù.
Once I got lost and found myself in the furniture complex at Siksadong. The road was muddy and had deep tire tracks everywhere. Because the doors of the furniture factories were all open wide, I could see the foreign workers working inside. They took sideway glances at me from time to time. A foreign woman, I must have looked strange to them. I am very happy to know that ¡°Dust Star¡± brings readers from other countries into another language. I feel as if I've become that strange woman peeping into those factories again. I pray for its safe arrival to a strange new planet.
_´ÜÆí [¸ÕÁöº°]ÀÇ ¼Ò¼³°¡ ÀÌ°æ (Novelist Lee Kyung)

Ç¥Áö¸¦ º¸°í ÀÖÀÚ´Ï ¼¼¿ùÀÇ °áÀÌ »õ»ï ÂôÇÏ°Ô ´À²¸Áý´Ï´Ù. ÀÌ ¼Ò¼³ ¼Ó ¾Æ¹öÁö´Â ¿©·¯ ÇØ Àü ÀÌ¹Ì ¿ì¸® °çÀ» ¶°³µ°í, È­ÀÚÀÎ ¾ÆµéÀÇ ³ªÀÌ°¡ ¾Æ¹öÁö¸¦ µû¶óÀâ¾Ò½À´Ï´Ù. ÀÚÀü¿¡ ¹ÙÅÁÀ» µÐ ¾ê±â¿©¼­Àϱî¿ä. ¼¼¿ùÀÇ ´ÜÃþÀ» ³Ñ¾î ´Ù½Ã ¼Ò¼³À» º¸´Â Áñ°Å¿òÀÌ ±â´ëµË´Ï´Ù.
Looking at the cover of this book, I feel and am moved again by the passing of time. The father who was the model of the father in this story has already left this world, and the age of the son and narrator has caught up with that late father's. Perhaps, because this story is autobiographical, I look forward to reading this story again over the fault lines of time.
_´ÜÆí [¹® ¾Õ¿¡¼­]ÀÇ ¼Ò¼³°¡ À̵¿ÇÏ (Novelist Lee Dong-ha)

¿ì¸®°¡ »ç´Â ÀÌ ¼¼»ó¿£ Å©°í ÀÛÀº Æø·ÂÀÌ ½º¸çµé¾î ÀÖ½À´Ï´Ù. ±× Æø·ÂÀº ÀüÀïó·³ È®¿¬È÷ µå·¯³ª±âµµ ÇÏÁö¸¸, °ü½ÀÀ̳ª ¹®È­¶ó´Â À̸§ ¾Æ·¡ Àº¹ÐÇÏ°Ô ¿õÅ©¸° °Íµµ ¸¹½À´Ï´Ù. Àΰ£ÀÌ ÀÚ±âÀÇ º»¼º´ë·Î »ì¾Æ°¡´Â °ÍÀ» ¹æÇØÇÏ´Â ¾ï¾Ðµé. °Å±â¿¡ Àͼ÷ÇØÁ®¼­ ¾ï¾ÐÀ̶ó´Â °ÍÁ¶Â÷ ±ú´ÝÁö ¸øÇÒ ¶§ ¹®ÇÐÀº ½½¸ç½Ã ±×°É °¡¸®Å°°í ¿ì¸®°¡ °Å±â¿¡¼­ ¹þ¾î³¯ ±æÀº ¾ø´ÂÁö ¹¯½À´Ï´Ù. ¿ì¸®°¡ »ç´Â ¸ð½ÀÀ» µ¹¾Æº¸°Ô ÇÏ°í »ç¶ûÀ¸·Î ³ª¾Æ°¡°Ô ÇÏ´Â À̾߱âÀÇ ÈûÀ» ¹Ï½À´Ï´Ù. ´Ù¸¥ ¹®È­ ¼Ó¿¡ »ì¸ç ´Ù¸¥ ¾ð¾î¸¦ »ç¿ëÇÏ´Â »ç¶÷µé »çÀÌÀÇ °ø°¨°ú À¯´ë, ¾Æ½Ã¾ÆÀÇ ¹ÙÀ̸µ±È ¿¡µð¼Ç ½Ã¸®Áî°¡ ±× °¡±³°¡ µÇ±â¸¦ ¹Ù¶ø´Ï´Ù.
Large and small acts of violence are pervasive throughout our world. These acts of violence include not only such obvious examples as a war, but also many subtle ones that hide beneath the headings of custom or culture. Oppression that prevents us from living according to our nature?oppression that we have grown so accustomed to that we forget that they are, in fact, oppressive?literature guides our attention to this and asks us what would be our way out of it all. I believe in the power of stories that help us reflect on our modes of living and proceed towards love. I trust that Asia¡¯s ¡°Bi-lingual Edition Series¡± will be a bridge among people of different cultures and languages by inspiring sympathy and solidarity between all of us.
_´ÜÆí [±×¸®°í, ÃàÁ¦]ÀÇ ¼Ò¼³°¡ ÀÌÇý°æ (Novelist Lee Hye-kyung)

°ËÁõµÈ °¡Ä¡ÀÇ ÀçÁ¶¸í, ¡®¹ÙÀ̸µ±È ¿¡µð¼Ç Çѱ¹ ´ëÇ¥ ¼Ò¼³¡¯ ½Ã¸®Áî´Â Çѱ¹ ¹®ÇÐÀÇ ¼¼°èÈ­, ±× ½ÇõÀû ¸ð»öÀÇ º»º¸±âÀÌ´Ù. »õ·ÎÀÌ ¼±º¸ÀÌ´Â ¼¼Æ® 4, ±â´ë°¡ ÀÚ¸ø Å©´Ù.
The re-illumination of already proven values, the ¡°Bi-lingual Edition: Modern Korean Literature¡± series provides examples of practical efforts in the globalization of Korean literature. I look forward to its Set 4.
_´ÜÆí [¾Æº£ÀÇ °¡Á·]ÀÇ ¼Ò¼³°¡ Àü»ó±¹ (Novelist Jeon Sang-guk)

±×µ¿¾È ¿µ¾î·Î ¹ø¿ªµÈ Çѱ¹ ¹®ÇÐÀÛÇ°µé °¡¿îµ¥¿¡´Â ¹ø¿ªÅõ¶ó´Â °É ±Ý¹æ ¾Ë¾ÆÂ÷¸± ¼ö ÀÖ´Â °ÍµéÀÌ ¸¹¾Ò´Ù. ±×·¯³ª À̹ø ½Ã¸®ÁîÀÇ ÀÛÇ°µéÀº ³»°¡ ±¸»çÇÏ´Â °Íº¸´Ù ¼öÁØ ³ôÀº ¿µ¾î·Î µÇ¾î ÀÖ¾î ¹ø¿ªÀ̶ó´Â ´À³¦ÀÌ µéÁö ¾Ê¾Ò´Ù.
_ºê·¡µå(ºê·¡µé¸® ·¹ÀÌ ¹«¾î), ¹êµå ¹ö½ºÄ¿¹ö½ºÄ¿ µå·¯¸Ó, »ó¸í´ë ¿µ¾î¿µ¹®ÇкΠ±³¼ö

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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People I Left in Shanghai
Çؼ³ 069
Afterword
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Critical Acclaim
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About the Author

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¡°Àú±â°¡ µ¿¹æ¸íÁÝ´Ï´Ù. ¿µ°¨´Ô Á¹Áö ¸¶½Ã¿À. Á¤½Å ¹Ù¦ Â÷¸®°í Á» º¸¶õ ¸»ÀÓ.¡±µ¿¹æ¸íÁÖ ¾Õ¿¡ ³»·ÈÀ» ¶§ ¿©ÀÚ°¡ ¹®µæ ºñ¸íÀ» Áú·¶´Ù. ¡°¿µ°¨ÀïÀÌ°¡ ¾È ³»·È´Ü ¸»ÀÓ! ³» ¸» ¾È µè°í Ʋ¸²¾øÀÌ Á¹¾ÒÀ» Å×´Ù!¡± ³ëÀÎÀÌ ³»¸®Áö ¾Ê¾Ò´Ù´Â °ÍÀ» ³»°¡ ¹Ìó ±ú´Ý±âµµ Àü¿¡ ¿©ÀÚ°¡ Åýø¦ Àâ¾ÆŸ°í ÀÖ¾ú´Ù. ¡°¾È¾¾ ¾Æ°¡¾¾, ¿©±â ²Ä¦ ¸»°í ÀÖÀ¸¶ó¿ä.¡±ÇØ´Â ±¸¸§ ¼Ó¿¡¼­ ÈÄ´þÁö±ÙÇÑ ¿­±â¸¦ ³»»Õ°í ÀÖ¾ú´Ù. ¿©ÀÚ´Â ³ëÀÎÀÌ Åº ¹ö½º¸¦ µû¶óÀâÀ» ¼ö ÀÖÀ»±î. ±×·±µ¥ ¿Ö ¿©ÀÚ´Â ±»ÀÌ ³ëÀÎÀ» ã¾Æ¿À·Á°í ÇÏ´Â °ÍÀϱî. ºñ·Ï ¼÷¹Úºñ¸¦ ¶¼¾î¸Ô±â´Â Ç߾ ¸çÄ¥ »õ¿¡ Á¤ÀÌ µç °ÍÀϱî. ¾Æ¹«¸® ±×·¸´Ù ÇÏ´õ¶óµµ ³ª´Â ¿©ÀÚ°¡ ³ëÀÎÀ» ´ëÇÏ´ø ¸ÅÁ¤ÇÑ Åµµ¸¦ »ý°¢ÇÏ¸é ¿©ÀÚÀÇ ÇൿÀ» ÀÌÇØÇÒ ¼ö°¡ ¾ø¾ú´Ù.

¡°This is Dongfangmingzhu! Don¡¯t fall asleep, sir! Wake up and look!¡± she said. We got off the bus in front of Dongfangmingzhu and she suddenly screamed, ¡°The old man is still on the bus! He didn¡¯t listen to me. He must have dozed off!¡± Before I realized the old man wasn¡¯t with us, the woman had already hailed a taxi and was getting in. ¡°Miss Ahn, don¡¯t move. Just wait here,¡± the woman said, and raced after the bus.It was muggy. The sun poured out heat. Could she catch up with the bus? And why? Why would she want to find him? Had she become attached to him in just a few days? Even though he infuriated her? I couldn¡¯t understand her.

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