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The Party Was Over

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2013³â 9¿ù 9ÀÏ ÀÌÈÄ ´©Àû¼öÄ¡ÀÔ´Ï´Ù.

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¡° For those
who have never been young,
hence never can age
(ÀþÀº ÀûÀÌ ¾ø±â¿¡ ´ÄÀ» ¼öµµ ¾ø´Â À̵鿡°Ô) ¡±

½ÃÀÎ ÃÖ¿µ¹Ì°¡ ù ¿µ¹® ½Ã¼±Áý ¡ºThe Party Was Over¡»À» Ãâ°£Çß´Ù. 25³â ³Ñ°Ô ½Ã¸¦ ¾²¸ç 6±ÇÀÇ ½ÃÁýÀ» ¹ß°£ÇÏ°í, ½ÃÁýÀ» Æì³¾ ¶§¸¶´Ù »õ·Î¿î ¼¼°è¸¦ º¸¿©ÁÖ¾ú´ø ½ÃÀÎÀÇ Á» µÚ´ÊÀº ¿µ¹® ½ÃÁýÀÌ´Ù. ¡ºThe Party Was Over¡»¿¡´Â ù ½ÃÁý ¡º¼­¸¥, ÀÜÄ¡´Â ³¡³µ´Ù¡»¿¡¼­¡º´Ù½Ã ¿ÀÁö ¾Ê´Â °Íµé¡» ±îÁö 6±ÇÀÇ ½ÃÁý¿¡¼­ ¼±Á¤ÇÑ 25ÆíÀÇ ½Ã°¡ ½Ç·È´Ù. Àü½ÂÈñ¿Í Alice Kim ÀÇ Á¤È®ÇÏ¸ç »ýµ¿°¨ ÀÖ´Â ¹ø¿ªÀº ¾ð¾îÀÇ º®À» ³Ñ¾î ÇØ¿ÜÀÇ µ¶Àڵ鿡°Ôµµ ÃÖ¿µ¹Ì ½ÃÀÇ ¸À°ú °áÀ» °¨»óÇÒ ±âȸ¸¦ ÁÙ °ÍÀÌ´Ù.

ÃâÆÇ»ç ¼­Æò

¿µ¾î·Î ¹ø¿ªµÈ ÃÖ¿µ¹Ì ½ÃÀÎÀÇ Ã¹¹ø° ½ÃÁý ¡ºThe Party Was Over¡»°¡ Çѱ¹¿¡¼­ Ãâ°£µÇ¾ú´Ù. ¼­Á¤½Ã¿¡¼­ dzÀÚ±îÁö ´Ù¾çÇÑ ½ºÅ¸ÀÏÀ» ³Ñ³ªµå´Â ¾ð¾îÀÇ °î¿¹»ç, Åå ½î´Â µí °­·ÄÇϸ鼭µµ ±íÀº ¿©¿îÀ» ³²±â´Â ¼­Á¤, ÁöÇÏö ½Ã¸®Áî¿Í "µÅÁöµé¿¡°Ô"¿¡¼­ º¸¿©ÁØ ³î¶ó¿î ¹ß»ó, °¡½¿À» Èĺ­ Æĸ鼭µµ ¹«¸­À» Ź Ä¡°Ô ¸¸µå´Â ÀçÄ¡ ³ÑÄ¡´Â Ç¥ÇöµéÀº ¿µ¾î·Î ¿Å°Üµµ »ì¾ÆÀÖ´Ù.

Reviews

¡°A clear language full of polysemy (´ÙÀǼºÀÌ Ç³ºÎÇÑ ¸í¼®ÇÑ ¾ð¾î)¡±
_ The Asahi Shimbun (¾Æ»çÈ÷ ½Å¹®)


¡°Choi Young-mi wrote the poem in Korean, her native tongue. It is a language that tends first to cool its emotions, then to assimilate them; unruly drama and dialogue, in their retelling, take on the muted affect of melancholy.¡±
_ Bo Seo, the Paris Review


¡°Choi¡¯s poetry sharply stabs the Korean society¡¯s hypocrisy, fallacy and complacency and once again as the conscience of the generation she provides the raison d'?tre for poets.
ÃÖ¿µ¹Ì ½ÃÁýÀº Çѱ¹»çȸÀÇ À§¼±°ú ÇãÀ§, ¾ÈÀÏÀÇ ±Þ¼Ò¸¦ ¿¹¸®ÇÏ°Ô Â¸ç ´Ù½Ã Çѹø ½Ã´ëÀÇ ¾ç½ÉÀ¸·Î¼­ ½ÃÀÎÀÇ Á¸ÀçÀÌÀ¯¸¦ ±¸ÇöÇÑ´Ù.
_ Jongho Yu, THE ISU LITERARY AWARD, Judge's Citation
(À¯Á¾È£ ±³¼ö, À̼ö¹®Çлó ½É»çÆò¿¡¼­)

¡°Her sincerity in writing poems and elaborative language stand out.¡±
_ Kyungrim Shin, Poet

̵̧ȍ

James Kimbrell
"Choi Young-Mi's poems are un-compromising and threatening to conventional values of Korean society. Her style is her independence. Her poetry is very much a lived poetry.

Chase Twichell
¡°Choi Young-Mi's steely, restless, passionate investigation of love and politics bursts from the page with a wonderful fresh recklessness.¡±

¸ñÂ÷

¥°
Already
At Thirty, The Party Was Over
Monster
At the Fruit Stand
Song of March
Old
The Aftertaste is not bitter
My 50s
Novel, Postscript

¥±

To the Pigs
In Sun-woon Temple
11 o¡¯clock Sunday Morning
In the Subway 4
In the Subway 5
In the Subway: Yellow October
Seoul, June 2008

¥²

Weather Forecasts
On My Way to the Department Store
Dreams of Four Seasons
At Home All Day
The Easiest Path
Under the Name of Woman
Irony
Folding Towels
About Myself

Acknowledgments
Notes
The Author
The Translators

º»¹®Áß¿¡¼­

"I¡¯m now old and sick.
I don¡¯t even have the strength to get up, but
They ask me for a pearl,
A pearl just one last time¡¦"
- from "To The Pigs"


At Thirty, The Party Was Over


Of course I know, that I liked
the revolutionist rather than the revolution,
the bar rather than the drinks.
And when I was lonely,
I've enjoyed the sweet hum of a love song
rather than an "O Comrades!" anthems.
But does it matter now?

The party is over.
The liquor's gone,
and though people left one by one,
finally even he;
after paying their dues,
and finding their shoes.

I know, in the back of my mind
that
there will be somebody here, alone,
cleaning up the table,
remembering everything with her bitter tears,
that
she will finish the unfinished song that he had started.

Yes, maybe, I know
that
she will set up the table and call them
back
before the sunrise.
She will light the stage once more
with all preparations done.

But does it matter now?

ÀúÀÚ¼Ò°³

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