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_´ÜÆí ?»ç¶ûÇ϶ó, Èñ¸Á ¾øÀÌ?ÀÇ ¼Ò¼³°¡ À±¿µ¼ö (Novelist Yun Young-su)
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_´ÜÆí ?¾Æ¹«µµ µ¹¾Æ¿ÀÁö ¾Ê´Â ¹ã?ÀÇ ¼Ò¼³°¡ ±è¼û (Novelist Kim Soom)
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_´ÜÆí ?¹ßÄÀÇ Àå¹Ì¸¦ ³»°Ô ÁÖ¾ú³×?ÀÇ ¼Ò¼³°¡ Á¤¹Ì°æ (Novelist Jung Mi-kyung)
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_´ÜÆí ?ºÏ¼Ò¸®?ÀÇ ¼Ò¼³°¡ ¼Û¿µ (Novelist Song Yong)
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_´ÜÆí ?³ª´Â À½½ÄÀÌ´Ù?ÀÇ ¼Ò¼³°¡ ¿À¼ö¿¬ (Novelist Oh Soo-yeon)
ÀÌ°ÍÀº ¾î¼¸é ³» À̾߱â´Ù. µÎ ¿©ÀÚ ¸ðµÎ ³ª·ÎºÎÅÍ ³ª¿Ô´Ù. µÎ ¿©ÀÚ. ÇÑ ¹úÀÇ Á£°¡¶ô. °ø°Ý°ú ¹æ¾î¸¦ ÁÖ°í¹Þ´Â, ÀǽÄÀÇ ÀÌÆí°ú ÀúÆíÀ» ¿À°í°¡´Â. À§ÅÂÇÑ Á£°¡¶ôÁú.
_´ÜÆí ?Á£°¡¶ô¿©ÀÚ?ÀÇ ¼Ò¼³°¡ õ¿î¿µ (Novelist Cheon Un-yeong)
Á¦ ¼Ò¼³ÀÌ Å¸±¹ÀÇ ¾ð¾î·Î ¿Å°ÜÁ®¼ ±×°÷ µ¶Àڵ鿡°Ô ÀÐÈù´Ù´Â »ó»óÀ» ÇÏ¸é ¾î¾Áö ±× ³ª¶ó·ÎºÎÅÍ ¾ÆÁÖ Æ¯º°ÇÑ Ãʴ븦 ¹Þ¾Ò´Ù´Â »ý°¢ÀÌ µì´Ï´Ù. ¶æ ±íÀº ÃÊ´ëÀåÀ» ¸¸µé¾îÁֽŠ¹ÙÀ̸µ±È ¿¡µð¼Ç Çѱ¹ ´ëÇ¥ ¼Ò¼³ ½Ã¸®Áî¿¡ °¨»çµå¸³´Ï´Ù.
_´ÜÆí ?¾ÆÁ÷ ÀϾÁö ¾ÊÀº ÀÏ?ÀÇ ¼Ò¼³°¡ ±è¹Ì¿ù (Novelist Kim Mi-wol)
ÀÌ ÀÛÇ°µé·Î ÀÎÇØ ³ªÀÇ Çѱ¹¹®È¿¡ ´ëÇÑ È£±â½ÉÀº Å« ÀÚ±ØÀ» ¹Þ¾Ò´Ù. Á¤¼ºÀ» ´ÙÇÑ ¹ø¿ªÀº ÀÛ°¡ °³°³ÀÎÀÇ ¹®Ã¼¸¦ ¹Ý¿µÇÏ°í ÀÖÀ¸¸ç ³»°Ô ¾ð¾îÀÇ ¸¶·ÂÀ» »ó±â½ÃÄÑ ÁÖ¾ú´Ù. Çѱ¹Àº dzºÎÇÑ ¹®ÇÐÀÇ ¿ª»ç¸¦ °¡Áö°í ÀÖÀ¸¸ç ±×°ÍÀº ÀÌ ÀÛÇ°µé ¼Ó¿¡ Àß ¹Ý¿µµÇ¾î ÀÖ´Ù. ¿µ¹® âÀÛ°ú ¹®Çа³·Ð ±³À°Àڷμ ³ª´Â º¸Åë, ÀþÀº ¼¼´ë´Â ¹Ì±¹¹®È¸¦ Æ÷¿ëÇÏ¸ç ºÎ¸ðµéÀº ÀڽŵéÀÇ ÀüÅëÀÇ »ó½ÇÀ» ½½ÆÛÇÏ´Â ±¸µµÀÇ Çѱ¹°è ¹Ì±¹¼Ò¼³¿¡ ´õ Ä£¼÷ÇÏ´Ù. ÀÌ ÀÛÇ°µéÀº ³» °ÀÇ¿¡ Å« µµ¿òÀÌ µÉ °ÍÀÌ´Ù. ¹®ÇÐÀº ´Ù¸¥ ¼¼°è¸¦ µé¿©´Ùº¸¶ó´Â ÃÊ´ëÀÌ´Ù. ÀÌ ÀÛÇ°µéÀº Çѱ¹¹®È¿¡ ´ëÇÑ ³Ð°í ¸¼Àº âÀÌ´Ù.
My curiosity about Korean culture has been piqued by the stories. The careful translations echo the individual author¡¯s style and remind me of the magic of language. Korea has a rich literary history that is surely reflected in the stories. As an English composition and literature survey instructor, I am more familiar with Korean American stories that generally reflect youth embracing American culture and parents ruing the loss of their traditions. Reading these stories will inform my teaching. Literature is an invitation to see into another world. These stories are a vast clear window into Korean culture.
_Ä¿»÷µå¶ó S. °ñµå¿öÅÍ, ·¹Áñ¸®´ëÇÐ ¹®Çа³·Ð°ú ¹®¿¹Ã¢ÀÛ °»ç
¾Æ¹«µµ µ¹¾Æ¿ÀÁö ¾Ê´Â ¹ã 007
The Night Nobody Returns Home
Çؼ³ 105
Afterword
ºñÆòÀÇ ¸ñ¼Ò¸® 119
Critical Acclaim
ÀÛ°¡ ¼Ò°³ 130
About the Author
¿Ê°ÉÀÌ¿¡ ²ç¾î º®¿¡ °É¾î³õÀº Áã»ö Àá¹Ù¿¡ ±×³àÀÇ ½Ã¼±ÀÌ ÀúÀý·Î °¬´Ù. ¸¶Ä¡ ³ëÀÎÀÇ È¥ÀÌ ½ï ºüÁ®³ª°¡¹ö¸®°í, ±×·²½ÎÇÑ Çã¿ï¸¸ ³²¾Æ º®¿¡ ¸Å´Þ·Á ÀÖ´Â °Í¸¸ °°¾Ò´Ù. ±×µµ ±×·² °ÍÀÌ ³ëÀÎÀº ÄÚµð³×ÀÌ¼Ç Çϵí, Àá¹Ù ¹Ø¿¡ °ËÀº ±âÁö¹ÙÁö¸¦ ¹ÞÃÄ °É¾î³õÀº °ÍÀ̾ú´Ù. Àá¹Ù À§¿¡ º£·¹¸ð±îÁö ½½Â½ °ÉÃÄ ³õ¾Æ¼Àϱî? ±×³à´Â º£·¹¸ð¸¦ µéÃß¸é ³ëÀÎÀÇ ¹¶±×·¯Áø »¡·§ºñ´© °°Àº ¾ó±¼ÀÌ ºÒ¾¦ Æ¢¾î³ª¿Ã °Í¸¸ °°¾Ò´Ù. ±×³à´Â º£·¹¸ð¸¦ µéÃß°í ½ÍÀº Ã浿À» ¾ï´©¸£°í Ã¥»ó ÂÊÀ¸·Î ¿òÁ÷¿© °¬´Ù. Ã¥»ó À§¿¡´Â ³ëÀÎÀÌ ÇÊ»ç ÁßÀÎ ¼º°æÃ¥°ú ÃʵîÇлý¿ëÀÇ ÄÄÀÌ ³ÎÂïÇÑ °øÃ¥ÀÌ ÆîÃÄÁ® ÀÖ¾ú´Ù. ±×»õ ½º¹« ±Çµµ ³Ñ´Â Àü±â¹®À» ´Ù ÇÊ»çÇÑ °É±î. ³ëÀÎÀÌ ¼º°æÀ» ÇÊ»çÇÏ´Â °ÍÀº Á¾±³½É ¶§¹®ÀÌ ¾Æ´Ï¸®¶ó. ³ëÀÎÀº ½ÅÀÚ°¡ ¾Æ´Ï¾ú´Ù. ½ÅÀÚ°¡ ¾Æ´Ò »Ó ¾Æ´Ï¶ó ³ëÀο¡°Ô´Â ÀÌ·¸´Ù ÇÒ Á¾±³°¡ ¾ø¾ú´Ù. ½ÅÀÚ°¡ ¾Æ´Ï¸é¼ ¼º°æÀ» ÇÊ»çÇÑ´Ù´Â »ç½ÇÀÌ ±×³à´Â ¾î¾Áö ¿ì½À°í ±¦ÇÑ ¼ö°í¸¸ °°¾Ò´Ù. ´õ±¸³ª ¿À¸® »À °ï ±¹¹°À» ¶°¸ÔÀ» ¶§Á¶Â÷ ´ú´ú ¶³¸®´Â ±× ¼ÕÀ¸·Î ÇÊ»ç´Â ¹«½¼¡¦¡¦
Her eyes drew to the dark gray jacket hung on the wall. The draped jacket made her imagine that only the old man¡¯s exterior self had been left there, decent-enough on the surface, yet deprived of its soul. The effect seemed to be doubled by the black trousers hanging from under the jacket, as if the old man had put them together as a coordinate. He had even casually placed a beret over the collar of the jacket. She felt that if she lifted the beret, the old man¡¯s face would pop out¡ªthe face that looked like a crumbling bar of washing soap. Resisting
the temptation to lift the beret, she moved on toward the desk.On the table was a copy of the Bible that the old man was transcribing and an open, widely ruled notebook one would expect to see grade schoolers using. Had he finished copying all of the biographies, all of the twenty-odd volumes? Probably, he was not transcribing the Bible out of any sort of religious faith. He was not Christian, nor did he have any other religion. She found it rather ridiculous and useless for a non-Christian to transcribe the Bible. Especially for a person with a hand that trembled terribly, a hand he couldn¡¯t even use to spoon his duck-bone broth properly.
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1974³â ¿ï»ê¿¡¼ ž´Ù. 1997³â ´ëÀüÀϺ¸ ½ÅÃá¹®¿¹¿¡ ¡¸´À¸²¿¡ ´ëÇÏ¿©¡¹°¡, 1998³â ¹®Çе¿³×½ÅÀÎ»ó¿¡ ¡¸Áß¼¼ÀÇ ½Ã°£¡¹ÀÌ °¢°¢ ´ç¼±µÇ¾î µî´ÜÇß´Ù. ÀåÆí¼Ò¼³ ¡ºÃ¶¡» ¡º³ë¶õ °³¸¦ ¹ö¸®·¯¡» ¡º¿©Àεé°ú ÁøÈÇÏ´Â Àûµé¡» ¡º¹Ù´ÀÁúÇÏ´Â ¿©ÀÚ¡» ¡ºLÀÇ ¿îµ¿È¡» ¡ºÇÑ ¸í¡» ¡ºÈ帣´Â ÆíÁö¡» ¡º±ºÀÎÀÌ Ãµ»ç°¡ µÇ±â¸¦ ¹Ù¶õ Àû Àִ°¡¡» ¡º¼þ°íÇÔÀº ³ª¸¦ µé¿©´Ùº¸´Â °Å¾ß¡» ¡º³Ê´Â ³Ê·Î »ì°í ÀÖ´Ï¡», ¼Ò¼³Áý ¡ºÄ§´ë¡» ¡º°£°ú ¾µ°³¡» ¡º±¹¼ö¡» ¡º´ç½ÅÀÇ ½Å¡» ¡º³ª´Â ¿°¼Ò°¡ óÀ½À̾ߡ» µîÀÌ ÀÖ´Ù. µ¿¸®¹®Çлó, ÀÌ»ó¹®Çлó, Çö´ë¹®Çлó, ´ë»ê¹®Çлó, Çã±Õ¹®ÇÐÀÛ°¡»ó µîÀ» ¼ö»óÇß´Ù.
Àü¹Ì¼¼¸® [Àú]
Çѱ¹¿Ü±¹¾î´ëÇб³ µ¿½ÃÅ뿪´ëÇпøÀ» Á¹¾÷ÇÑ ÈÄ, ij³ª´Ù ºê¸®Æ¼½Ã Ä÷³ºñ¾Æ ´ëÇб³ µµ¼°üÇÐ, ¾Æ½Ã¾ÆÇаú ¹®ÇÐ ¼®»ç, µ¿ ´ëÇÐ ºñ±³¹®Çаú ¹Ú»ç ÇÐÀ§¸¦ ÃëµæÇß´Ù. 2000³â Çѱ¹±¹Á¦±³·ùÀç´ÜÀÇ ´ëÇпø»ý ÀåÇбÝÀ», ¹Ú»ç°úÁ¤ ¿Ï·á ÈÄ Ä³³ª´Ù ¿¬¹æÁ¤ºÎÀÇ SSHRC ¿¬±¸ºñ¸¦ ¹Þ¾Ò´Ù. ij³ª´Ù ºê¸®Æ¼½Ã Ä÷³ºñ¾Æ ´ëÇб³ ¾Æ½Ã¾ÆÇкο¡¼ °»ç·Î ÀÏÇß°í, UBC ¾Æ½Ã¾Æ µµ¼°ü¿¡¼ Âü°í »ç¼·Î ÀÏÇß´Ù. ¿ÀÁ¤ÈñÀÇ ´ÜÆí ¡¸Á÷³à¡¹ µîÀ» ¹ø¿ªÇß´Ù. Jeon graduated from the Graduate School of Simultaneous Interpretation, Hankuk University of Foreign Studies and received her M.L.S. (School of Library and Archival Science), M.A. (Dept. of Asian Studies) and Ph.D. (Program of Comparative Literature) from the University of British Columbia, Canada. She has taught as an instructor in the Dept. of Asian Studies and worked as a reference librarian at the Asian Library, at UBC. She was awarded the Korea Foundation Scholarship for Graduate Students in 2000 and Canada SSHRC Grant after her Ph.D. program. Her publications include the translation Weaver Woman(Acta Koreana, Vol. 6, No. 2, July 2003) from the original short story Chingnyeo (1970) by Oh Jung-hee.
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