Poems of 3 Modern Korean Poets-Chang Soo Ko, Woo Sik Kang, Je Chun Park, 고창수, 강우식, 박제천 영시집(Literature Academy.7)

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Poems of 3 Modern Korean Poets-Chang Soo Ko, Woo Sik Kang, Je Chun Park, 고창수, 강우식, 박제천 영시집(Literature Academy.7)

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Poems of 3 Modern Korean Poets
 
 
 
Chang Soo Ko
 
Woo Sik Kang 
 
Je Chun Park 
 
고창수, 강우식, 박제천 영시집 Literature Academy 7
 
 

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Poems of 3 modern korean poets
 



On the important occasion of the 78th International PEN Congress, it’s a great pleasure for us to present a collection of poems by three contemporary Korean poets in dual Korean-English text. In the past years a number of contemporary Korean poets have been introduced in different languages; yet I wonder whether a fair cross-section of Korean poetry at large has been presented to world readers. Chang Soo Ko, Je Chun Park and Woo Sick Kang have agreed to publish an anthology of their poems with a view to offering some other aspects of Korean poetry during this significant event which is a gathering of world poets and writers.
 

Chang Soo Ko, Je Chun Park and Woo Sik Kang, who became poets in the 1960s, have built a unique poetic world of their own in the course of their long career and still work as actively as any young-generation poets, pursuing their own ways free from fashion or faction. In this regard, I believe the readers of this collection may gain glimpses into the diverse literary endeavors and achievements on the part of Korean poets of the times.
 
In the process of publishing this anthology, it has dawned on me that, while these three poets have each created their own poetic world, at the same time they suggest a common direction they have taken in some parts of their work. This fact is a source of gratification as well as a revelation for me in writing this brief introduction.
 


Je Chun Park made his debut as a poet through the Modern Literature, a major literary publication in Korea. He’s among poets who have published their poems translated into several languages. In 1984, he brought out The Mind and Other Poems, a collection of his poems in English, French, Spanish, Chinese and Japanese translation. In 1977 he published Sending the Ship out to the Stars, as part of the Cornell East Asia Series published by Cornell University Press. In 2007 appeared La Cansion del Dragon y otros poemas, in Spanish. 2009 saw the Chuangtze poems, in Japanese translation. 2010 saw the publication of Dharma Poemes, in French translation. This fact alone demonstrates that he is a global poet working beyond the frontiers of the Korean poetic scene. 
The same may be said about his poetic world; his early poetry, represented by the Chuangtze poems, shows a strong Confucian coloring. In my opinion, Park’s Confucian leanings tended toward Chuangtze and not the mainstream Confucians centering round Confucius. And his poetic imagination showed itself to be free and untrammeled. In his poem “Twelve Hells in the Blue Star,” ‘He builds a house in the stone; he then builds a house in the water. He goes on to build houses in the wind, in the rain, in the smoke, and in the calendar marking August 1990.’ Passages like this hint at the extraordinary scope and scale of his imaginative powers. His poetic range, which transcends the confines of reality, bespeaks an Oriental Surrealism.
 
When these poems first appeared in Korea in the 1960s, they impacted the Korean poetry circles in a most refreshing manner. Park’s imagination faced no limitations; his poetic sphere went further beyond the Chuangtze poems and expanded toward a cosmic horizon, as shown in the SF-UFO poems. The SF-UFO world may refer to a reality of the future and a world of the possible which one could meet in poetry. His imagination, which ranges freely in and out of time-space, is woven elaborately and tightly. Occasionally one has the impression that he attempts to find a point of convergence and empathy with things, nature and the universe through ceaseless communication.
 
Communication, as he envisions it, forms part of the poetic theory that he embodies through versification. The nature of his poetic cogitation, which seems to transcend reality, yet at the same time closely encounters reality, is shown graphically in poems such as “Rain’s House,” “Water’s House,” “Ring’s House,” “The Spruce’s House,” which are addressed to his deceased wife. Anyone will readily discern how deeply Park remembers and loves his wife who has gone to the other world, constructing so many ‘houses’ for her as in a huge construction project. In my humble view, his poetic ideas and sentiments derive largely from his Oriental way of thinking and feeling. They must also be an outcrop of a confluence between Confucian and Buddhist worldviews which have influenced him since his youth. Those who have read especially his recent collection Dharma Trees with its Buddhist outlook including the notions of cause-and-conditions and his recent cycle of poems contained in Joju Poems will share my view about Park’s poetry.
 


Chang Soo Ko became a poet in 1965 through the poetry magazine the Monthly Poetry. As a diplomat, he served his country as consul general in Seattle, and ambassador in Ethiopia and Pakistan. With scholarly knowledge and insight about English literature, he is considered as one of the best translators of Korean poetry into English. He has made a significant contribution to introducing Korean poetry to the world readers by publishing several volumes of Korean poetry in English translation, including, among others, Best Loved Poems of Korea (1984), Anthology of Contemporary Korean Poetry (1987). He has contributed his own poems in English and in English translation as well as his translations of Korean poems to Korean and American literary journals. He has published translations of his poems including Koh Chang-soo Poems (1980), Landscapes (1972), Seattle Poems (1993), Moenjodaro (1996). He won Modern Korean Literature Translation Award from the Korea Times, a literary translation prize from the International PEN Korea Centre and the grand prize at the Lucian Blaga World Poetry Festival in Romania. His long poem “Moenjodaro” won him the Bolan International Merit Award (in poetry) from Pakistan Cultural Society in 1996. His poem “In a Remote Korean Village” was printed in Viewpoints 11, a Prentice Hall Senior English anthology in Canada. 
 
While maintaining his keen interest in creating vibrant imagery as an intellectual-emotional compound, he has explored interactions between poetry and other forms of art. He has made several ‘cine-poems’ in film; he has also created experimental works of photography. I presume all this represents part of his endeavor to write better poems. As a Modernist poet, Ko does not insist on ‘dry’ intellectual poetry. While pursuing lively imagery, he remains sensitive to subtle shifts of emotion and the depths of human consciousness. 
 
One can easily see that his poetic exploration is not confined to the form and surface of things. This can be visualized in his poem “Darkness,” where he says: “While we breathe in the darkness/ Some things open their narrow eyes/ Some things open their narrow eyes/ In places like our livers, hearts, brains/ As some things open their eyes to bright light/ Some things open their eyes quietly, cautiously/ When the darkness enters.” The poet precisely and sensitively discerns and describes the subtle stirrings of change and flux in the inner spaces of things through flickering rhythms of light and shadow. This can be well illustrated by the decisive moment when the photographer with his camera becomes one with his object through the camera lens. “Silence” is another work that lies in the vein of “Darkness.” The second part of the poem begins: “Silence often shows its essence in rhythms pulsating/ With voiceless brilliance.” 
 
As it seems to me, this ‘silence’ differs from “Oriental” silence in nature; it’s a silence animated by light, a “Modernist” silence. His unique Modernist approach is characterized by his deconstruction of flickering shadows through shades of light. His Modernist coloring can be glimpsed in “In a Remote Korean Village” with the striking images like the leaves looking like war-burnt pieces of tin and the Gingko tree which does not die but eventually reconciles life and death. As in the case of T S. Eliot, Ko’s Modernist poetry reveals Buddhist overtones. “What Buddhist Priest Wonhyo Said to a Poet,” says in part, “My poems indeed were written/ On the shifting winds of samsara/ The stream water was a vital source/ Of my visions and inspirations.” In this manner Ko carries on his deconstructive work.
 


Woo Sik Kang made his debut in 1966 through the Modern Literature. He is a lyric poet with a strong local color and personality in contrast with Park’s Oriental Surrealism or Ko’s Modernism. He made his advent with the ‘quatrains,’ which constitute a main tradition of Korean poetry, and has persistently pursued this format from the very beginning. He is credited with having contributed importantly to restoring the Korean quatrain tradition which was interrupted at one period or another in Korean literary history. He won critical acclaim when he first introduced eroticism in poetry, which had long been anathema in modern Korean literature. 
He has written volumes of poetic theory such as Theory of Quatrains, Poetry Is Sex, Poetry is Orgasm, etc. He has taught poetic theory in universities as a professor of poetic theory. He has also published collections of quatrains including Quatrains, Beginning to Pick Flowers, Water’s Soul, and Love in Snow, among others. Critics have observed that his quatrains do not merely follow in the footsteps of the traditional model; with his ‘semi-regular’ verse and his unique esthetics of joy and sorrow, he vividly describes the sensual pleasures and sorrows and the conditions of poverty among common people. 
 
Kang’s early quatrains very aptly portray love between man and woman. Quatrain 3 states: “The twilight could engulf in flames/ The whole village with a glorious feast/ When the twilight glows/ Bitter tears gather once again/ On my bosom where Suni used to press/ Her face in the old, old days.” Subsequently his poems embraced ever-increasing eroticism. This is well indicated by Quatrains 12, which says, in part: “When wind blows on every twig of the flower tree/ Which shakes like the hips of crazy girls/ Flowers bloom as girls in their sweet little sixteen open up their inner skirts.” As time went on, however, his impassioned songs like his quatrains underwent gradual changes. These days he writes poems such as “Paper Crane” and “Unju temple,” which are reminiscent of Buddhist outlook on life.
 

Poets, perhaps more than any others, love their motherland’s soil and nature. In a sense, they can’t write good poetry without this love and passion for motherland. In the love for motherland, which carries a religious ardor, poetry assumes religious qualities; local religious faith like Shamanism seeps into poetry at times. I think religious faith expressed in poetry may not be pure religious faith as such. 
 
Nevertheless, faith in poetry calls for religious ardor. In this connection, it’ll be a delight to find a common element of the Buddhist word-view in reading the poems of Chang Soo Ko, Je Chun Park and Woo Sik Kang in this anthology. (writer by Woo Sik Kang)
 
English Poetry Series
Poems of 3 modern korean poets
 
고창수·강우식·박제천 3인 영역시집
 

고창수·강우식·박제천 3인 영역시집 『Poems of 3 Modern Korean Poets』가 고창수 시인 번역으로 문학아카데미에서 출간되었다. 이 시집은 <INTRODUCTION 강우식 해설>, 제1부 <CHANG Soo Ko>제2부 <WOO Sik Kang>제3부 <JE Chun Park>로 갈래졌다. 강우식(시인, 전 성균관대 교수) 씨는 박제천 시인의 시세계에 대하여 “현실을 초월하면서도 현실과 연관성이 깊은 그의 시적 사유 면모”를 통해 “유교적인 색채를 뛰어넘어 유교, 불교와의 통합 정신의 결과”를 볼 수 있으며, 고창수 시인의 시세계에 대하여 “불교적인 경향을 띠며, 고창수식 해체적 모더니즘의 길”을 보여주고 있다고 평했다. 강우식 시인의 등단작인 사행시의 시세계에 대해서는 “전통적 전형을 그대로 답습한 것이 아니라 반정형(半定型)을 띠며, 불교적인 색채가 우러나는 시를 보여주고 있다”고 평하며, “고창수, 박제천, 강우식의 시에서 불교라는 공통분모를 찾아 시를 읽는 맛도 이 시집을 보는 재미이리라.”라고 평했다.
 

제78차 국제 PEN 대회를 맞이하여 여기 그 기념으로 3인 영시선 국영문 대역판을 선보인다. 이 시집을 내게 된 동기는 현존 한국에서 활동하고 있는 몇몇 시인들의 시집이 외국어로 번역되기는 하였으나 만족할 만한 수준이 아니라는 것이요 또 기존에 출간된 그 시집들이 대개는 진정한 의미에서 한국시를 대표할 만한 수준의 작품이라는 데 선듯 동의할 수 없을뿐더러 특히 모처럼 찾아온 세계유명문인들이 한자리에 모이는 이 귀중한 대회가 그냥 일회성 행사로 끝나는 자리가 아니라 바로 한국시의 수준 및 특색 있는 한 부분을 소개할 소중한 기회이기 때문이다. 이 소중한 자리를 놓치지 않기 위해 고창수, 박제천, 강우식 시인은 한마음으로 3인합동시집을 내는 데 동의하였다.
 
고창수, 박제천, 강우식은 1960년대를 기점으로 하여 등단한 한국을 대표하는 시인으로 손꼽을 수 있다. 이 3명의 시인들은 일생 나름대로 각자 독특한 시세계를 구축하며 지금도 젊은 시인들 못지않게 작품활동을 하며 어떤 유행이나 편파적인 파벌에 연연하지 않고 독자적인 길을 걸어오는 시인이라 하겠다. 그런 면에서 진정한 한국시의 한 일면과 수준을 편견 없이 이 시집을 읽는 시인들은 충분히 느낄 수 있으리라 확신한다.
 
특히 이번 시집을 내면서 깨달은 것은 이들 3명의 시인들이 1960년대 초기부터 서로가 다른 시세계를 걸어가고 있는 개성 있는 시인들로 알았는데 궁극적으로는 같은 방향의 길을 가고 있다는 사실이다. 이 점은 짧은 소개 글을 쓰는 나로서는 매우 놀랍고 한편으로는 시의 길에서 서로가 융합하여 흐르고 있다는 사실이 엄연한 현실로서 다가와 매우 기분 좋기도 하다. ―강우식(시인, 전성균관대 교수)
 

▶고창수 시인 약력: 함남 흥남 출생. 성균관대 영문과. 동 대학원. 문학박사. 1965년『시문학』으로 등단. 영어시로 미국문예지 작품 발표. 시집 『파편 줍는 노래』 『산보로』 『몇 가지 풍경』 『원효를 찾아』 『씨네 포엠』 등. 한국번역문학상, 시인들이 뽑는 시인상, 루마니아 국제 시축제 대상, 국제펜한국본부 번역문학상 등 수상. 외무부 국제문화협력대사, 파키스탄 대사 역임. 
▶고창수 시인 연락처: 서울시 용산구 동부이촌동 전보아파트 805호 
휴대폰번호 : 010-7939-0246 이메일: <A href="mailto:kochangsoo@hanmail.net">kochangsoo@hanmail.net</A>
 

▶강우식 시인 약력; 주문진 출생. 1966년 『현대문학』 등단. 성균관대 국문과 졸업. 문학박사. 시집: 『사행시초』 『고려의 눈보라』 『어머니의 물감상자』 『별』 『종이학』 등. 『강우식 시전집(전2권)』과 저서로는 『시를 어떻게 쓸 것인가』(공저) 『세계의 명시를 찾아서』 등이 있으며 현대문학상, 한국시협상, 펜문학상 등을 수상했고 성균관대 시학교수를 역임했다.
▶강우식 시인 연락처: 안양시 동안구 갈산동 한양샘마을아파트 113동 2001호
휴대폰번호 : 010-8830-3858 이메일: <A href="mailto:suhung2002@yahoo.co.kr">suhung2002@yahoo.co.kr</A>
 

▶박제천 시인 약력: 서울 출생. 1965~66년 『현대문학』 등단. 동국대 국문과. 시집: 『장자시』 『달은 즈믄 가람에』 『노자시편』 『SF-교감』 『아,』 『달마나무』 등. 『박제천 시전집(전5권)』과 영역, 불역, 스페인역, 일역 시집이 있다. 저서로는 『시를 어떻게 쓸 것인가』(공저) 『시를 어떻게 고칠 것인가』 등이 있으며 현대문학상, 한국시협상, 펜문학상 등을 수상했다. I.W.P. 1984년 초청시인이며, 동국문학인회장, 경기대 대우교수, 동국대 겸임교수를 역임했고, 현재는 문학아카데미 대표, 계간 『문학과창작』 발행인이다.
▶박제천 시인 연락처: 문학아카데미 02)764-5057
휴대폰번호 : 010-3723-6237 이메일: <A href="mailto:munhakac@hanmail.net">munhakac@hanmail.net</A>
 
▶문학아카데미; 서울시 종로구 동숭4가길 21, 낙산빌라 101호 TEL 764-5057 FAX 745-8516

Introduction


Chang Soo Ko
 

32 Dawn 새벽
33 Darkness 어둠
35 Silence 고요
38 In a Remote Korean Village 한국 마을 정원에서
41 Word Fantasy 말의 환상
50 What Buddhist Priest Wonhyo Said to a Poet 
원효대사가 시인에게 한 말
63 Cricket 귀뚜라미
 



Woo Sik Kang
 

66 Paper Cranes 종이학
69 How to Eat Tomatoes, All Alone
토마토를 혼자 먹는 법
72 Mother’s Dyestuffs Chest 어머니의 물감상자
74 The Lying Buddha Statue at Wunju Buddhist Temple
운주사 와불
77 Quatrains 1 사행시초
78 Quatrains 2 
79 Quatrains 3 
80 Quatrains 7 
81 Quatrains 8 
82 Quatrains 15 
83 Quatrains 17 
84 Quatrains 30 
85 Quatrains 62 
86 Quatrains 65 
87 Quatrains 99 
 





Je Chun Park
 

90 Imagination Play 상상 놀이
92 SF-UFO
94 Hell’s House 지옥의 집
96 Ring’s House 반지의 집
98 Water’s House 물의 집
100 Rain’s House 비의 집
102 Sky Glasses, First Essay on Poetics
하늘돋보기-첫번째 詩論
104 SF-Consensus SF-교감
106 The Annual Rings of the Oriental Oak
굴참나무 나이테
108 The Bird’s Hat 새의 모자
110 Together With A Bird 새와 함께
112 Drinking Tea 차를 마시며
114 The Spruce’s House 가문비나무의 집
117 Chuangtze Poem No. 1 莊子詩 그 하나
119 Chuangtze Poem No. 4 莊子詩 그 넷

 
 
 
 
 
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