K-포엣 시리즈 12) 세계의 끝에서 우리는 K-Poet 12) We, At the End of the World

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책 소개

끝장난 세계에서 손을 맞잡은 ‘나’와 ‘너’

양안다 신작 시집 『세계의 끝에서 우리는』

언제나 머리맡에 두고 읽고 싶은 한국 시의 정수를 소개하는 ‘K-포엣’ 시리즈. 시간이 흘러도 명작으로 손꼽힐 한국 시들을 독자들에게 소개함과 동시에 영문으로 번역하여 전 세계에 알리어 한국문학을 세계문학으로 발돋움시키고 있다. ‘K-포엣’ 시리즈는 삶의 보편적·특수적 문제들에 대한 통찰 또한 놓치지 않고 있다. 이 시들은 영원히 한국문학의 핵심으로서 기억되고 기록될 것이다.

‘K-포엣’ 시리즈 열두 번째는 양안다의 신작 시선집 『세계의 끝에서 우리는』이다. ‘초대장’으로 시작해 ‘커튼콜’로 마무리되는 『세계의 끝에서 우리는』은 마치 한 편의 긴 영화를 보는 것처럼, 차분히 예의 예리한 감성을 가까이서 마주하고 느낄 수 있게 구성되어 있다. 꾸준히 주목받고 있는 양안다 시인의 시 세계는, 『세계의 끝에서 우리는』을 통해 한층 더 깊어지고 짙어졌다. 다양한 장르를 가리지 않고 번역해오고 있는 스텔라김 번역가가 『세계의 끝에서 우리는』의 영문 버전을 맡아 가독성을 높였다.

[ENG]

About the book

'I' and 'you' join hands at the end of the world

Yang Anda's new collection of poetry, "We at the End of the World"

The 'K-Poetry' series introduces the essence of Korean poetry that you will always want to keep by your bedside. In addition to introducing readers to Korean poems that will stand the test of time as masterpieces, the series also translates them into English and makes them known around the world, promoting Korean literature as a global literature. The 'K-Poetry' series also provides insights into universal and specific issues in life. These poems will forever be remembered and recorded as the core of Korean literature.

The twelfth volume in the K-Poetry series is Yang Anda's new anthology, We at the End of the World. Beginning with "Invitation" and ending with "Curtain Call," "We Are at the End of the World" is structured as if it were a long film, allowing the reader to get up close and personal with Yee's keen sensitivity. Yang Anda's poetic world, which has been receiving increasing attention, has been deepened and enriched by The End of the World. Stella Kim, who has translated a wide range of genres, has translated the English version of The End of the World to improve readability.|


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À propos du livre

"Je" et "vous" joignez vos mains à la fin du monde

La nouvelle collection de poésie de Yang Anda, "We at the End of the World"

La série 'K-Poetry' présente l'essence de la poésie coréenne que vous voudrez toujours garder à votre chevet. En plus d'initier les lecteurs à des poèmes coréens qui résisteront à l'épreuve du temps comme chefs-d'œuvre, la série les traduit en anglais et les fait connaître partout dans le monde, faisant de la littérature coréenne une littérature mondiale. La série 'K-Poetry' fournit également des informations sur des questions universelles et spécifiques dans la vie. On se souviendra à jamais de ces poèmes et on les enregistrera comme le cœur de la littérature coréenne.

Le douzième volume de la série K-Poésie est la nouvelle anthologie de Yang Anda, We at the End of the World. En commençant par "Invitation" et en terminant par "Curtain Call", "We Are at the End of the World" est structuré comme s'il s'agissait d'un long film, permettant au lecteur de se rapprocher et de se montrer personnel avec la grande sensibilité de Yee. Le monde poétique de Yang Anda, qui reçoit de plus en plus d'attention, a été approfondi et enrichi par La fin du monde. Stella Kim, qui a traduit un large éventail de genres, a traduit la version anglaise de The End of the World afin d'améliorer la lisibilité.

Table of Contents

Invitation

Eternal Night

Afterworld

If We Are Completed in a Painting

Hunting Season

Blood and Iron

A Glass Rose

Island

Ten Thousand Nights and Days

With the Map of the Night Spread Open

Dream’s Joke

We, At the End of the World

Rainy Season

Blackout

To Death Ostracized by Angels

Small Theater

Behind the Scenes

Fire and Ash

Eternal Light

Curtain Call

Poet’s Note

Poet’s Essay

Commentary

What They Say About Yang Anda

Into the book

When writing poetry, there is a question that people always ask. What do you think poetry is? I don’t think much about it. I don’t want to think of poetry as something sacred, but I also don’t want to consider it nothing. So I answer, Poetry is like a game. A game that I can play by myself. With no one paying attention to me. A game like that. I said that many times.

From Poet’s Note

Now, within the frame of mirrors and mise-en-sc?ne, Yang Anda continues to create nightmares of the night and labyrinths in the woods, carving the traces of “me” who walks with a limp and “you” who falls into a languid slumber. He engraves “your” absence and “my” loss in front of the world represented by “you,” who is fading in the inevitable and irreversible. Yet all the while, rejecting everything.

From Commentary