‘새 것 찾기’와 로컬리티의 서사 - 염인수의 문학 세계

Abstract

This paper examines the literary world of Yeom In-soo, who was the chairman of the Daejeon branch of the Korean Writers Alliance in the Liberation Period by dividing into three stages, and investigates the identity of the literary world of Yeom In-soo, meanwhile, it aims to lay the foundations for restoring his position that has been excluded from the history of Korean literature. The first term of Yeom In-soo's literature was the time when he created a short novel in the Liberation Period. and it was the time when published works dealing with labor disputes based on his an agricultural experiment station after he started his literary career by the recommendation of An Hoe-nam. Yeom In-soo shows a aesthetic attitude and sense that he captures the life force inside the workers without writing class conflicts in an abstract manner in the process of rewriting the world he experienced with his novels. The second term was the 80's, when Yeom In-soo hid himself for being a left-wing writer, when he published two books of short stories and one novel at the age of over seventy. The works in this period feature a narrative repetition that breaks the boundaries between reality and fiction appear. He mixes essay and novel genre grammar and creates his own heterotopia by repeatedly portraying the death experience of liberation space and his life sculpture. The third term was when he created an essay book after he was 80. He writes essays over and over again about everyday life, all his works and past life. His re-writing is based on his belief that 'expression of experience' is literature as a way of cheapness to say things beyond description. For him, literature is a journey in which he constantly 'find new things' in his environment. On the trail of exploration, which Yeom In-soo calls for 'finding new things,' is writing finally gets the physical quality that matches his life. Despite being forced to die and suffer symbolically due to literature, Yeom In-soo proves that 'he one who writes is a writer,' by himself. Thus, his writing creates a space of literary heterogeneity that overcomes the limits of ideology and obtains physicality, and practices the writing of locality that itself should not be judged by the standards of universal aesthetics. Therefore, literature directed by Yeom In-soo is located on the axis of space where life takes place, not on the axis of evolutionary time concept. Based on the legitimate literary evaluation of Yeom In-soo, he should restore his name, which has been excluded from the history of Daejeon literature as well as Korean literature.