재일조선인 시인 종추월과 “쿠소리얼리즘” ──이름 없는/잃은 자들의 사각지대 리얼리즘

Abstract

Chu-wol(宗秋月), a second-generation Zainichi poet in Japan. While shedding light on the Zainichi, the primary ‘voice’ throughout her work, I also examined how the space that once had the name of Ikaino (猪飼野) reveals itself in Jong Chu-wol’s poetry. This is accompanied by a consideration of kuso (dung) realism, a term used by Jong Chu-wol in reference to her own poetry. The author herself has received relatively little attention until now, even within the ‘magnetic field’ of Zainichi literature. First, I shed light on the people who have lost/are without a name who Jong Chu-wol painstakingly portrays in her poetry. The poet herself had to live a life using a real name, pen name, and Japanese style name, which itself led her to the world of poetry which challenged the very system of “names”. For this reason, I analyzed the birth of poems in which Zainichi women are superimposed with each other and connected by Jong with “I who came after I”(「あたしへ続くあたし」). The resulting mood and tone are reminiscent of oral literature passed down among the people, which can be regarded as a product of her acceptance of the space called Ikaino with their body. Next, I looked into the background that birthed kuso realism. Many of the early poems of Jong Chu-wol were written in the latrine of the live-in factory where she worked. Even before entering Osaka School of Literature and receiving a proper literary education, Jong Chu-wol was already a poet who wrote poems on the back of newspaper advertisements. Compared to male literature, which champions realism while at the same time sexually otherizing women or continually depicting maternal myths, Jong Chu-wol discovered a naked realism, or kuso realism, in the lives of Zainichi women in Japan. In this way, by drawing attention to kuso realism, and identifying it as the backbone throughout her entire body of work, I realized that the poetry of Jong Chu-wol overlaps in many places with the role carried out by Sinbang or Munyeo (Female Shaman), in and out of which the women of Ikino freely came and went. I examined how the life of Jong Chu-wol, with her different pen name, common name, and real name, is manifested by intersection through poetry with the kuso realism of the shaman, who are commemorated as a bridge between this world and the underworld.