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Japanese(日本語) Funded by LTI Korea Available

もう死んでいる十二人の女たちと

もう死んでいる十二人の女たちと
Author
パク・ソルメ
Co-Author
-
Translator
斎藤 真理子
Publisher
白水社
Published Year
2021
Country
JAPAN
Classification

KDC구분 > literature > Korean Literature > Korean Fiction > 21st century > Short Story

Original Title
박솔뫼 단편소설집
Original Language

Korean(한국어)

Romanization of Original
Baksolmoe danpyeonsoseoljip
ISBN
9784560090664
Page
222
Volume
-
Bak Solmay
  • Bak Solmay
  • Birth : 1985 ~ -
  • Occupation : Writer
  • First Name : 솔뫼
  • Family Name : 박
  • Korean Name : 박솔뫼
  • ISNI : 0000000107361667
  • Works : 5
No. Call No. Location Status Due Date Reservation
1 일본어 813 박솔뫼 이-사 c.2 LTI Korea Library Available - -
Descriptions
  • Japanese(日本語)

韓国で最も独創的な問題作を書く新鋭作家のベスト版短篇小説集

韓国文学の新しい可能性を担う作家として注目され続ける著者の、10年の軌跡を網羅した日本版オリジナル編集による短篇小説集。本邦初の書籍化。
パク・ソルメは1985年光州生まれの女性作家。福島第一原発事故が起きた際、大きなショックを受けたという。原発事故に触発され、韓国でいち早く創作した作家がパク・ソルメである。光州事件や女性殺人事件などが起きた〈場所〉とそこに流れる〈時間〉と自身との〈距離〉を慎重に推し量りながら、独創的で幻想的な物語を紡ぐ全8篇。全篇にわたり、移動しながら思索し、逡巡を重ねて「本当のこと」を凝視しようとする姿勢が貫かれ、ときおり実感に満ちた言葉が溢れ出る。描かれる若者たちは独特の浮遊感と実在感を放つ。
「そのとき俺が何て言ったか」:カラオケボックスを経営する「男」にとって、大事なことは「心をこめて歌わなければならない」という一点だ。女子高生のチュミが友達とカラオケボックスに入ると、友達は一生けんめい歌ったが、チュミはちゃんと歌わなかった。友達が水を買いに出た後、一人になったチュミのところに男がやってきて……。
「じゃあ、何を歌うんだ」:旅先のサンフランシスコで、在米韓国人のヘナが光州事件について発表する場に居合わせた「私」。そこでの話はまるでアイルランドの「血の日曜日」のように、疑問の余地がないように聞こえた。2年後に光州でヘナと再会し、金正煥の詩「五月哭」をヘナと一緒に人差し指で一行一行なぞりながら読む……。
「冬のまなざし」:釜山の古里原発で3年前に起きた事故に関するドキュメンタリーをK市の映画館で見た時のことを振り返る「私」。事故後の釜山の変化、監督や映画館で会った人との交流を、自身の微妙な違和感を交えながら回想する。
「もう死んでいる十二人の女たちと」:五人の女を強姦殺害したキム・サニは、交通事故で死んだ後、犯行手口の似た別の人物に殺された女たちが加わった計十二人に改めて殺された。「私」はソウルの乙支路入口駅にいる幼ななじみのホームレスのチョハンを通してそれを知るのだが……。

Source : https://www.amazon.co.jp/もう死んでいる十二人の女たちと-エクス・リブリス-パク・ソルメ/dp/4560090661

Book Reviews1

  • Japanese(日本語)
    [Japanese] Believing in the Possibilities of “Another Story”: Twelve Women Already Dead by Bak Solmay
    Bak Solmay’s TwelveWomen Already Dead is a collection of short stories compiled forpublication especially in Japan. The copy on the book’s bellyband says that theauthor “confronts social issues such as the Gwangju Uprising, the meltdown ofthe Fukushima Daiichi nuclear reactor, and femicide” with her “uniqueimaginativeness.” I cried so much I emptied a full box of tissueswhile reading Han Kang’s Human Acts. I saw A Taxi Driver, starring Song Kang-ho, in theaters, andleft with my handkerchief soaked in tears, a newly made fan of Ryu Jun-yeol,who I first saw in that film. Whenever I see or hear the word “Gwangju,” Ithink, I know. I know. What happened there, at least, I know. “Social issues such as the Gwangju Uprising,the meltdown of the Fukushima Daiichi nuclear reactor, and femicide.” I knowthe stories that are told along with these words, I think. So I prepared myselfmentally before opening this book. No matter how painful the story, I mustaccept it, stand with the victims, and swear anew from the bottom of my heartto never let these atrocities be repeated. But on those pages, I found a space I had neverimagined spreading out before me. If I were to put it into words, it was aquiet willfulness that refused to simply move the reader, refused to let themcome close. The characters that appear in Bak’s stories areconfused. So confused that it makes the reader pull back and ask, “Do you haveto be so lost?” There were times when the characters themselves couldn’t accepttheir confusion. A certain credulity I had expected was missing, and thecharacters didn’t feel the things I expected them to feel. The world theylooked upon was in constant flux, and they continued to change as well. Theywouldn’t let me think, I know. In “Swaying into the Dark Night,” Busan Tower,which the main character is certain should exist in front of Busan Station,vanishes from their mind, transforms, and when they actually visit the spot,has actually disappeared. In “Beloved Dog,” the narrator has no faith in theirrecollection of 1994, which they must have lived through. When they think backto the year, “a variety of feelings and sensations” well up, yet they alsorecall without the slightest emotion “incidents, numbers, and people’s namescarved into my mind by the words I saw in newspapers.” In “The Eyes of Winter,”two characters watch a documentary about the Kori Nuclear Power Plant anddiscuss how they wish they could have seen different kinds of movies. And inthe title piece about femicide, the narrator evades telling us how they feelabout either murdered or living women, including themselves. In “Well, WhatShall We Sing?” the narrator, a Gwangju native joining in an event for studentsin San Francisco interested in learning Korean, listens to the stories toldabout the Gwangju Uprising while thinking about how they had expected “lighter”conversation. On the uprising’s thirtieth anniversary, the narrator visits theSouth Jeolla provincial office building that was the site of a massacre duringthe uprising. They think, “the people who actually know what happened here,maybe they’d tell us another story. Something that we haven’t talked aboutyet.” It seems Bak is always considering the potential of “another story,” thatthere is always “another story” behind everything that happens. In Japan, when someone creates a fictional workportraying actual incidents or events, I often see the “timing” of taking upthose topics debated on social media. Isn’t it too early? It’s not yet over forthe people who experienced it, they say. But these incidents never end.Suffering and sadness don’t heal with the passing of time, and events that havebred resentment in society are always passed on and stay in this world.Strictly speaking, there’s no such thing as perfect timing. If that’s the case, maybe one way an author canapproach fiction with “integrity” is by quietly placing “another story” in somecorner of this world. “Another story,” different from what we are all convincedwe know. Bak writes about the lives of those of us who, in the face of theseatrocities, cannot turn back time or save those who have lost their lives, whohave no choice but to go on living out their lives in the places where thoseatrocities happened, where they still happen, and where they sometimesseem—though maybe not—to have come to terms with this past. The “other stories”she creates have a sedating effect, returning those of us who always wind upthinking “we know” back to a state of ignorance. Of course it is important toknow history and the facts, but it is not a bad thing to be forced to remember,“That’s right, I don’t know anything.” And that is how these stories will makeyou feel. Translated by Kalau Almony Aoko Matsuda Author, Wherethe Wild Ladies Are (Soft Skull Press, 2020)
    2022-04-18 17:54
    by Aoko Matsuda

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