Επιμέλεια: Εύα Πετροπούλου Λιανού
When you call this bread is existence.
Because of this to a falling-out with the yeast cells clog and close a cut. A Because of this, I tame mallang mallangha.High With a soft face.
Blood, Yeonhapa Like wine gets hot inside me.
Any defect is a huge diamond. Scratch Have lofty feelings that cut. Number Or chuka Pain Window Ha The persimmon.Jung of the existence of just a stone’s throw away reveals (咫尺).
The bread is like flour for existence prior to a *. This person because of this that can not be removed from bones.I The table of wheat fields.
My Hunger is a On a wheat field Be a flock of birds to fly off. The organizations that fly in the sky in the sky.Willingness Che will be
If this is being limited to, flour. On a tray. A glass of wine and a slice of bread is. Ceremony Tak This table We have probably only for dinner one meal.
Drawing on the tray of fish. I don’t know why you are full and eat one’s knuckles and blue. Ha Is all the time The Shemiramoth,
A chunk of space, is only water and air. A piece of sacred pieces of bread honorable’is mixed.
My God there is (神) because of this
* ereulleu pongti <symbols in >
성체聖體
강영은
빵이라 부를 때 이것은 존재 한다
누룩과 불화하는 이것 때문에 상처가 아문다 상처를 길들이는 이것 때문에 나는 말랑말랑하고 부드러운 표정을 지닌다
피와 연합하는 포도주처럼 나의 내면이 뜨거워진다
커다란 다이아몬드의 흠집은 흠집을 깎는 고귀한 감정을 지니게 된다 수축하거나 팽창하는 감정은 존재의 지척(咫尺)을 드러낸다
빵이 되기 위한 밀가루처럼 존재에 선행하는 존재* 뼈에서 떼어낼 수 없는 이것 때문에 나의 식탁은 밀밭이다
나의 굶주림은 밀밭 위로 날아오르는 새떼가 된다 이 하늘에서 저 하늘로 날아다니는 조직의 지체가 된다
만일 이것이 밀가루에 국한된 존재라면 쟁반 위에 놓인 한 잔의 포도주와 한 조각 빵은 식탁이 차려준 한 끼니 식사에 불과했으리라
쟁반 위에 물고기 그림을 그린다 먹고 배부른 까닭을 알지 못 하나 손가락 마디에 푸른 하늘이 스민다
물과 불과 공기가 관계한 한 덩어리 우주, 한 점의 빵 조각을 성스럽게 받든다
이것 때문에 나의 신(神)이 존재 한다
*에를르 퐁티<기호들>에서
Romance with the Evening
Kang young eun
<Translation by Ko Chang-soo>
In the evening’s expression,
An emotion with a differing color of blood blooms and fades.
Like jasmine that shifts the color towards violet, soft violet, white,
In those moments the evening takes on an expression that most resembles solitude.
Thus I forget for a moment that my limbs have become awkward,
And my ears, neck, mouth and nose have bloomed.
Though several people walk together, the evening touches one eyeball.
Like a corridor that gets increasingly calm each time light deflects,
In those moments the evening becomes a lover;
I become friendly with death like a child roaming in a maze.
And I witness the alleys lengthen out gradually.
While waiting for a call-taxi before a florist where pollen scatters,
I think of you
Like a memo paper that will be forgotten tomorrow,
Like the slight fever of bored time.
In those moments the evening is lost in a love affair.
So I, blooming under an old window-frame,
Become unfamiliar.
On some evenings I’m absent;
So, if the landscape has disappeared into my inside,
I’m absent, that is, in the place left behind by the evening.
In those moments, the evening, not knowing it is evening,
Seeps into the window.
The consolation of being alone suddenly comes in hundreds of faces
In that very moment.
저녁과의 연애
강영은
저녁의 표정 속에 피 색깔이 다른 감정이 피었다 진다
보라 연보라 흰색으로 빛깔을 이동시키는 브룬스팰지어자스민처럼
그럴 때 저녁은 고독과 가장 닮은 표정을 짓는 것이어서
팔다리가 서먹해지고 이목구비가 피었다는 사실을 잠시 잊는다
여럿이 걸어가도 저녁은 하나의 눈동자에 닿는다
빛이 굴절될 때마다 점점 그윽해져가는 회랑처럼
그럴 때 저녁은 연인이 되는 것이어서
미로 속을 헤매는 아이처럼 죽음과 다정해지고
골목이 점점 길어지는 것을 목격하기도 한다
화분이 나뒹구는 꽃집 앞에서 콜택시를 기다리는 동안
당신이 생각나기도 한다
내일이면 잊혀 질 메모지처럼 지루한 시간의 미열처럼
그럴 때 저녁은 연애에 골몰하는 것이어서
낡은 창틀 아래 피어 있는 내가 낯설어진다
어느 저녁에는 내가 없다
이내 속으로 풍경이 사라진 것처럼
저녁이 남기고 간 자리에 나는 없더라는 말
그럴 때 저녁은 제가 저녁인 줄 모르고 유리창 속으로 스며든다
혼자라는 위로는 불현듯 그때 수백 개의 얼굴로 찾아온다
Poet Kang Young-eun was born on Jeju Island and earned a Master’s degree in Literature from the Graduate School of Culture and Arts at Kookje University. She made her literary debut in 2000 through the quarterly literary magazine Minerva. Since then, she has published the poetry collections The Green Silk Python, Floating Reef, the Back of the Sea, Mago’s Jar, A Gentle Poetics, The Bird Beyond, and Longing Gravity. She has also published the selected poems Poems Dedicated to the Japanese Nutmeg Yew, the essay collection Letters from the Mountain Hydrangea, the collaborative travel poetry collections The Crescent Moon of Tibet, Mingalaba, Myanmar, and Nazar Boncu, as well as the anthology of poems in English, Faces of the Festival, featuring twelve poets.
Kang Young-eun’s poetic world is deeply rooted in the landscape of Jeju, where the vitality of nature, the sense of loss, and the solitude of writing converge. She has described writing poetry as “the loneliest and freest way to embrace time and space,” revealing an attitude that accepts even her own transience and futility as an inevitable part of existence. Her essay collection Letters from the Mountain Hydrangea, which combines poetry, photography, and reflective prose, demonstrates how her creative practice extends beyond lyrical poetry into visual imagery and contemplative essays. By interweaving images of nature with profound inner sorrow, she has developed a distinctive poetic voice that has been consistently recognized across multiple collections rather than at a single moment in her career.
Her honors include the Excellence Award of the Siyesul Poetry Prize (2006), the Korean Poetry Literature Award (2012), the Arts Council Korea (ARKO) Literary Creation Grant (2014), selection as a Sejong Outstanding Book (2015), the Writers Association of Korea Author Award (2016), the Literary Youth Award and recognition as an Outstanding Content publication by the Korea Publication Industry Promotion Agency (2018), the Seogwipo Literary Award (2023), and selection for the Literature Sharing Program (2024).
She previously served as an instructor of creative writing at the Lifelong Education Center of Seoul National University of Science and Technology and as Chair of the Organizing Committee for the Seogwipo Chilsimni Literary Award. She currently serves as a Board Member of the Korean Poets’ Association and an Editorial Board Member of Literary Youth.
