Landscapes Invisible의 실제 원고에 관하여
1.
B: 이쯤해서, 현재 미국의 Authorhouse에서 출간을 위한 편집과정에 들어가 있는 선생님의 영문 원고, Landscapes Invisible 의 글쓰기에 대해 말씀해주시지요.
A: 그럽시다. 이 글 요약과 서론의 글을 먼저 말씀 드릴께요. 그런데 사실은 이 앞부분의 글은 본문의 내용이다 완성된 다음에 쓰여진 것이라 제일 나중에 이야기하는 게 좋겠지만 글 구성 상 앞에 위치하고 잇으니 배체된 대로 이야기 해보죠.
B: 앞부분의 원문이 우선 궁금하군요.
A: 아래가 이 글의 요약과 서론입니다.
'아래'
Landscapes Invisible
Contents:
Summary
Preface
Acknowledgements
Landscapes Invisible
Part 1
Caves of the Heart
Follow Chagall
Keeping Silent
Flamenco & Pansori
Moments unforgettable
Street flamenco dancer
Part 2
Cites
Hosteling
North American Plain
Trans-Siberian Railway
Thus Said the Himalayan Cedar Forest
Postscript
Source notes
Bibliography
Landscapes Invisible is made up of two parts, the first one which is a fact-fiction in the form of an epistolary novel and the other is a collection of the writer’s personal essays on traveling. The former is composed based on the latter. As a peach in the painting is an artistic work, not a real one, so this is a literary work, not a non-fiction documentary. Landscapes Invisible will remind of remote and dim landscapes, inside and outside, visible and invisible, of a painting exhibition
Preface
Landscapes Invisible is made up of two parts, the first one which is a fact-fiction in the form of an epistolary novel and the other is a collection of the writer’s personal essays on traveling. The former is based on the latter.
In relation to the first half of it in the form of an epistolary novel, there is an information guide, below, to the novel:
‘below’
Flamenco is the means through which man reaches God without the intervention of saints or angels (Luis Antonio de Vega).
In a bookstore in Madrid a book titled ‘! Flamenco!’ with the above line on the back cover of it attracted my attention. At first sight of the line, I was reminded in a casual way of a dancing flamenco dancer with fascinating black eyes, whose long arms were drawing the elegant arabesque forms over her forehead, whose skirt with polka dots was waving to guitar rhythms. Namely the meaning of the line was at first look thought to be in relation to the dance. For at that time I had a simple mind that the song was thought to be a secondary element of flamenco attached to the dance. It was after reading the book that I came to perceive that Cante (song) is and always has been the centerpiece, with dance and guitar taking their direction from it. And after that, Cante, the harsh sound of lament, was personally thought to be more essential of flamenco. once I was walking along the alley to the hill of Sacromonte in Granada, a harsh voice of lament far from somewhere below caught my ears, calling back my late old mother to the mind. I imagined at that moment that the singer’s voice sound could purify not only herself but also the hearer of it. Now I am a flamenco cante lover who believe that the lovers of Cante come to get their pain forgotten while listening to it.
In relation to the second half, it is composed of 5 personal essays- cities, hosteling, North American Plain, Trans-Siberian Railway, and Thus Said the Himalayan Cedar Forest- based on retrospection of the days gone by. The essay named Thus Said the Himalayan Cedar Forest is a kind of a landscape painting showing patients in a TB sanatorium in isolated from the society like those in the novel of The Magic Mountain by Tomas Mann.
Ultimately, Landscapes Invisible has less to do with the flamenco itself than with memory, emotion and imagination. It stands far above the love of flamenco, the subject of the first part. It is more than that. It is compared to a painter’s inner landscapes exhibited in an art exhibition. As a peach in the painting is an art, not a real one, so Landscapes Invisible is a literary work, not a non-fiction documentary. It will remind of remote and dim landscapes, inside and outside, visible and invisible, of a painting exhibition.
I am deeply indebted Lauren M, who has inspired me to keep on writing this
Literary Fact-fiction and read the entire manuscript of this book and set me on my path. Thanks are also due to three: Maria Bermudez who was a flamenco bailaora in Jerez, Daniel Malan who was a writer in Portland and Laurena’s friend, and Lee Hye Jung, a Korean flamenco bailaora who is in full activity of dancing in Seoul. These three enriched this fictitious story of ‘Landscapes Invisible’ by their encouraging emails or comments. There are also many other people who gave me great help and hospitality for which I shall always be very grateful.
I am most fortunate in contacting Author House to have this paper book published for the first time in the USA.