Kim Tatsuhisa

Novelist. Born in Gyeongsangnam-do, Korea. Graduated from Nihon University College of Art. After World War II, Korean literature in Japan was first started by Kim Dal-su and others.

Kim Dal-su was born on November 27, 1919, the day of the March 1st Independence Movement, the largest national independence movement in Korean history, in Changwon County, South Gyeongsang Province, Korea. It is not far from Busan. He grew up in a yangban (a general term for civil and military officials during the Goryeo and Yi dynasties) household, and his family fell into poverty because his father was a playboy, so they moved to Japan. He studied hard while picking up trash, and discovered his love for literature. In 1939 (Showa 14), he entered the art department of Nihon University. During his student years, he read novels such as When the Buckwheat Blossoms by Lee Hyo-seok (1907-42) and Mumyo by Lee Kwang-soo, which had been translated into Japanese, and opened his eyes to his homeland, saying, "Ah, Korea, Korea is here." Furthermore, by returning to his homeland for the first time in 10 years and staying in Seoul, he was able to write a work set in his homeland, Seoul. These experiences led to his decision as a writer to write about Koreans because he is Korean, and he realized that in order to become independent as a resident of Japan, he had no choice but to live in conjunction with the social and historical position of the Korean people. With this realization, he wrote "The Town of Descendants" (1948). In his representative full-length work "Genkai-nada" (1954), the story unfolds with the relationship between Nishi Keitae, the author's alter-ego, and Baek Seong-oh, Lim Woo-jae, and Park Jeong-sul, who are promoting the underground resistance movement, as the warp thread, and the love story between Nishi Keitae and Oi Kimiko as the weft thread. Between Nishi Keitae and Oi Kimiko, there was ethnic discrimination that could not be resolved at the individual level of love or marriage. In the face of this wall of discrimination, love and marriage were a test of changing the consciousness of ethnic groups. There was also a wall of consciousness between Koreans in Japan and revolutionaries back home who were operating underground. Kim Dal-su realized that the challenge for Korean literature in Japan lay in overcoming these two walls. The sequel to Genkaitan, Taebaek Sanmyaku (Taebaek Mountains) (1969, unfinished), is set in Seoul after liberation. These two full-length novels were about Korea's yearning for democratization and its unfulfilled dream of revolution. This dream was realized with the realization of democratization in South Korea. The illusion of revolution faded with the changes in the world.

Kim Dal-su's talent is on full display in his short story "Arrow Pass" (1950), which depicts the Korean common people working silently while asking, "Well, how is it? Can we achieve independence?" In "The Trial of Pak Dal" (1959), Pak Dal is not afraid to go to the detention center no matter how many times he is arrested. For Pak Dal, the detention center is a "treasure trove of knowledge." The police are full of political and ideological prisoners, and they teach Pak Dal about the state, the nation, socialism, capitalism, war, world history, and Korean history. For Pak Dal, whose only experience was carrying a fertilizer bucket and cultivating fields with oxen, hoes, and shovels, the detention center was a fun "my university." Even torture and punishment were no problem in order to enjoy this fun. For Park Dal, who had been subjected to fire and waterboarding in the house where he was adopted from the age of five, police torture was nothing. The greatest achievement of Kim Dal-su's literature is in his portrayal of Koreans with such strong vitality. We must not forget that Kim Dal-su completed the great work of his life with "Korean Culture in Japan" (1970-91, 12 volumes in total).

[Masaaki Kawanishi]

"The Trial of Paku Dal" (1959, Chikuma Shobo) ▽ "The Town of Descendants" (1966, Tofusha) ▽ "Yanotsu Pass" (1967, Mugi Shobo) ▽ "Taebaek Mountains" (1969, Chikuma Shobo) ▽ "A Novel of the History of Koreans in Japan, Volumes 1 and 2 (1975, Sojusha)" ▽ "Kim Dal-soo's Collected Essays (Volume 1) My Literature" and "Kim Dal-soo's Collected Essays (Volume 2) My Nation" (1976, Chikuma Shobo) ▽ "Sunset" (1979, Chikuma Shobo) ▽ "The Complete Works of Kim Dal-soo's Novels," 7 volumes (1980, Chikuma Shobo) ▽ "Korea: Ethnicity, History, Culture" (Iwanami Shinsho) ▽ "Korean Culture in Japan," 12 volumes (Kodansha Bunko) "Kim Dal-soo Renaissance - Literature, History, and Ethnicity" edited by Shin Ki-soo (2002, Kaihwa Publishing)

Source: Shogakukan Encyclopedia Nipponica About Encyclopedia Nipponica Information | Legend

小説家。朝鮮慶尚南道(けいしょうなんどう／キョンサンナムド)生まれ。日本大学芸術学部卒業。第二次世界大戦後の在日朝鮮人文学はまず金達寿らの手によって始められた。

　金達寿は、朝鮮史上最大の民族独立運動である三・一独立運動が起きた1919年の11月27日に旧朝鮮の慶尚南道昌原郡で生まれた。釜山(ふざん／プサン)からそう遠くない場所である。両班（ヤンバン。高麗(こうらい)・李朝(りちょう)時代における文・武の官僚の総称）の家で育った父が遊び人だったため生家が没落し、一家は日本へ渡った。屑(くず)拾いをしながら苦学し、文学に目覚め、1939年（昭和14）に日本大学の専門部芸術科に入学した。この学生時代に日本語に翻訳されていた李孝石(りこうせき／イヒョソク)（1907―42）の『蕎麦(そば)の花の頃』や李光洙(りこうしゅ／イグァンス)の『無明』などの小説を読み、「ああ、朝鮮だ、朝鮮がここにある」と故国に開眼した。また10年ぶりに故国に行き、ソウルに滞在したことで、故国、ソウルを舞台にする作品が書けるようになった。これらの積み重ねが、自分は朝鮮人だから朝鮮人のことを書くという作家としての決意になり、在日として自立するには朝鮮民族の置かれた社会的、歴史的立場と連動しながら生きてゆくほかはないとの覚醒(かくせい)をもたらした。こうした自覚のもとに『後裔(こうえい)の街』（1948）が書かれた。長編の代表作『玄海灘(げんかいなだ)』（1954）では作者の分身である西敬泰と地下抵抗運動をすすめる白省吾、林宇載、朴定出との関係を縦糸に、西敬泰と大井公子の恋愛を横糸に物語が展開する。西敬泰と大井公子の間には、愛とか結婚とかの個人のレベルでは解決できない民族の差別が介在した。この差別の壁を前にして、愛とか結婚とかが民族同士の意識の変革の試練にあった。在日の人間と地下活動をする本国の革命家との間にも意識の壁があった。この二つの壁を乗り越えるところに在日文学の課題があると金達寿は自覚した。『玄海灘』の続編『太白(たいはく)山脈』（1969。未完）では解放後のソウルが舞台になる。この二つの長編は朝鮮の民主化への渇望と、革命への見果てぬ夢を書いたものであった。この夢は韓国の民主化の実現で達成された。革命への幻想は、世界の変化とともに醒(さ)めた。

　金達寿の本領が発揮されるのは、「うむ、どうだ。ドクニプ デグンナ（独立できるか）」と問いながら黙々と働く朝鮮の庶民の姿を書いた短編『矢の津峠』（1950）においてである。『朴達(バクタリ)の裁判』（1959）の朴達は、何度拘束されても平気で留置場入りする。朴達にとって留置場は「知識の宝庫」なのだ。警察のなかは政治犯、思想犯がいっぱいで、朴達は彼らから国家、民族、社会主義、資本主義、戦争、世界の歴史、朝鮮の歴史とは何かについて教えてもらった。肥桶(こえおけ)を背負うこと、牛や鋤(すき)、鍬(くわ)を相手に田畑を耕す作業しかしたことがない朴達にとって、留置場は楽しい「私の大学」であった。この楽しさを味わうためには、拷問や折檻(せっかん)さえ何のことはなかった。5歳から引き取られた家で火責め、水責めにあっていた朴達にとって警察の折檻などもののかずではない。こういう強靭な生命力をもった朝鮮人像を描いたところに金達寿文学の最大の功績がある。また、金達寿が『日本の中の朝鮮文化』（1970～91、全12巻）の畢生(ひっせい)の大業を完成したことを忘れてはならない。

［川西政明］

『『朴達の裁判』（1959・筑摩書房）』▽『『後裔の街』（1966・東風社）』▽『『矢の津峠』（1967・むぎ書房）』▽『『太白山脈』（1969・筑摩書房）』▽『『小説在日朝鮮人史』上下（1975・創樹社）』▽『『金達寿評論集（上）　わが文学』『金達寿評論集（下）　わが民族』（1976・筑摩書房）』▽『『落照』（1979・筑摩書房）』▽『『金達寿小説全集』全7巻（1980・筑摩書房）』▽『『朝鮮――民族・歴史・文化』（岩波新書）』▽『『日本の中の朝鮮文化』全12巻（講談社文庫）』▽『辛基秀編著『金達寿ルネサンス――文学・歴史・民族』（2002・解放出版社）』

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