2015 노벨문학상 수상자 Svetlana Alexievich wins 2015 Nobel prize in literature(VIDEO)

Nobel prize in literature 2015 

Svetlana Alexievich wins 2015 Nobel prize in literature 

벨라루스 출신 언론인 알렉시예비치

"리얼리티는 자석처럼 나를 매료시켰다"

그녀는 소설가도 시인도 아니었다

Svetlana Alexievich 스베틀라나 알렉시예비치. source dw.com

스웨덴 한림원은 올해 노벨문학상 수상자로 벨라루스의 

여성 작가 스베틀라나 알렉시예비치(67)를  선정했다고 

8일(현지시간) 밝혔다.

edited by kcontents 

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2015년 노벨문학상 수상자는 소설가도, 시인도 아니었다. 베랄루스 출신 언론인 스베틀라나 알렉시예비치(67)가 그 주인공이다. 언론인이 노벨문학상을 탄 것은 이번이 처음이며 여성으로서는 14번째다. 알렉시예비치는 일명 '목소리 소설(Novels of Voices)'이라는 자기만의 문학 장르를 창시했다는 평을 얻고 있다. 작가 자신은 이를 '소설-코러스' 장르라고 부른다. 여러 해에 걸쳐 수백 명의 사람들을 인터뷰해 모은 이야기를 문답 형식이 아니라, 소설처럼 읽히는 논픽션으로 쓰는 까닭이다. 1985년 첫 출간된 알렉시예비치의 처녀작 '전쟁은 여자의 얼굴을 하지 않았다'(펴낸곳 문학동네)는 그의 작품 세계를 단적으로 엿볼 수 있는 다큐멘터리 산문이다. 이 책은 제2차 세계대전에 참전했던 여성 200여 명을 인터뷰한 방대한 기록이다. 저격수가 되거나 탱크를 몰았던, 혹은 병원에서 일했던 참전 여성들은 베테랑 남성 군인들이 늘어놓는 전쟁 영웅담에서는 철저하게 배제돼 온 특별한 이야기를 전한다. "학교를 마쳤는데 나더러 육지에 남으라는 거야. 그래서 내가 여자라는 사실을 숨기기로 했지. 마침 내 성이 '루덴코'로, 우크라이나 성이어서 그 작전이 먹혀들었어. 그래도 결국 한 번은 내 정체를 드러내고 말았지만. 갑판을 열심히 닦고 있는데 갑자기 주위가 소란스럽더라고. 뒤를 돌아보았지. 어떻게 들어왔는지 배에 고양이 한 마리가 들어와 있고, 그 고양이를 해병이 쫓고 있었어. 최초의 항해자들한테서 유래된 건지 뭔지 몰라도, 해병들 사이에는 고양이와 여자는 바다에 재앙을 가져온다는 속설이 있었어. 고양이는 배를 떠나고 싶지 않은지 계속 잡힐 듯 말 듯 요리조리 잘도 도망 다녔어. (중략) 그런데 고양이가 미끄러지며 바다에 빠지려고 하는 거야. 그 순간 내가 기겁을 하며 '꺅' 하고 외마디 비명을 지리지 않았겠어. 비명소리가 어찌나 높고 날카로웠던지 여자 목소리라는 게 단박에 드러났지. 삽시간에 배 안이 찬물을 끼얹은 듯 조용해졌어. 정적이 흘렀지." (361쪽) 이 책 속 참전 여성들은 배고픔, 성폭력 등 전쟁의 추하고 냉혹한 맨얼굴을 고발한다. 그들은 전장에서도 사람을 보고, 일상을 느끼고, 평범한 것에 주목한다. 그 눈에 비친 전사자들은 모두 젊거나 어린 병사들이었다. 아군인 러시아 병사도, 적군인 독일 병사도 가엾기는 매한가지였다. 출처 노컷뉴스

  

Sara Danius, the permanent secretary of the Swedish Academy, calls Alexeivich an “extraordinary” writer. 

Swedish Academy praises Belarusian writer’s work as a ‘monument to suffering in our time’

Alison Flood, Luke Harding and agencies

Svetlana Alexievich, the Belarusian writer whose oral histories have recorded thousands of individual voices to map the implosion of the Soviet Union, has won the Nobel prize for literature.

The Swedish Academy, announcing her win, praised Alexievich’s “polyphonic writings”, describing them as a “monument to suffering and courage in our time”. 

She becomes the 14th woman to win the prize since it was first awarded in 1901. The last woman to win, Canada’s Alice Munro, was handed the award in 2013.

Speaking by phone to the Swedish broadcaster SVT, Svetlana Alexievich said that the award left her with a “complicated” feeling.

“It immediately evokes such great names as [Ivan] Bunin, [Boris] Pasternak,” she said, referring to Russian writers who have won the prize. “On the one hand, it’s such a fantastic feeling, but it’s also a bit disturbing.”

The academy called while she was at home, “doing the ironing,” she said, adding that the 8m Swedish krona (£775,000) prize would “buy her freedom”.

“It takes me a long time to write my books, from five to 10 years. I have two ideas for new books so I’m pleased that I will now have the freedom to work on them.”

Alexievich was born on the 31 May 1948 in the Ukrainian town of Ivano-Frankovsk into a family of a serviceman. Her father is Belarusian and her mother is Ukrainian. After her father’s demobilisation from the army the family returned to his native Belorussia and settled in a village where both parents worked as schoolteachers. She left school to work as a reporter on the local paper in the town of Narovl.

She has written short stories, essays and reportage but says she found her voice under the influence of the Belorusian writer Ales Adamovich, who developed a genre which he variously called the “collective novel”, “novel-oratorio”, “novel-evidence”, “people talking about themselves” and the “epic chorus”.

According to Sara Danius, the permanent secretary of the Swedish Academy, Alexeivich is an “extraordinary” writer.

“For the past 30 or 40 years she’s been busy mapping the Soviet and post soviet individual,” Danius said, “but it’s not really about a history of events. It’s a history of emotions – what she’s offering us is really an emotional world, so these historical events she’s covering in her various books, for example the Chernobyl disaster, the Soviet war in Afghanistan, these are in a way just pretexts for exploring the Soviet individual and the post-Soviet individual.”

“She’s conducted thousands and thousands of interviews with children, with women and with men, and in this way she’s offering us a history of human beings about whom we didn’t know that much ... and at the same time she’s offering us a history of emotions, a history of the soul.”

In Voices From Chernobyl, Alexievich interviews hundreds of those affected by the nuclear disaster, from a woman holding her dying husband despite being told by nurses that “that’s not a person anymore, that’s a nuclear reactor” to the soldiers sent in to help, angry at being “flung ... there, like sand on the reactor”. In Zinky Boys, she gathers voices from the Afghan war: soldiers, doctors, widows and mothers.

“I don’t ask people about socialism, I ask about love, jealousy, childhood, old age,” Alexievich writes in the introduction to Second-hand Time, which is due from independent publisher Fitzcarraldo Editions in 2016. “Music, dances, hairstyles. The myriad sundry details of a vanished way of life. This is the only way to chase the catastrophe into the framework of the mundane and attempt to tell a story.

“It never ceases to amaze me how interesting ordinary, everyday life is. There are an endless number of human truths … History is only interested in facts; emotions are excluded from its realm of interest. It’s considered improper to admit them into history. I look at the world as a writer, not strictly an historian. I am fascinated by people.”

Danius pointed new readers towards her first book U vojny ne ženskoe lico (War’s Unwomanly Face), based on interviews with hundreds of women who participated in the second world war.

“It’s an exploration of the second world war from a perspective that was, before that book, almost completely unknown,” she said. “It tells the story of the hundreds and hundreds of women who were at the front in the second world war. Almost one million Soviet women participated in the war, and it’s a largely unknown history. It was a huge success in the Soviet Union union when published, and sold more than 2m copies. It’s a touching document and at the same time brings you very close to every individual, and in a few years they all will be gone.”

According to her close friend, the Belarusian opposition leader Andrei Sannikov, Alexeivich writes about “the history of the Red Man”.

“She claims he is not gone,” Sannikov said. “She argues that this man is inside us, inside every Soviet person. Her last book, Second-hand Time, is dedicated to this problem.” Alexeivich is “wonderful at interviewing” he continued. “She doesn’t avoid difficult issues or questions. Mostly she writes about human tragedy. She lets it go through her and writes with surgical precision about what’s going on within human nature.”

Bela Shayevich, who is currently translating Alexievich into English for Fitzcarraldo, also paid tribute to her skills as an interviewer which leave her work “resounding with nothing but the truth”.

“The truth of life in the Soviet Union and post-Soviet Russia is not an easy thing to swallow,” Shayevich said. “I’m thrilled that this win will mean that more readers will be exposed to the metaphysical dimensions of her subjects’ survival and despair through the tragedies of Soviet history. I hope that in reading her, more people see the ways that suffering – even suffering brought on by geopolitical circumstances foreign to many readers – is also something that can bring people closer to one another if they are willing to take a risk and listen.”

Although Alexievich is widely translated into German, French and Swedish, winning a range of major prizes for her work, English editions of her work are sparse. Fitzcarraldo editor Jacques Testard came across her work in French a few years ago.

“It’s an oral history, as are all her books, about nostalgia for the Soviet Union,” said Testard. “She went around Russia interviewing people after the fall of the Soviet Union, in an attempt to surmise what the collective post Soviet psyche is. As with all her books, it’s really harrowing – a story about loss of identity, about finding yourself in a country which you don’t recognise any more. It’s a micro-historical survey of Russia in the second half of the 20th century, and it goes up to the Putin years.”

“She’s been a big deal in Europe for a long time, but she’s never really been picked up in England,” he said.

“Her books are very unusual and difficult to categorise. They’re technically non-fiction, but English and American publishers are loath to take risks on a book just because it’s good, without something like a Nobel prize.”

Alexievich led the odds for the 2015 award, ahead of Japan’s Haruki Murakami, Kenya’s Ngũgĩ wa Thiong’o and the Norwegian playwright Jon Fosse.

http://www.theguardian.com/books/2015/oct/08/svetlana-alexievich-wins-2015-nobel-prize-in-literature

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