自上个世纪90年代以后,中国诗歌似乎不可逆转地被推向了社会文化的最边缘,甚至曾经把诗歌作为镇园之宝的文学园地也没给诗歌留下半亩方塘。但是总有一群人执着地坚守在这片即将荒芜、生气寥寥的原野中,艰难地耕种。无论我们是悲叹诗人和诗歌的弱势遭遇,还是庆幸诗歌可以因此变得更加纯粹,都不可否认这样一个事实:当代诗人总是在现实与诗歌之间来回晃荡,努力寻找自己的栖息之地,却总是徒劳。因为处于对过去的怀恋与对当下的体验之间,处于对故乡的回望与对城市的适应之间,处于对传统的敬仰与对现代的调节之间,矛盾总是无处不在,他们徘 Since the 1990s, it seems that Chinese poetry has been irreversibly pushed to the extreme edge of social culture. Even the literary field, once the poetic town of poetry, has not left half a square of ponds for poetry. However, there are always a group of people who persistently stick hard to cultivate hard in the barren, desolate wilderness. Whether we lament the disadvantaged encounters of poets and poetry, or are fortunate that poetry can thus become more pure, one can not deny the fact that contemporary poets are always swaying back and forth between reality and poetry, trying hard to find their own habitat Always futile. Because of the nostalgia for the past and the experience of the present, between the look-back of hometown and the adaptation to the city, between traditional admiration and the adjustment to the modern, the contradictions are always ubiquitous