我不知道今后的文学史将怎样描述和评价二十世纪八、九十年代的中国诗歌,也不知道它会以什么样的目光打量曾经风起云涌的民间诗刊。但迹象已经越来越清晰:绝大多数的批评家们对作为重要文化现象与诗学现象的民间诗刊,大都持相当陌生、沉默的态度,顶多有些隔靴搔痒式的评判。不排除已有一批有心人开始在做一些有益的工作,但情形仍难以乐观称之。在一个普遍认不清创造而只知摹仿,并声嘶力竭为摹仿叫好的时代,我们没有理由指望真正的创造,会在几十年后的某一天被重新发掘出来。稍有历史常识的人都知道,并不是每一个重大事件都可以进入历史,更不用说获得地位。绝大多数的事件只在自生自灭;历史仅仅存在于掌握了撰写历史权力的某些人手中。没有任何理由可以怀疑,自生自灭的事件全都是应该被忘却、被忽视的。 I do not know how the future literary history will describe and evaluate Chinese poetry in the 1980s and 1990s. I do not know how it looks at the ever-crowded folk poetry. However, the signs have become clearer: most critics have mostly unfamiliar and silent attitudes toward folk poetry as an important cultural phenomenon and poetic phenomenon, with some judgments at worst. Do not rule out a group of well-intentioned people to start doing some useful work, but the situation is still difficult to be optimistic about it. In an era where creation is generally discredited but only known and imitated, and there is no reason to expect real creation, it will be rediscovered someday some decades later. Anyone with a little historical common sense knows that not every major event can enter history, let alone gain status. The vast majority of events are only self-contained; history exists only in the hands of some who have mastered the power of history. There is no reason to be suspicious of the fact that all spontaneous events should be forgotten and ignored.