霍俊明认为在九十年代以来的叙事诗学和戏剧性现实的双重影响下,更多的诗人以超强的“细节”和“叙述”能力,对身边的“事物”予以绘声绘色又煞有介事的抒写。这样写作范式的好处可能就是内心找到了客观或虚拟的物象予以对应,其缺陷则是导致了过于贴近原生景观和社会百态的放血和拟真化写作的泛滥。与此同时,这种黏稠的缺乏性情观照和超拔想象力提升的写作方式,正在成为新世纪以来的诗歌“美学”。汤养宗近年的诗歌则很少有“事物之诗”的冲动,恰恰相反,他在反方向中走向了智性探险意义上的“迷人深渊”。 According to Huo Junming, under the double influence of narrative poetics and dramatic reality since the 1990s, more poets have painted their own “things ” with super “detail ” and “narrative ” Also describe the funeral. The advantage of such a writing paradigm may be that an objective or virtual image has been found in the center, and its flaw has led to the proliferation of bloodletting and phonetic writing that is too close to the original landscape and social conditions. At the same time, such a sticky lack of temperament and super-imaginative ways of writing is becoming the poem “Aesthetics ” in the new century. In recent years, Tang Yangzong’s poems rarely have the impulse of “poem of things”. On the contrary, he has moved in the opposite direction to the “mysterious abyss” in the sense of intellectual expedition.