柏桦这一代诗人是在对朦胧诗的反思之中登上诗坛的。朦胧诗(尤其是其不得要领的追随者)夸张的社会责任感以及使其得以立足的现实的道义在上世纪80年代随着社会阶层分野的模糊而逐渐变得可疑,同时朦胧诗在世俗层面上获得的巨大成功也在纯粹的诗艺上给后来者施加了持续的压力。在此情景下,反对朦胧诗就几乎成了80年代开始写诗的年轻人的必由之路。一些诗人以世俗生活作为对抗朦胧诗理想和崇高信念的武器,一些诗人则以囫囵吞枣的方式获得的语言学知识装点着形式实验的简陋门面,还有一些诗人则纯粹是为了反抗而反抗,为了告别而告别,产生的作品自然就晦暗芜杂而且显得做作。相形之下,柏桦 Bai Hua’s generation of poets in the reflection on the misty poetry boarded the poetry. Obscure poetry (especially its followers who have no recourse) exaggerated sense of social responsibility and to make it possible to gain a foothold in the real morality in the 1980s with the social stratification of the gradual became suspicious, while misty poetry at the secular level The great success achieved also exerted constant pressure on the successors in pure poetry. Under such circumstances, opposition to obscure poems almost became the only way for young people who started writing poetry in the 1980s. Some poets take secular life as a weapon to counter the ideal of misty poems and lofty beliefs. Some poets use the linguistic knowledge gained in a vain approach to decorate the simple facade of formal experiments. Some poets simply protest against and oppose them. In order to bid farewell And farewell, the resulting work is naturally dull and seem contrived. In contrast, Birch