就像国民生产总值在增长,诗歌界的雄心也在写作长诗的尝试中普遍增长。近几年长诗写作成为一些重要诗人的自我期许。或许,长诗所要求的结构,正是检验一个诗人抽象而直观地把握世界的能力,直观产生细节,抽象带来结构。一些诗人以晚明或晚清的历史场景支撑长诗的叙述结构,或以某种具有普遍意义的象征物作为叙述结构。萧开愚不同,他以一个地方、一种蕴含着经济、政治、文化的空间性作为长诗的叙述结构,然而这是一种脆弱的结构,“内地”是历史的堆积物,又是混乱、破碎的,就像他书写过的《破烂的田野》,就像 Just as GNP is growing and the ambition of poetry circles is also growing in the attempt to write long poems. In recent years, the writing of long poems has become the self-expectation of some important poets. Perhaps the structure required by the poem is precisely the ability of a poet to grasp the world abstractly and intuitively, to produce details in an intuitive way and to bring about abstract structures. Some poets support the narrative structure of the poem in the late Ming or late Qing historical scenes or use some kind of universal symbolic structure as the narrative structure. Different from Hsiao Kai-foo, he used a place, a narrative structure containing the spatial features of economy, politics and culture as the poem, but this is a fragile structure. The “Mainland” is an accumulation of history and confusion , Broken, just like he wrote the “broken fields”, like