我之所以借用谢冕先生论述散文诗的一句话作为题目,是因为他道出了我对散文诗的全部感受。从鲁迅的《野草》到郭凤的《叶笛集》、柯蓝的《早霞短笛》再到如今的散文诗群体,散文诗不但没有山穷水尽,反而越来越年轻,“而介乎诗歌和散文这两种文体之间的散文诗却是青春依旧——它总也不老”(谢冕《散文诗论》)。这一期选发的冯明德、亚男、栾承舟三位散文诗人的作品也和散文诗一样青春不老,虽然他们年龄都五十开外了。冯明德的散文诗始终有一种意识流在文字背后涌 The reason why I borrow the passage of Mr. Xie Mian on essay poems is because he tells me all my feelings about prose poetry. From Lu Xun’s “Wild Grass” to Guo Feng’s “Ye Di Ji”, Ke Lan’s “Morning Xia Piccolo” to today’s prose poem groups, prose poems not only do not end by day, but are getting younger and younger, “and poetry And essay prose between the two styles of prose is still young - it is always old ”(glorified“ Prose Poetry ”). The works of the three essayist poets, Feng Mingde, Ya Nan, and Luan Chengzhou, selected in this issue are also as young as prose poems, though they are all over 50 years old. There is always a stream of consciousness in Feng Mingde’s prose poetry behind the text