新时期以来的很长一段时间里,我们都习惯用“一片荒漠”来描述文革时期的文学创作。然而近年来,从这片荒漠中披沙拣金的工作正在悄悄地进行着,很多学者已着手重新整理和审视文革时期的文学创作,尤其是那些由于客观原因而被埋没的地下文学。这些重新浮出海面的地下文学让我们惊喜地看到,文革期间,尽管知识分子的文化传统被摧残,现代化的进程被迫停滞,所幸的是,这些传统却以破碎的方式隐遁于民间。60年代,一批最先通过“非法”色彩的阅读与思考获得了某种怀疑精神的青年,就已经开始用他们独立于那个蒙昧时代之外的思考表达个体的体验,独立的意志。沙砾终究无法遮蔽金子的光辉,于是,黄翔、食指、芒克、多多、根子这些闪亮的名字以及他们闪亮的诗篇终于重新被我们认识,他们是一批迟到了的 For a long time since the new period, we all used the term “desert” to describe the literary creation during the Cultural Revolution. However, in recent years, pilgrimage to gold from the desert has been going on quietly. Many scholars have begun to reorganize and examine literary works during the Cultural Revolution, especially underground literature buried for objective reasons. It is surprising to see that these resurfaced underground literature have surprised us that during the Cultural Revolution, despite the devastating cultural legacy of the intellectuals, the process of modernization was forced to stagnate. Fortunately, these traditions were kept in a fragmented manner in the private sector. In the 1960s, a group of young people who first gained some skepticism through reading and thinking about “illegal” colors began to express their individual experiences and independent wills independently of those beyond the ignorance of time. After all, gravel can not obscure the glory of gold. As a result, Huang Xiang, his forefinger, Mangke, a lot of roots and their shining names and their shiny poems have finally been re-recognized by us. They are a group of late