在當前的主流論述視野中,中共建政後在官方文藝政策底下助長而成的「頌歌」(1949-1960),跟以郭路生和白洋淀詩歌群落為代表的「文革地下詩歌」(1968-1976)之間,存在著一個論述縫隙,其中最重要的是陳建華、錢玉林、張燁所代表的上海群體,以及貴州的異議詩人黃翔。前者並沒有直接介入文革後期朦朧詩的崛起,但他們在文革前夕的詩歌寫作,完全是背著「頌歌」逆流而上,承接了西南聯大詩歌的精神血脈,也借鑒了西方詩歌的技藝,在潛流中的自學成形,造就了一支混紡了西方浪漫主義和現代主義色彩的詩風,在當代詩史略嫌蒼白的1962-1967年登場。至於黃翔充滿張力的抵抗詩學,也為這個大時代補上強悍一筆。這些來自北京文壇以外的年輕詩人,對詩史的版圖起了修正性的作用。
In the currently perspective of mainstream discourse, existed a discourse gap between songs of praise (1949-1960) fostered under official literature policy from 1949 and underground poetry of cultural revolution (1968-1976) which including Guo Lu-sheng and Baiyang Marshes poetry school. There are two party of poets submerged in this discourse gap (1962-1967): Shanghai poets group such as Chen Jian-hua, Qian Yul-in and Zhang Ye, and dissident poet Huang Xiang from Kuizou. Shanghai poets group did not intervene the immerge of post misty poetry, but their poetry before cultural revolution are completely countercurrent songs of praise. Descending the spirit of National Southwestern Associated University and learning technique of poetry from the west, they blend a style of romantism and modernity during 1962-1967. Whereas the resistant poetics of Huang Xiang also make up this great time. These two group of poets who are out of Beijing has amended the territory in history of poetry.