「文化大革命」時期，北京、貴州、上海、四川等地存在大量的非官方、非主流性質的「地下詩歌創作」，它們既構築了某種與大一統風格迥異的異質詩風，也以文學史實證偽了「文革文學」空白之論。迄今為止，部分「地下詩歌」與「潛在寫作」已或多或少地「浮出地表」，甚至提升為「經典」，由於史料文獻的散佚未刊與匱乏現狀，上海的「地下詩歌」創作卻幾乎仍處於一種被文學史忽略的狀態，尚未引起文學史家的足夠重視。從詩歌群落的特徵來看，上海詩人秘密、執著、個體的散點詩歌寫作中，也在局部成員之間形成了相對固定的文學聚會。無論從文學、美學的意義，還是從社會學、文化學的意義來看，文革時期上海詩人的詩歌創作及其寫作活動本身，留存並見證的是湮沒在「地下」的另類詩意和浪漫詩風，彰顯的是「還原詩歌史」的文革文學史原始版圖。

During the Cultural Revolution, there were a large number of unofficial and non-mainstream “underground poetry” in Beijing, Guizhou, Shanghai, Sichuan and other places, which not only constructed a different style of poetry from the unified style, but also falsified the empty theory of “Cultural Revolution literature” with literary historical facts. Up to now, some “underground poetry” and “potential writing” have more or less “surfaced” and even been promoted to “classics”. Due to the lack of historical materials and documents, the creation of “underground poetry” in Shanghai is almost still in a state neglected by the history of literature, which has not been paid enough attention to by literary historians. From the characteristics of poetry community, Shanghai poets have formed relatively fixed literary gatherings among local members in their secret, persistent and individual poetry writing. Whether from the significance of literature, aesthetics, sociology and culturology, the poetry creation and writing activities of Shanghai poets during the Cultural Revolution retain and witness the alternative poetry and romantic poetic style annihilated in the “underground”, and highlight the original layout of the history of literature of the Cultural Revolution in “restoring the History of Poetry”.