When we Chinese are indulging in and clapping and shouting “Bravo”for the verse “Dark night endowed me with dark eyes，But I use them to seek light。”composed by the poet Gu Cheng，we will not know that the foreign friends sitting with us face to face really cannot come round to the idea of why the open-minded Chinese have finally come to realize that they should seek light with their eyes till this day as the foreigners read the same verse translated into English or other languages.When we have taken pains to translate some beautiful lines of Tang Poetry and poems of Song Dynasty，such as “before my bed a pool of light”，“two orioles amid green willows are chirping，/a row of egrets high up the blue sky is flying”“over old trees wreathed with rotten vines fly crows”into English or other languages，foreign friends who love Chinese poetry still cannot tell the difference between ancient poems and modern poems，nor can they know that these poets are people from ancient times or modern times.It is just this kind of embarrassing cultural exchange situation that inspired me with the idea that I should introduce a batch of Contemporary Chinese poets together for worldwide friends who really love Chinese poetry with a form of poems rather than with papers.
在南京的凤凰台，欧阳江河自信地说：诗歌属于中年。我觉得此话不无道理。现在我们回过头来稍微梳理一下就会发现，从1979年到1989年的10年间，中国诗歌进入了一个以“朦胧诗”为代表的辉煌时期；那个时期除了顾城、舒婷、北岛、欧阳江河、于坚、翟永明等先锋诗人以外，还有雷抒雁、李发模、杨匡满等中年诗人在写诗，那时的李英、张同吾、查干等更老一些的诗人也在写诗，那时的中国诗歌方阵是呈“雁阵型”的，所以出现了一批质量很高的诗歌作品；从1989年到1999年的10年间，中国诗坛就像一个缺氧的池塘，不否认这片池塘里有鱼，但都浮在表面，浮在网络上，表面看来非常喧嚣但实际上缺乏“阵型”。这一时期流派林立，主义横生，但真正有影响的、相对厚重的诗歌作品并没有产生。从1999年到2008年间，随着大批“中间代”诗人的回归，中国诗坛渐次由喧嚣转入理性，一批厚重的，有质量的诗歌作品才在近年不断涌现出来。
At Phoenix Platform in Nanjing，the poet Ouyang Jianghe spoke with confidence that poetry belongs to middle age，which I consider very reasonable.Now looking back and having a simple analysis，we would find that during the ten years from 1979to 1989，Chinese poetry stepped into a glorious decade represented by “misty poetry”；during that period，except for some pioneering poets such as Gu Cheng，Shu Ting，Bei Dao，Ouyang Jianghe，Yu Jian and Zhai Yongming，there were still some middle-aged poets such as Lei Shuyan，Li Famu，and Yang Kuangman as well as some senior poets for example，Li Ying，Zhang Tongwu，Zha Gan composing poems.So Chinese poetry Phalanx of that time was taking on a “Wild Goose Queue”look，and as a result，a group of poems of high quality flourished at that period.Then within the following ten years between 1989and 1999，the Chinese Parnassus resembled an anoxic pond.It cannot be denied that fishes lived in the pond，but they all floated on the surface and on the Internet，which looks full of sound and fury from first appearance but actually lacks “formation”.Within this era，different schools of thought stood in great numbers and various isms grew wildly，however，no works of poetry，really influential and relatively profound，came into being.From 1999to 2008，as large quantities of “middle-aged”poets have returned to poetic circles，the Chinese Parnassus has gradually shifted from an age full of sound and fury into an epoch of reasons and senses.Subsequently，a great number of high-quality，profound poems have continued to come to the fore in recent years.