It is worth noting that the 1990s is an era of diverse poetry writing styles, and the writing styles and aesthetic tastes within the poetry camp artificially divided for disputes are not unified. Taking the poet Wang Jiaxin as an example, Wang Jiaxin was deeply influenced by the sufferings, redemption consciousness and historical responsibility of Russian and Soviet intellectuals. There is a Russian-style power in his poems, which transcends individual existence and explores real suffering and unforgettable self-exile. Wang Jiaxin's poem Pasternak is a poem without many technical factors, far from being "cold lyrical". Undeniably, the technical writing of modern poetry is one of the basic attributes of modern poetry. Eliot paid attention to the English metaphysical poets in the 17th century precisely because the poems written by the metaphysical school contained the most figures of speech in Eliot's view. However, fundamentally speaking, writing is closely related to people's living conditions, so we can't forget Adorno said that after Auschwitz, writing poetry was barbaric. Adorno's "writing poetry" is precisely the avoidance of reality reflected by the attitude of modern poetry writing. If real life tramples on human dignity, then if modernist poetry is confined to "writing" itself, whether intentionally or unintentionally, it is unforgivable indifference. In this sense, Wang Jiaxin's Pasternak tells the truth about the poet's survival dignity. However, Wang Jiaxin's "London Essays" is full of anxiety about the weak mother tongue culture, which also makes some "folk position" poets accuse Wang Jiaxin of being suspected of colonial writing. Similar to Wang Jiaxin, there are Xichuan and Baihua. Nishikawa's long poem "Ode" describes a huge, contradictory transcendental existence with amazing potential, which forms a potential contrast with the life situation that lacks deep introspection and is almost terrible in language and naming. Bai Hua, a poet, has a special penetrating power to history and times. At the moment when he turned symbolic events into poetic resources, generate showed admirable wisdom. For example, in his poem "Houston" written in the late 1980s, we can see that the tension between history and the times brushed the poem, and the tragic thinking about human beliefs tore the lines like lightning, but this radiant writing seems to have disappeared in the poems after the 1990s.