As an up-and-coming poet in 1950s, Gong Liu's poems are neither as unrestrained, eager for passion and magnificent as Guo Xiaochuan's, nor as clean, euphemistic and interesting as Wen Jie's. His poems, such as Camel Carrying Willow, Beacon Tower and Shanghai Night Song, show a special talent of the poet: he is good at quickly capturing certain scenes and fleeting daily phenomena from life, and immediately sublimates some wonderful philosophical thoughts from them. The combination of the two forms a distinct artistic phenomenon harmoniously, which makes readers feel the beauty of life and profound philosophical thinking. From the sisal hemp that can be seen everywhere in the southern border, he saw the mental outlook of the soldiers guarding the border (sisal hemp); The sweet dreams of the capital are intertwined with the vigilant eyes of the frontier searchlights, revealing the lofty and beautiful hearts (swords) of the defenders of the capital in peacetime in sharp contrast; Use poplars to symbolize martyrs, portray the image of power and unyielding, write its indifferent expression of expecting answers, and arouse people's thinking (execution ground).
Gong Liu's poems are mostly eight-part essays, so they are called "eight-part essays". From the second half of 1956 to the first half of 1957, Gongliu made a lot of explorations. Cooper and other nostalgic poems in front of Wang Yue's tomb. Language and images draw more lessons from classical poetry, and the emotional tone is slightly depressed. My 1956 New Year's Eve adventure was obviously influenced by Mayakovski's poetic style. Some of his other poems have the flavor of southwest folk songs. In a few satirical poems and allegorical poems, the spirit of intervening in social contradictions is shown.