Right and wrong writing: represented by Zhou Lunyou and other poets. Edited by Feifei and Feifei. This school of poetry is the earliest and longest-lasting school in the third generation, and its personnel composition and differentiation are very complicated. In terms of poetics, it began with anti-culture and anti-value, and then it was bounded by 1990. It was not Africa before, and then it was not Africa. In the course of China's magnificent contemporary poetry, whether it is anti-culture, anti-sublimity, anti-value, or "red writing" in post-Africa, Feifei has been constantly changing its structure, maintaining the rebellious mentality and great creative vitality of avant-garde writing.
Intellectual Writing: Take Nishikawa, Wang Jiaxin, Cang Di and Xi Du as the representatives. Generally speaking, these poets all have college backgrounds, emphasize the elegance and nobility of poetry, speak the language of translation, and like to pile up knowledge and allusions in their poems. Although they have their own achievements, they are more elegant than bloody because they are far from the scene of life, which is a bit like an empty poem.
Their writing: represented by poets such as Han Dong and Yu Jian, and based on folk magazine They. Due to the special circumstances during the transition from planned economy to market economy, this school of poetry has developed rapidly and has been prosperous for more than ten years. Its representative figures have long held the power of poetry, and shared most of the resources of poetry circulation with the intellectual poets who settled in Beijing. It should be said that under the situation that pseudo-value is dominant, their folk position starts from anti-sublimity, anti-value and anti-culture, and emphasizes that poetry returns to the present, to the scene and to daily life, which is also the fundamental reason for its influence. But because it opened the downward floodgate and refused to check and balance criticism, it laid the groundwork for the final collapse. These poets retreated from the spiritual heights to the lower body and then to the garbage school. Their poems were thoroughly erotic and garbage, and finally joined hands with popular culture, bought and supported by power and capital, and became the darling of capital and the jester of mass consumption. This is the largest surrender to capital and power after literary and political adultery in the decade of the Cultural Revolution, and it is also the most thorough self-denial and self-exile of avant-garde literature characterized by independence and rebellion in the new period.
Heroic writing: Liu Cheng is the representative, and his important works include the collection of poems Anger (written by Liu Cheng, Shaanxi People's Publishing House, 2002), which is regarded as the masterpiece of heroic writing. Because China's poetry circle has always been characterized by burying outstanding poets, and Liu Cheng, the representative poet, once faded out of the poetry circle, this important poetry school, which can carry the history of poetry forever, has been unknown for many years and can only run underground like a fire. It was not until 2002 that Liu Cheng entered the online poetry circle and re-appeared with a large number of creative practices and theoretical achievements of poetry, the poetry school slowly surfaced and heroic writing completed its historical mission. The appearance of "The Roof of World Divine Writing" officially ended the lonely and boring heroic writing, and officially opened the curtain of direct conflict between divine writing and animal writing.