The roof of the world in modern poetry is not a geographical concept; If it has something to do with geography, it just borrows a geographical image of the Himalayas-Mount Everest, which is recognized as the roof of the earth world in the world. Roof of the World uses it as a symbol of the roof of world literature. It is the forbidden area of life and the last piece of pure land on the earth except the north and south poles. It is vast, sublime and solemn, extremely noble, with glaciers moving slowly, mountain peaks protruding from Yun Biao and very close to the sky (sacred world), which is completely consistent with the requirements of the world poetry group for ideal literature. The roof of the world believes that the existence of the geography of the roof of the world is completely qualified and should be a symbol of the best literature of the times! The Roof of the World represents the cognition and belief of the Roof of the World Poetry Group on poetry and literature, and it is an important world division of China's contemporary literature by the Roof of the World Poetry Group. Roof of the World advocates divine writing, that is, upward writing, moral writing and commitment writing, which is a lasting and solemn writing of human beings on the earth. It is the only writing in contemporary China that stands on the opposite side of animal writing and is not afraid of being completely opposed. Divine writing is a tragic insistence on the eternal value of life and a spiritual protector of the fundamental interests of mankind; Divine writing emphasizes the cultivation of independent personality of poets and writers, and emphasizes that literature has become a positive force to participate in the reconstruction of the spirit of the times. It opposes the downward writing tendency that has dominated since the third generation poetry movement with an extremely tough stance, and says no to the tendency of commercialization, deconstruction, riffraff, pornography, untouchability, garbage, hollowness and entertainment of contemporary literature. The deified writing in The Roof of the World is different from any other deified writing. It is not a mysterious curiosity, nor a sudden discovery of a universal secret writing method, nor a rigid stipulation on the writing theme. It comes at the urgent request of the times and has a strong contemporary nature. It is the self-adjustment and self-rescue of contemporary China literature after animal writing has flooded to a certain extent.
The roof of the world represents the eternal status of literature. It is a three-dimensional concept and a historical transcendence of many road disputes in contemporary literature. If the numerous road disputes in contemporary poetry circles represent the technical dilemma of poetry and mainly point to the various possibilities of poetry, then the roof of the world literary movement will get rid of many opposites and conflicts in the technical level of poetry and strive to re-grasp and define literature from the fundamental spirit, so as to reach a height overlooking and containing everything for poetry and literature. The Roof of the World represents the height and difficulty of literature. It liberates the struggle between poetry and literature from the opposition and disputes in different roads on the ground, and pulls it into a much broader and broader three-dimensional space, making it stand side by side with God. The appearance of the Roof of the World Literature Movement is not to add another one to the small circle of poetry, nor to compete with these small circles and gangs, nor to choose a better road as much as possible, but to re-choose among the many roads on the ground. On the contrary, it believes that no matter which road on the ground is not the ideal road of literature, the road of literature is in the sky, and there is only one road in front of contemporary literature: upward. The basic standard of the roof of world literature is upward, sharp and beneficial; The slogan of the roof of the world literature movement is: self-construction, self-interpretation and long-term existence. The roof of the world literary movement and its divine writing theory, fully participating in the reconstruction of the spirit of the times, may break through the boundary between poetry and literature and become the forerunner of an ideological and cultural movement. The poetry group of Roof of the World consists of two parts: one is the theory of divine writing. On June 30th, 2004, Liu Cheng, a third-generation poet theorist who was brewing in 2002-2004, published a long poem "The End of Postmodernism Myth —— The Divine Writing View of China's Poetry in 2004", and put forward the "Divine Writing View" for the first time in China. As a literary concept, "the roof of the world" was first seen in the general preface written by Liu Cheng for Liu Cheng's online literary work "The Magic Pen: The Roof of the World in Poetry". On August 26th, 2006, Liu Cheng initiated the establishment of the School of Poetry Writing on the Roof of the World, and founded the large-scale literary folk magazine Roof of the World. Liu Cheng believes that there is no poem beyond divinity before poetry reaches divinity; Divine writing is writing with divinity as the only background. Divine writing is the core of the roof of world poetics theory and the overall poetics of the roof of world literary movement. Divinity is not a denial of human nature, but the noblest, most penetrating, closest to God's position and most radiant part of human nature. Divine writing is not mythological writing or religious writing, nor is it a rigid stipulation on the theme of poetry, but a comprehensive breakthrough and transcendence of the boundary of poetry theme. It is the meditation and wandering of divinity in all themes, and the poetic treatment of all themes in poetry. Liu Cheng asserts that all the problems in contemporary poetry are the result of forcibly lowering the head of poetry. The roof of the sacred writing in the world pays attention to the ultimate value of human beings. Under the post-modernism background of anti-culture, anti-value, anti-hero, anti-sublimity and anti-grand narrative, he made a strong appearance with the attitude of protecting the human spirit without fear, which was in direct conflict and overall opposition with the animal writing that had dominated since the third generation poetry movement. He emphasized the moral background of writing, stressed that writing was responsible for the times, and let writing lead all positive forces in life with the magnanimity of a king. Because these poetic concepts are extremely distinct and strong, Liu Cheng is called "the only upper-body poet in contemporary poetry" by netizens. His writing thoughts are mainly reflected in The End of Postmodernism Myth —— Divine Writing Concept in China's Poetry in 2004 (Liu Cheng), Declaration on the Roof of the World Literary Movement (Liu Cheng), Divine Writing: Speaking for Everything —— Reflecting on the Fundamental Problems on the Roof of the World Extreme Sports Poetics (Liu Cheng) and Interview with Liu Cheng: Returning to Tianmen —— From Divine Writing to Divine Writing. One is to write articles for divinity. Specifically, there are Nan Ou's poems "Fire Bath", which is devoted to deep thinking about life and death in his early days and has a wide influence in poetry circles, as well as a large number of short poems and poems created recently; Ten series of long poems such as prophecy, dialogue, time and water. The long poem "Empty" has the image of a nest flying, and focuses on metaphysical thinking about life, which is not without religious significance; There are Angela's long poems such as "willfulness" and "reborn monument", and there are also a number of short poems in Beijing period, which are unconstrained and unconstrained, saturated with the pain of survival; There are also a lot of short poems by white crows, which are marked by darkness and full of mysterious experiences. There is a collection of poems by a young woman in Shandong Province, Section and Echo, which is aloof and uninhibited and close to spiritual extremes. There are two groups of poems published by Liu Cheng, a pioneer of divinity writing, in 2004, namely, A Collection of Poems "Incoherent Words" and "Crossing the Demon World in the Evening", a long poem "Nine Songs" written since 1980s and finalized in 2000, and a large-scale group poem "Naxi" (the original scattered sheep) devoted to post-grassland narration.
The poetry group of Roof of the World is based on the large poetry magazine Roof of the World, with Liu Cheng as the editor-in-chief, Shi Pin and Dong Ji as the deputy editors, and Yuan Sanyang as the executive editor.