《飘风集》（1991-1999）全球限量版10本已出
仅剩五本，即006到010。只出10本，不再多出一本。
其中随便选了一首诗，前后就不给看了，凭什么啊：
春仁：“典型的语言朴拙不重修辞，无技巧是最高的技巧。篇幅长却读着轻松，还想往下看，当然还想重复看。”
Josephine：“愤怒青年与生活掐架，与青春挥别的过往：很强的烟火气和生命力！喜欢！”
慕斯：“少见的无修饰好诗，主持该安排特瓶。“
Chaos：“在高度镇静自若中自剖。”
在此特表感谢。
LOWER DOWNS, RUBBISH AND LOW POETRY by Ouyang Yu
Beauty is so far from being the dominant principle of modern poetry that many of the most splendid modern works are clearly portrayals of ugliness - Friedrich Schlegel ( On the Study of Greek Poetry , 1797) Contemporary Chinese poetry has unashamedly turned from the sublime and sacred to the vulgar and profane. In April 1999 at the Panfeng Conference in Pinggu County, Beijing, poets split into two camps, the zhishi fenzi (intellectual) and the minjian . 1 The poets in the intellectual camp (Wang Jiaxin, Ouyang Jianghe, Xi Chuan, Zang Di and others) were mostly well-published, anthologised, critically acclaimed, well-travelled and internationally well-connected. As university professor and poetry critic Cheng Guangwei noted, much of their poetry reflects the influences of Western literary masters such as Yeats, Rilke, Lowell, Pound, Baudelaire, Milosz, Pasternak and Brodsky. 2 The minjian camp (Yu Jian, Yi Sha, Xu Jiang and others) critiqued these influences as ‘European’ or ‘colo
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