They never get my publication record right

By Ouyang Yu

 so let me put them right by putting these here:




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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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