簡政珍《臺灣現代詩美學》一書，是詩人／詩學家二十多年來教學相長的詩想舍利子，金聲而玉振，體大而思精；潤其風華，成其大器。在這本書裡，簡政珍以「現實詩美學」和「後現代風景」的雙重視野，考察著臺灣八○年代以來詩美學的跡痕麟爪。探討著臺灣現代詩八十年來「詩美學」的「跡痕」、「風景」、「前景」：「如此詩作／詩論交互影響的結果」，簡政珍對臺灣現代詩／現代詩學有進一步的「美學」期待，《臺灣現代詩美學》的寫作，就是在這樣的「前景」下完成的書寫。《臺灣現代詩美學》全書「論述詮釋的過程本身」，體現著簡政珍一以貫之的「意象思維」詩美學，動人心魄，飽含哲理。筆者嘗試以〈傷痕〉、〈中國〉、〈國喪日〉、〈災前〉，這四首詩為詩例，來映照其「既是也不是」、「詩化的現實」、「空隙／縫隙」等詩美學。以體現簡政珍「詩作／詩學」互為體用的「以技巧作為發現／以藝術作為技巧」之「詩和現實交相辯證，哲學是辯證後的結果」詩藝。

This paper contains five sections: the first is both realism and post-modernism of poetry's aesthetics in Jian Zheng-zhen's book “Taiwan Modern Poetry's Aesthetics”; the second is the art of metaphor and metonymy in Jian Zheng-zhen's poetry “The Scar”; the third is satirical technique used in Jian Zheng-zhen's poetry “China”; the fourth is the history flow in Jian Zhen-zhen's poetry “The Day of National Mourning”; and the fifth is the aesthetic of transferring reality into poetry in Jian Zheng-zhen's poetry “The Moment before the Catastrophe”.