馬華文學雜誌《蕉風》，於2002 年復刊，至今共出版21 期（489 期-509 期），無論是排版設計，或編輯策劃，都有令人一新耳目之感。每一期推出學術專題，介紹時下方興或前沿的文藝觀念，除了有為馬華文學把脈，借他山之石來攻錯的意味，也試圖為當代的馬華文學走向尋求定位。在創作方面，自495 期的「搖搖頭八字輩特輯」後，以「浪來了」為馬華文學新世代造勢，刊登八字輩的文學創作。本文主要以新世紀《蕉風》上發表詩作的寫作群體，把論述焦點集中在七字輩和八字輩詩作者，探討他（她）們整體詩作的表現，如何有異於其他字輩的馬華詩人。作為當代／新世紀馬華詩風貌的指標，這些新世代作者的語言變異，創作觀與生活閱歷互涉，或自我指涉，詩意緊貼當代生活話語的呼吸節奏，從簡單到繁複，試圖突破日常生活書寫的限度。

The Mahua literary magazine Jiao Feng, reopened in year 2002, has published a total of 21 issues (Issue no. 489 -509), whether it is layout design or editorial planning, has a new sense for literary readers. By introducing each issue of academic topics, the current or the forefront of literary ideas, it gives the momentum for the orientation of contemporary Mahua literature. It focused on the writing of ba zi bei, the new generation of Mahua writers since Issue no. 495 ＂Shook His Head Ba Zi Bei Special Edition＂ and ＂Wave Is Coming＂ later. This paper mainly focuses on the writers of the poems published in the New Century Jiao Feng, concentrates on the writers of qi zi bei(seven-characters generation)and ba zi bei (eight-characters generation) poets, and discusses the performance of the poems, how different from other generation of poets . As the indicator of contemporary / New Century of Mahua poetry, these new generation writers' language variation, creation and life experience interrelated, or self-referential, poetic close to the rhythm of contemporary life, from simple to complex, trying to beyond the limits of daily life writing.