詩人簡政珍轉化後現代精神，以正面動力展現獨特的詩美學形貌。以詩為證，本文認為簡政珍以意象及思維作為並列與平行的根本，建構其詩世界。其表現為：以意象顯示及換喻，取代表象再現及比喻；迴避主體我的告白方式，以辯證式的質疑展現對存在的反思；帶著顛覆觀念將差異極大的兩者並列，而非景物或主題並列；著力點放在動詞和受詞之間的邏輯關係，而非以主題與評論為主力；講究空間斷裂及時間流動所形構的意象長鏈，而浮載哲思式敘述。因此他的詩富於後現代的質疑及批判精神，又照亮意義深厚的生命實底。總之，簡政珍的詩作展現後現代精神，但與當代台灣大多後現代詩偏向形式戲耍，玩弄文字遊戲的寫作方式迥然不同，這是他的作品最值得注目的地方。

Cheng-chen Chien the poet translates the postmodern spirit into the positive force of his poetry and presents it in an idiosyncratic aesthetic aspect. With examples of his poems, this article recognizes that Cheng-chen Chien has constructed a world of poetry upon the foundation of image and thinking, functioning respectively as the essential element of juxtaposition and of parallelism. The special features of such an achievement are as follows: the expression by means of image and metonymy substitutes the method of representation and metaphor; the subjective confessional method is avoided and replaced by the dialectic questioning on man's being; using the concept of "anti" to juxtapose any two extremely different things, rather than two descriptive scenes or topics; the rhetoric emphasis of poetic lines lies in the normative relation between the verb and the object of a sentence, rather than the juxtaposition pattern of topic-comment; and the subtle exploration of both the special separation and the temporal flow, together forming the basis of the chain of images, serves to present the narrative philosophical thoughts. Therefore, Chien's poetry tends to express the postmodern questioning and critical view and, meantime, spotlights the profundity and the meaning of being. In brief, Cheng-chen Chien's poetry shows the postmodern spirit in a way that is creative and very different from most of the poetic expressions in contemporary Taiwan, which incline to stress on the play of word and of form; this special feature of his poetry requires a very special attention.