A number of Taiwanese authors can write, comment on, and translate poetry. However, Li Chen, among others, is probably the only one who translates poetry with different origins, covering Europe, Asia, Africa, and America. Li Chen's translations cross national boundaries, and his own works (including music, painting, and foreign literature) also cross various cultures. With the rise of global civilization, Li Chen's works deserve more critical attention owing to his integration of various cross-cultural topics, innovative experimentation on the form, and great concern about women, minority groups, and the third world.Li Chen's works have been discussed from the perspectives of postmodernism and postcolonialism. Exhibiting both local and avant-garde features, Li Chen's works have constructed the spectacle of Taiwanese poetics. However, through the interpretative lens of cross-culturalism, we discover something more than local and avant-garde in Li Chen's works. Starting with the discussion of Li Chen's substantial translations of Latin American poetry, this article examines how Li Chen's translations influence his creative writing.Li Chen regards his experience of translating Latin American poetry leads him to mimic and transform the poems. This article seeks to address the following questions. How can we explicate Li Chen's attempt of transferring Latin American culture into Taiwanese literature as a way to break the myth of treating Americanization as Internationalization? After cultural translations, how does Li Chen create the unique features of his poetry by appropriating and rewriting Latin American poetry? Which perspective of comparative culture can be generated from examining Li Chen's translated poems and his own works? By analyzing Li Chen's poetry translation and creation, we hope to construct Li Chen's cross-cultural and intertextural poetics.