在當代漢語詩歌史中，黃翔無疑是極具獨特性的一位詩人。以「反行」一詞來觀照詩人黃翔，可以發現，他總是不斷地挑戰時代賦予他的命運。而他的反行特質，又極大限度地在口頭性、聲音和肉身性的理論與實踐中得到了發揮。他聲帶的顫動和肉嗓子所發出的嘶吼，反覆打破了固有的現實秩序和規則，重蹈自身的厄運，背離政治局勢和主流，對抗官方意識形態，超越美學的限制和群體化的界限，拒絕階級劃分觀念。可以說，他堅定不移地以「反行」的聲音方式，在生命本體的聲音、話語能動行爲的聲音和社會實踐行爲的聲音三個方面抗拒極端現代主義的精英路線，脫離任何地緣和譜系上的定位，從而達致詩性精神與生命本真的高度契合。

Huang Xiang is one of the most important contemporary Chinese poets. Because of his active role in engaging with the communist regime, he is often honored as ”China's Walt Whitman” and ”China's conscience.” Although Huang Xiang's writings have been banned in Mainland China by the regime, his poetic voice can be still heard through his amplified vocal cord, the most guttural utterances of his corporeal voice. Such vocoral (vocal+oral) embodiment that uniquely defines Huang Xiang's poetic identity is threefold: voice as being (biological stereophonology); voice as discursive agency (linguistic speech-act and vocal writing) and voice as social practice (ambiental activism and communal engagement). Huang Xiang's paradigmatic ”return to the vocality” in his poetry calls into question many contemporary assumptions about the function of literature in contemporary world. The paper discusses the threefold function of the vocality in Huang Xiang's poetry and shows how the poet redeems the vocality as a powerful means for engaging his poetic activism with China's social-political condition. The Paper examines the empowerment of voice/vocality in Huang's poetry and how the poet adopts such posture to make his poetic voice outstretching to the populist community. The paper argues that the kinetic-vibrant vocal embodiment in Huang Xiang's poetry not only reclaims the most authentic identity of poetry per se but also reclaims the democratic freedom essential to human rights and human dignity.