本文探研自夏宇之後，臺灣近十年來，年輕一代的詩語言狀態。論文先從臺灣詩壇的後現代論述回顧，例如：深具影響的孟樊及簡政珍二位之著作，再自這些學術基礎上，進一步探研後現代詩語言的面貌。討論的詩人為六○年代之後出生，葉覓覓、劉亮延、魚果、駱以軍、廖梅璇等。據其語言的方向與突破點，有來自夏宇影響，或有另外來源、想法的，疏理其語言形式洩露的社會文化訊息。另外，夏宇本人的詩集及其編輯理念，如新的一本完全透明、可浸泡在水中的詩集《粉紅色噪音》，及《現在詩》第2期「來稿必登」，亦一直帶領著一種新的後現代詩之風景。在臺灣這片既有漢文化又深受世界詩潮鼓盪的土地上，如何在世界後現代既有論述中新增內容？亦為本文待處理的理論線索。

This paper discusses the poetic language of the younger generation over the past ten years, in the wake of Hsia Yu. The paper reviews the postmodern discourse in Taiwanese poetry, such as the influential works of Meng Fan and Chien Chengchen, with a specific focus on the language used. The poets discussed were all born in the 1970s, such as Yeh Mimi, Liu Liangyen, Yu Kuo, Lo Yichun, and Liao Meihsuan. Based on their use of language and innovations, some of them were affected by Hsia Yu, while others were influenced by other writers and ideas. The social and culture messages in these works are revealed by their innovative use of language. The poetry and the editorial philosophy of Hsia Yu lead to a new scene of postmodern poetry, such as the works Pink Noise and Poetry Now. This essay also attempts to discuss how it tries to make an innovative theory on Taiwanese poetry, more than its basic sources both from classical Chinese poetics and modern western theories, in particular post-modernism.