從《波西米亞行路謠》、《黑雨將至》到《八尺雪意》，香港詩人廖偉棠筆下的「漫遊」無疑是苦行式的，以詩作為手風琴，吟誦痛苦的夢境、生死與末世。就實體的書寫場域而言，從香港、北京、巴黎到台灣，廖偉棠的詩處於頻繁更迭的「地域」轉換與主體位置的「漂移」之中。「漂移」並且開展出兩類藝術實踐策略：局部「情境」建構（語言特徵），及撿拾「景觀」碎片（思維方法）。前者，將種種不確定的際遇、感知與想像的片段接合台灣的風土地貌，並加以蒙太奇式拼貼與剪接，使遭受異化的感知空間，呈現出反理性與文化霸權規制的美學編碼。後者，詩人是歷史與現實的甬道裡憂鬱的拾荒人，撿拾台灣島內「景觀」無所不在的碎片，賦予詩意時間的凝視並微觀化為「事件」，穿越被異化之重層城市空間的「幽靈幻景」，把「人－世界」的本真性關聯，從「景觀」壓制的現狀中解救出來

From Bohemian Ballad and Black Rain Is Comming to Eight Feet of Snow, Hong Kong poet Liao Wei-tung's roaming, as shown in his writing, is undoubtedly an ascetic practice, using the accordion of poetry to sing the tunes of painful dreams, life and death. As far as the writing field is concerned, Liao Wei-tung's poetry displays a state of frequent transformation of regions and constant ＂dérive＂ of the subject positions as he traveled from Hong Kong, Beijing, Paris to Taiwan. ＂Dérive＂ develops two types of strategies for artistic practice: constructing partial ＂situation＂ (in language features) and picking up ＂landscape＂ fragments (in thinking). The former combines all kinds of chance encounters, perceptions and imaginations with the local customs of Taiwan, and uses techniques such as montage, collage and splicing to present an aesthetic code against rationality and cultural hegemony in a perceived, alienated space. In the latter strategy, the poet himself is a melancholy scavenger in the tunnel of history and reality, picking up the ubiquitous pieces of the ＂landscape＂ on the island of Taiwan, giving them a poetic gaze which microscopically materializes into ＂events,＂ passing through the ＂phantasmagoria＂ of the alienated urban space, and finally rescuing the authentic affinity between humans and the world from the oppression of the present landscape