热烈祝贺《世界华人三行诗精华集》发行

Preface

   “Best World Chinese Three-Line Poems” is another carefully composed Chinese three-line poetry collection published after the “World Chinese Three-Line Poetry.” If we say the former book focuses on domestic readers, this one aims at English readers. This book is to introduce to the world the Chinese three-line poems. Hence this Chinese and English bilingual edition.   

        Chinese three-line poetry is a new type of poetry developed since the May 4th New Cultural Movement. However, the establishment of this poetic form as fixed poetry is only in recent years. Today, this new form has won the interest of many Chinese poets, and many poets specialize in its creation.

        As its name suggests, a so-called three-line poem is a poem written in three lines. In deciding how to break the lines, some poets use the end-stopping method and others, enjambement, but no matter how to break the lines, you must compose it in three lines. In most cases, a three-line poem does not exceed 30 Chinese characters, with the title standing as its own or included in the poem. Its most vital element is terse in language but rich in content. For this, it does not pursue rhyme. One can use three-line pomes to express thoughts, artistic conception, and literary tastes, but no matter what to press, a well-written three-line poem must be as subtle yet as profound as possible. It must have rich meaning beyond words and fertile depth in aesthetic values.

          Then, why do Chinese poets regard the three-line poem as a fixed type of poetic form, but not one line, two lines, four lines, or five lines? Following are the reasons:

1. Three lines can complete a writing subject.

         One line cannot fully develop a writing subject but can only make one sentence, and a single sentence lacks the flexibility in exploration. Neither can two lines. Two lines can make a pair, which is good at expressing parallel or opposite ideas. On the contrary, three lines are far more capable. From the structural perspective, any article or work, even a masterpiece, has only three levels: beginning, content, and end. And the three lines in a three-line poem can tackle them all. Of course, as for what method a poet would adopt to address them, whether he uses a corresponding technique, disagreeing strategy, etc., it is a matter of creativity.

2. Three lines are the most compact unit for a complete subject exploration.

        Poetry stresses brevity, and more so should short poems or micro poems. A three-line poem is the most compact unit for a subject exploration. A poem with more than three lines can also do the job, but it is not the simplest.

3. Three lines are the most flexible.

      One line can make a sentence, but a single sentence does not establish any relationship with others. Two lines make a pair, but a couplet is good only at expressing parallel or opposite ideas. That is all there is to it. A three-line poem, however, can establish a direct or indirect relationship between sentences. Therefore, it is more flexible. Of course, a poem composed of more than three lines can form more, but they are not the minimal type of poem. Of course, they are good at more detailed writing, but they need more supporting elements to be a standalone type of poetry.

4. The number “three” is the most fertile.

         Lao Zi said, "Dao gives birth to one; One, to two; Two, to three; and three, to all things." For example, Dao gives birth to the human, which is one; in the human, there is the male and the female, which is two; and a male and a female produce children, which is three; And children produce grandchildren, great-grandchildren, and so on so forth. For another example, Dao generates electricity, which is one, the electricity has positive and negative, which is two, and the positive and negative electricity gives birth to computers, and a computer presents a whole new world. So the number “three” is capable of multiplication. Therefore, three-line poetry is the most fertile but smallest unit in writing.

5. The three lines are the most stable.

        Many daily necessities that need stability in standing have three legs, like tripods, triangular tables, round cauldrons, etc. In general, the more legs, the more unstable. Therefore, the “three” of the three-line poetry is also the most stable.

These are the main reasons why three-line poems can be a standalone type of poetic format.

          Then, what is the difference between Chinese three-line poetry and Japanese haiku or western tercet poetry?

        Although an English tercet can be standalone, it is usually a rhyming stanza in a poem. The rhyming configuration can be AAA, ABA, or mixed. However, a Chinese three-line poem is an independent poem. No matter how you write it, it must have the integrity of complete work: beginning, content, and end. You do not repeat the three lines in a poem. If you do, it becomes a Chinese free verse.

           Japanese haiku is also composed of three lines. Modern Japanese haiku has broken away from traditional requirements such as 575 onji,  Kigo, etc., but its core remains. That is a touching moment in nature, two juxtaposed images, completion in one breath, and emphasis on provoking thoughts. The fundamental differences between Chinese three-line poetry and haiku poetry lie in the following: A Chinese three-line poem is not restricted by any haiku requirements, that is, a touching moment in nature, two      juxtaposed images, and completion in one breath. A Chinese three-line poem can write anything and use any technique; It does not haggle about the number of images or the way to break lines. The key is to use any method necessary to acquire profoundness in and beyond the poem. Because of these characteristics, Chinese three-line poetry is a very expressive type of poetry.

        Because of its uniqueness and popularity in China, we think it is necessary to introduce this type of poetry to the English world. We hope this book can arouse the English world's interest in Chinese three-line poetry.

序

　　《世界华人三行诗精华集》，是美国华人诗学会继《世界华人三行诗荟萃》后精心打造的另一本中国三行诗诗集。如果说前一本书着眼于汉语读者，那么，本书则侧重于英语读者。本书的出版，旨在向世界推介中国的三行诗。为此，我们采用了汉英双语对照版形式。

　　中国三行诗，是五四新文化运动以来发展出的一种新诗型。这种独特的诗型被正式确立下来，还是近些年的事。如今，这种诗型，已深为广大中国诗人所钟爱，很多诗人专门从事这种诗型的创作活动。

　　所谓三行诗，顾名思义，当然就是用三行文字写出来的诗。其中有按意分行的，也有断意分行的。但无论怎样分行，它都必须是三行。三行诗一般不超过三十个字，标题可入诗，也可不入。它重在用最简练的文字表达最深厚的内涵与外延。为了言简而意丰，它不求押韵。三行诗可以用来表现哲思、意境、趣味等等。但不论表现什么，一首上乘的三行诗，一定是尽精微而致广大，具有深厚的言外之要素和审美之纵深。

　　那么，中国诗人为什么把三行诗作为一种固定诗型，而没有把一行，两行，四行，五行等等的诗作为一种固定诗型呢？其理由如下：

1、三行可以成章。

　　一行不成章，成句，单句缺乏灵活性；两行不成章，成对，对子善于表达平行、对立等关系，却不擅表达其他层面的关系；三行可以成章，任何文章或者著作，哪怕是鸿篇巨著，从结构的角度来看，都是三层：开头，内容，结尾；这个三层结构，三行诗里的三行文字正好可以涵盖。当然，至于诗人采用什么方法来涵盖，是采用对应还是错开等等，那是创作手法的事。

2、三行是可以成章的最小单位。

　　诗歌讲究极简，小诗、微诗就更应该讲究精炼。三行是可以成章的最小单位。四行、五行当然也可以成章，但它们并不是最小的单位。

3、三行最具灵活性。

　　一行成句。单独一个句子，无法生发句与句之间的关系。两行成对。两行善于生发平行或者相对的关系，大体如此而已。而三行里，句与句之间可以生发直接或者交错的关系，因此三行诗更具灵活性。当然，四行、五行之间可以生发更多关系，但它们不是可以成章的最小单位。当然，三行以上可以写得更详细，但它们还需更多理由才能成为一种单独诗型。

4、三行最具繁衍性。

　　老子说“道生一，一生二，二生三，三生万物”。比如，道生发了人这个一，人分男女这个二，男女生出儿女这个三，儿女这个三繁衍不息。又比如，道生发了电这个一，电有正负两极这个二，正电与负电生成计算机这个三，计算机这个三又呈现一个崭新的世界。“三”这个数字里包含了生机勃勃的繁衍性。因此，相较于其他诗行，三行诗是最具繁衍性且可以完整成章的最小单位。

5、三行最具稳定性。

　　生活中需要稳定的很多用品都是三条腿，比如三脚架、三角桌、

圆形大鼎等等。而腿越多则越不稳定。所以，三行诗的这个“三”，也最具稳定性。

这些就是为什么三行诗可以单独成为一种诗型的主要原因。

那么，中国的三行诗跟日本的俳句或者西语的三行诗有什么区别呢？

英语的三行诗，虽然也有单独成诗的，但大多数都是整首诗里一个带韵的小节，其中有押AAA韵的，有押ABA韵的，有押混合韵的。而中国的三行诗则只能单独成诗，不论怎么写，它一般都必须具有一个独立的完整性：即开头、内容，与结尾。它不能被连写，一旦连写，就变成了中国的新诗。

日本俳句也是三行。现代日本俳句已经打破575，季语等传统格式，但其核心仍被保留，那就是大自然的一个感人瞬间，两个意象并列，一气呵成，重在联想。中国三行诗与日本俳句的根本区别在于：中国三行诗不受俳句要求的任何限制，具体地说，就是不受大自然瞬间感动、两个意象并列、一气呵成的限制；中国三行诗什么都可以写，什么手法都可以用，无论几个意象，无论怎样分行，关键是要调动一切手法以获得丰厚的意韵。由于这些特点，中国三行诗具有非常强大的灵活性和表现力。

鉴于中国三行诗的这些特性，以及它在中国的广泛流行，我们深感有必要把它介绍给英语世界。我们希望本书能够引起英语世界对中国三行诗的兴趣。

Editor's Notes

　　To let the world know about Chinese three-line poetry, with quality as the sole criterion, we have selected sixty-three poets and over 200 works from a large number of contributions. We have arranged these works in two parts: Those poets who have five poems chosen are in the first part and the rest, the second part. Yet, they are all arranged by their names in pin yin order. All the poems and bios are coupled with English translations. While Yingcai Xu, a senior translator, has rendered all the poems, the Poets' English profiles mostly come with their submitted works. Due to the limited space, we were not able to arrange all the contributors in the book. If you happen to be among them, we hope you understand. Due to the limited time and knowledge, mistakes are inevitable. If so, we hope for your forgiveness.

编者的话

本着把中国三行诗的精华推向世界的愿望，我们以诗歌的质量为唯一标准，从众多的来稿中精选了六十三位诗人的两百多首作品。这些作品，分两个部分编排，第一个部分是满选五首的诗人的作品，按诗人的姓氏拼音排列。第二部分是四首及四首以下诗人的作品，也按诗人的姓氏拼音排列。每首诗都配有英语。诗歌部分由资深翻译家徐英才翻译；诗歌作者的个人简介，英语部分大多随投稿作品带来。由于篇幅有限，有些作品未被选录，希望能够理解。由于水平与时间的限制，错误在所难免，敬请原谅。

目  录

TABLE OF CONTENT

残　文 / Can Wen /2

1. 夹缝的树 / The Tree in the Crevice /3

2. 乡愁 / Homesickness /4

3. 夜幕 / Night /5

4. 村夜 / A Village Night /6

5. 老鹳 / The Old Crane /7

非　马 / Fei Ma /8

1. 沙滩上 / On the Beach /9

2. 这黄昏 / This Twilight /10

3. 城市故事 / Story about the Metropolis /11

4. 晨雾 / The Morning Fog /12

5. 微雨初晴 / When It Clears up from the Drizzle /13

寒山石 / Hanshanshi /14

1. 根 / Roots /15

2. 笼中鸟 / The Caged Bird /16

3. 成长 / Grown up /17

4. 视力 / Vision /18

5. 夕阳 / The Setting Sun /19

蒋　雯 / Jiang Wen /20

1. 诗人 / The Poet /21

2. 友 / Men /22

3. 露珠 / Dew /23

4. 彩云 / Colorful Clouds /24

5. 高升 / High Rise /25

冷慰怀 / Leng Weihuai /26

1. 思念 / The Feeling of Missing Someone /27

2. 婚戒 / Wedding Ring /28

3. 心灯 / The Heart Lantern /29

4. 命运 / Fate /30

5. 桂花 / The Osmanthus /31

刘和旭 / Liu hexu /32

1. 情 / Feeling /33

2. 额头 / The Forehead /34

3. 吻 / The Kiss /35

4. 佳作 / An Excellent Writing /36

5. 小溪 / The Little Stream /37

饶　蕾 / Lei Rao /38

1. 孤独 / Loneliness /39

2. 大海 / The Sea /40

3. 河流 / A River /41

4. 瀑布 / The Waterfall /42

5. 坚强 / Unyielding /43

诗　匪 / Shi Fei /44

1. 面对长城 / Facing the Great Wall /45

2. 帆 / The Sail /46

3. 家乡的炊烟 / The Cooking     Smoke in My Hometown /47

4. 瀑布的来由 / The Formation of Waterfall /48

5. 藏歌 / The Tibetan Song /49

唐淑婷 / Tang Shuting /50

1. 父亲的背 / Father’s Back /51

2. 熨斗 / The Iron /52

3. 流星 / A Meteor /53

4. 浪 / Waves /54

5. 他乡年夜 / New Year’s Even in a Foreign Land /55

铁　帆 / Tie Fan /56

1. 致父亲 / To Father /57

2. 貂皮大衣 /  The Mink Coat /58

3. 钓 / To Hook Fish /59

4. 牵牛花 / The Morning Glory /60

5. 鹦鹉学舌 / The parrot /61

王传顺 / Wang Chuanshun/62

1. 夜未央 /  The Night Hangs Over /63

2. 一抹乡愁漂过心田 / A Sense of Nostalgia Drifts over My Heart     /64

3. 月亮 / The Moon /65

4. 白月光 / The White Moonlight /66

5. 撞响秋天 / Strike Aloud the Autumn /67

项美静 / Xiang Meijing /68

1. 桥 / The Bridge /69

2. 立春 / The Beginning of Spring /70

3. 油菜花 / Canola Flowers /71

4. 原野 / Vast Fields /72

5. 无题 / Untitled /73

徐英才 / Xu Yingcai /74

1. 路 / The Road /75

2. 时间的价值 / The Value of Time /76

3. 夜空 / The Night Sky /77

4. 老农 / An Old Farmer /78

5. 圆规 / A Bow-Compass /79

杨丽娜 / Yang Lina /80

1. 泰山 / Mount Tai /81

2. 诗人 / The Poet /82

3. 根 / Roots /83

4. 飞鸿印雪 / Swan Imprints on Snow /84

5. 秋雨 / Autumn Rain /85

郑军科 / Zheng Junke/86

1. 与雪书 / A Letter to Snow /87

2. 春天来信了 / A Letter from Spring /88

3. 消失的雪人 / The thawed Snowman /89

4. 那座山 / That Mountain /90

5. 母亲额上的皱纹 / The Wrinkles on Mother’s Forehead /91

阿　丁 / A Ding /92

1. 谎言 / A Lie /93

2. 神奇 / Wonder /94

白　曼 / Bai Man /95　

1. 听潮 / Listening to Tides /96

2. 妃子笑 / The Royal Concubines /97

3. 龙井茶 / The Dragon Well Tea /98

4. 微信好友 / Wechat Friends /99

冰　花 / Bing Hua /100

1. 阳光 / Sunlight /101

2. 绿 / Green /102

3. 爱 / Love /103

波　吒  / Bo Zha /104

1. 空椅子 / The Vacant Chair /105

2. 瀑布 / The Waterfall /106

3. 泥菩萨 / The Earthen Buddha /107

4. 人生 / Life /108

车走直线 / Chezouzhixian /109

1. 树 / Trees /110

2. 爱情 / Love /111

3. 雷雨 / The Thunderstorm /112

4. 天边 / The Edge of the Sky /113

陈  林 Chen Lin /114

1. 老师 / The Teacher /115

2. 收获 / Harvest /116

3. 信号灯故障 / Malfunction of the Signal Light /117

邓　丽 / Deng Li /118

1. 口罩 / Face Mask /119

2. 手机 / The Cellphone /120

鼎　立 / Ding Li /121

1. 山径 / The Mountain Path /122

2. 惜红 / Treasuring the Red /123

3. 大雪 / Big Snow /124

丁伟恒 / Ding Weiheng /125

1. 梳子 / The Comb /126

2. 算盘 / The Abacus /127

独孤吟 / Dugu Yin /128

1. 月亮 / The Moon /129

2. 墙头草 / The Grass on the Wall /130

3. 心帘 / The Curtain of the Heart /131

付光渝 / Fu Guangyu /132

1. 牵牛花 / The Morning Glory /133

2. 蒲公英的梦 / The Dream of the Dandelion /134

郜玉萍 / Gao Yuping /135

1. 眼睛 / Eyes /136

2. 年轮 / The Annual Ring /137

3. 无题 / Untitled /138

顾月华 / Gu Yuehua /139

1. 窗的宿命 / The Fate of the Window /140

2. 流星 / The Meteor /141

3. 影子 / The Shadow /142

郭密林 / Guo Milin /143

1. 后窗 / The View from the Rear Window /144

2. 断桥 / The Broken Bridge /145

3. 也是一种风景 / This Also Forms a Scene /146

何　均 / He Jun /147

1. 饮酒帖 / The Invitation Card for Drinking /148

2. 凋殒 / To Wither and Die /149

静　好 / Jing Hao /150

1. 人 / Man /151

2. 玫瑰 / The Rose /152

3. 草 / Grass /153

康秀炎 / Kang Xiuyan/154

1. 晾衣绳 / The Clothesline /155

2. 初芽 / The Sprout /156

老　厚 / Lao Hou /157

1. 故乡，我的根 / Hometown, My Root /158

2. 晒太阳的老人 / The Old Man Basking in the Sun /159

3. 夜色 / Night /160

李长空 / Li Changkong /161

1. 鸡说 / The Hen Says /162

2. 时代天平 / The Weight Scale of Times /163

3. 蝶恋花 / The Passion of the Butterfly /164

马建华 / Ma Jianhua /165

1. 又逢端午 / Again, the Dragon Boat Festival /166

2. 青苔 / Moss /167

漫　黎 / Manli /168

1. 往事 / The Past Events /169

2. 乡愁 / Nostalgia /170

3. 人生 / Life /171

曼　无 / Wu Peiling /172

1. 网路 / The Road on the Network /173

2. 吻別 / Kissing Goodbye /174

梦　雅 / Meng Ya /175

1. 初吻 / The First Kiss /176

2. 白发 / White Hair /177

3. 泪 / Tears /178

4. 暴雨 / The Rainstorm /179

妙　妙 / Kelly Miaomiao/180

1. 灵魂 / The Soul /181

2. 心 / The Heart /182

3. 泪 / Tears /183

4. 希望 / Hope /184

轻　鸣 / Qing Ming /185

1. 妹子 / Sister /186

2. 古剑 / The Ancient-old Sword /187

3. 山锋 /The Mountain Peek /188

如意萍儿 / Ruyi Ping’er /189

1. 荷花 / Lotus Flowers /190

2. 鹰 / The Eagle /191

3. 十里孤坟 / The Lone Tomb /192

沈革 / Shen Ge /193

1. 沈革 / Shen Ge /194

2. 三月八日：妇女节 / Mar. 8th: Women's Day /195

3. 四月一日：愚人节 / Apr. 1st:  April Fools /196

沈竞雄 / Shen Jingxiong /197

1. 尊严 / Dignity /198

2. 诗人 / The Poet /199

3. 落日 / The Setting Sun /200

盛　坤 / Shengkun /201

1. 台灯 / The Desk Lamp /202

2. 书 / Books /203

思　乡 / Si Xiang /204

1. 蒲公英 / The Dandelion /205

2. 背影 / The View of Father’s Back /206

3. 青春岁月 / The Time of Youth /207

孙　海 / Sun Hai /208

1. 插秧的女人 / Rice Seedling Transplant Women /209

2. 春风迟来时 / When the Belated Spring Breeze Comes /210

天　端 / Tian Duan /211

1. 玻璃 / Glass /212

2. 枕头 / The Pillow /213

3. 钥匙 / The Key /214

4. 灯罩 / Lamp Shade /215

天汉屠夫 / Tianhan Butcher /216

1. 犁铧 / The Plowshare /217

2. 童年 / My Childhood /218

3. 小南风 / The Southern Breeze /219

天　涯 / Tian Ya /220

1. 油菜花 / Canola Flowers /221

2. 又一春 / Spring Again /222

3. 帆船 / A Sail /223

闻　达 / Wenda /224

1. 桥 / The Bridge /225

2. 挑夫 / The Porter /226

3. 倾泻 / Pouring /227

文　源 / Wenyuan /228

1. 钢钎 / The Steel Barv /229

2. 桑椹 / The Mulberry /230

3. 含羞草 / The Sensitive Plant /231

4. 车闸 / The Brake /232

肖益人 / Xiao Yiren /233

1. 夕阳 / The Setting Sun /234

2. 月光 / The Moon /235

3. 玉兰花 / Magnolias /236

杨留碗 / Yang Liuwan /237

1. 城市诱惑 / The Enticement of the City /238

2. 发福 / Overweight /239

3. 小满 / Ripening /240

尹才干 / Yin Caigan /241

1. 带把伞 / Bring an Umbrella with You /242

2. 灯 / The Lamp Light /243

3. 笑 / Laugh /244

袁子林 / Yuan Zilin /245

1. 春雨 / Spring Drizzle /246

2. 磨刀石 / The Whetstone /247

章金海 / Zhang Jinhai /248

1. 古风口 / At the Opening of the Quaint Old Wind /249

2. 影 / Shadow /250

3. 围炉夜话 / Night Talk around the Furnace /251

4. 虚构 / Fiction /252

张文瑞 / Zhang Wenrui /253

1. 古树 / The Ancient Old Tree /254

2. 老腊梅 / The Old Wintersweet /255

3. 绿荫 / The Green Shade /256

张永新 / Zhang Yongxin /257

1. 听“十面埋伏”主题曲 / Listening to the Song of     "Ambush" /258

2. 绘画 / Painting /259

张玉杰 / Zhang Yujie /260

1. 小鸟 / A Little Bird /261

2. 日子 / Days /262

3. 珍珠 / The Pearl /263

赵希斌 / Zhao Xibin /264

1. 云之两面性 / The Two Sides of a Cloud /265

2. 繁星 / The Cluster of Stars /266

3. 泪花 / Tears /267

郑国贤 / Zheng Guoxian/268

1. 与风说 / Ask the Wind /269

2. 故乡的海 / The Sea in My Hometown /270

周道模 / Zhou Daomo /271

1. 碰石头 / When Hitting the Stone /272

2. 战争 / Wars /273

3. 雪梅 / The Plum Tree in Snow /274

周　瀚 / Zhou Han /275

1. 故乡的红茶 / The Black Tea from My Hometown /276

2. 两只蝴蝶 / The Two Butterflies /277

3. 枫叶 / Maple Leaves /278

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《世界华人三行诗精华集》编辑部

Editor and Translator’s Profile

       Xu Yingcai is a teacher, translator, editor, and poet. He has taught courses of modern Chinese language, classical Chinese language, English language, modern Chinese literature, classical Chinese literature, the history of Chinese film, theory and practice of Chinese calligraphy, Chinese to English and English to Chinese translation----theory and practice, etc. 

         The works he has translated and published include:　A Selection from the Eight Great Prose Masters of the Tang and Song Dynasties, Selected Works of Contemporary Chinese Prose, Selected Works of Classical Chinese Prose, Reading of Chinese Cultural Series Essay III, 100 Classic Chinese Poems, Selected Poems of Bing Hua, In Other Words---- Poems by Wisconsin Poets in English and Chinese. His translation works are used by the Chinese government as gifts for foreign countries and as university textbooks and translation paradigms. Some universities study his translation works. He has set up for his translation a three-word principle: “accuracy, individuality, and cohesion.” While achieving an accurate rendering of the original text, he pursues the original spirit and a translation highly acceptable by mother-tongue readers. 

          He has edited some important works, including Best Modern and Contemporary Chinese Poetry, World Pandemic Poetry, Life, Oh Life!, Best Overseas Chinese Poetry, World Chinese Three-Line Poetry

        He has also written and published poetry books including Poetic South----Selected Poems of Xu Yingcai----Inspiration from Nature, 100 Three-Line Poems by Yingcai Xu, Selected Poems of Yingcai Xu. His poetics is to use simple yet beautiful language to produce rich and vivid image-ridden poems with words coming directly from the heart and as a direct reflection of objects. He strives to make his poems shine and unforgettable. 

         He is the founder of the Chinese Poetry Association and Poetry Hall----a Chinese English bilingual paper journal.

编辑与翻译简介

　　徐英才，教师、翻译家、编辑、诗人。他开设过现代汉语、古代汉语、英语、现代中国文学、古代中国文学、中国电影史、中国书法理论与实践、汉英英汉翻译理论与实践等课。

　　他翻译出版过《英译唐宋八大家散文精选》《英译中国当代美文选》《英译中国经典散文选》《英译中国经典古诗词100首》《冰花诗选》《换言之――美国威斯康星州诗人英汉双语诗》等译著。他的译著被中国政府用作国礼，被大学作为教材和翻译范本，有大学专门研究他的翻译。他为自己设立的翻译原则是“准确、传神、浑然”，在准确表达原文意旨的基础上，追求原文个性风格的传达与为目标语读者所赞许的高品质译文。

　　他编辑出版过很多有影响的书籍，包括《世界华人经典诗选》《世界抗疫诗精选》《人生啊，人生！》《海外华人诗歌精选》《世界华人三行诗荟萃》《中国古典诗歌精选精译》等十多部著作。

　　他出版过的诗集包括《诗意江南》《来自大自然的灵感――徐英才汉英双语诗集》《徐英才三行诗100首》《徐英才诗选》，以及纯英语版的《我们在这里绘画》等。他的诗学观是语言朴实优美，诗意盎然形象，言自心声言之有物，力求营造隽永的意境，努力让作品闪光。

　　他创办了华人诗学会与汉英双语纸质诗刊《诗殿堂》。

华人诗学会

《诗殿堂》汉英双语诗刊

本期参与者

创刊日期：2018年6月8日

国际刊号：2643-5225

华人诗学会理事会组织机构

会    长：徐英才

副会长：冰　花

秘书长：李　莉

成    员:   (按拼音排列)   

冰　花、焦海丽、李　莉、徐英才、薛　凯

华人诗学会专刊《诗殿堂》编委成员

总       编：徐英才

内容总监：冰   花

主    编：程家惠（新诗部）

主    编：焦海丽（微诗部）

主    编：申美英（古诗部）

主    编：焦海丽（评访部）

主    编：李    莉（配音部）

主    编:   释圣静   (头条部)

副主编：李    玥（新诗部）

副主编：邓　鸿（古诗部）

副主编：李    莉（评访部）

副主编：俞曼莉  (配音部)

编    辑：(按拼音排列)

达文 、花瑞斌、秦志罔、王年九

英语诗歌编辑部

主    任：薛     凯          

主    编：Sylvia Cavanaugh

副主编：Lisa Vihos

编    辑：(按字母顺序排列)

Gerry Brauer, James Burton, Cheryl Hamann, Scott Mills

翻译部

主       任：王年九

翻译主编：(按拼音排列) 李正栓、史潘荣、张智中

执行主编：程家惠、陈　林、丁立群、段冰知、

　　　　　吴伟雄、任诚刚、石永浩、谭啸天、

　　　　　王大建、颜海峰、叶如钢、杨秀波、

　　　　　杨中仁、于　岚、于元元、张　宁、

　　　　　张　琼、张紫涵、赵宜忠（拼音排序）

微信公众号编辑部

花瑞斌、邓玉兰

文宣拓展部　

部    长：薛凯

中国文宣拓展分部

主任：释圣静

国际文宣拓展分部

副主任：李玥

杂志社信息

地址：5923 N Artisan Ave Chicago IL 60659

邮箱：info@poetryh.com

网址：poetryh.com

新诗投稿箱：npoems@poetryh.com

古诗投稿箱：cpoems@poetryh.com

英诗投稿箱：englishpoetry@poetryh.com

其他投稿箱：contact@poetryh.com

CHINESE POETRY ASSOCIATION

“POETRY HALL” A CHINESE & ENGLISH BILINGUAL JOURNAL

EDITING AND COMPILING CONTRIBUTORS TO ISSUE 12

Date of Inception: June 8, 2018

ISSN: 2643-5225  

MANAGEMENT BOARD OF THE CHINESE POETRY ASSOCIATION

President: Xu Yingcai

Vice President: Bing Hua

Head Secretary: Lily Li

Members: (in Chinese phonetic order)

Bing Hua, Jiao Haili, Lily Li, Xu Yingcai, Kai Mills

EDITORIAL BOARD OF POETRY HALL

Editor in Chief: Xu Yingcai

Content Director: Bing Hua

Editor in Charge of Chinese New Poetry: Cheng Jiahui

Editor in Charge of Chinese Micro Poetry: Jiao Haili

Editor in Charge of Chinese Classical Poetry: Shen Meiying

Editor in Charge of Personage and Poetry Appreciation: Jiao Haili

Editor in Charge of Voiceover: Lily Li

Editor in Charge of City’s Top Headlines: Shi Shengjing

Associate Editor in Charge of Chinese New Poetry: Li Yue

Associate Editor in Charge of Chinese Classical Poetry: Deng Hong

Associate Editor in Charge of Personage & Poetry Appreciation: Lily Li

Associate Editor in Charge of Voiceover: Yu Manli

Editors:  (in Chinese phonetic order)

Da Wen, Hua Ruibin, Qin Zhiwang, Wang Nianjiu

ENGLISH POETRY DEPARTMENT

Managing Editor of English Poetry Department: Kai Mills

Editor in Charge of English Poetry: Sylvia Cavanaugh

Associate Editor in Charge of English Poetry: Lisa Vihos

Editors: (In alphabetic order)

Gerry Brauer, James Burton, Cheryl Hamann, Scott Mills

TRANSLATION DEPARTMENT

Managing Editor of Translation Department: Wang Nianjiu

Editor in Charge of Translation(in alphabetic order): Li Zhengshuan, Shi Panrong, Zhang Zhizhong

Executive Editors in Charge of Translation(In alphabetic order): Cheng Jiahui, Chen Lin, Ding Liqun, Duan Bingzhi, Wu Weixiong, Ren Chenggang, Shi Yonghao, Tang Xiaotian, Wang Dajian, Yan Haifeng, Ye Rugang, Yang Xiubo, Yang Zhongren, Yu Lan, Yu Yuanyuan, Zhang Ning, Zhang Qiong, Zhang Zihan, Zhao Yizhong

Wechat Editorial Department

Hua Ruibin, Deng Yulan

OUTREACHING DEPARTMENT

Department Head: Kai Mills

China Branch

Head: Shi Shengjing

Wechat Publication Branch

Hua Ruibin, Deng Yulan

International Branch

Vice-head: Li Yue

CONTACT INFORMATION

Address: 5923 N Artisan Ave, Chicago, IL 60659

Email:  info@poetryh.com

Website: poetryh.com

New poem contributions: npoems@poetryh.com

Classical poem contribution: cpoems@poetryh.com

English poetry contribution: englishpoetry@poetryh.com

Other contributions: contact@poetryh.com