美国自白派诗歌建立在颠覆“新批评”以来的学院派形式主义风格之上，用 口语化赤裸直述的书写方式挖掘现代人的个体记忆和私人生活经验。其所提倡的 “自我讲述”“自我建构”的诗学理念为华裔作家哈金的诗歌创作提供了书写形 式和音调表征上的充分给养。而这一影响的痕迹又与诗歌本身所着力呈现的“中 国经验”，特别是其间不可避免的“抒情”元素以及与之相关的“中国传统书写 模式”之间存在着明显的张力关系，在二者的相互作用、相互角力下哈金完成了 对“家园”与“故国”的审视、对抗和重塑，通过对“中国记忆”的再现和“中 国神话”的重述，消解了东方的“诗歌质料”与西方现代语言的隔阂，从而生成 了全新的诗学效果。

The Confession Poetry is based on a reversal of the formalism since the New Criticism which uses the spoken word in a naked and straightforward way to tap into modern people’s individual memories and private life experiences. The poetic concept of "selfstorytelling" and "self-construction" advocated by the confession poets provided the Chinese American writer Hajin with sufficient nourishment in terms of writing forms and tonal representations for his poetry. The traces of this influence are in contradiction with the "Chinese experience" that the poetry itself strives to present, especially between the inevitable "lyrical" elements and the "traditional Chinese writing mode" associated with it. Hajin completes his examination, confrontation, and reshaping of "home" and "motherland" in this obvious tension. Through the reproduction of "Homeland memory" and the retelling of "Chinese mythology", he dissolves the gap between the "poetic material" of the East and the modern language of the West, thus generating a new poetic effect.