Since the resentment of Menglong poetry in 1985, the bestseller phenomenon of the books of Xi Murong and Wang Guozhen’s poetry has occurred in contrast to the marginalization of modern Chinese poetry. This was created by the effect of the pop culture boom at the time, amid the impressional summarization and enthusiasm among students and teenagers. Back in the late 80s and early 90s, young people who were alienated amid the rapid social changes and political upheaval in China revered short and easy poems about youth, love and life. Through poetry, young people formed their own sense of self-identity and peer-to-peer homogeneity and ‘Habitus’ of ‘Subculture of Youth’. Chinese orthodox critics criticized and ignored the bestseller phenomenon of the two poets’ books as ‘Chicken Soup for the Soul’. Since the 2000s, however, the two poets’ poems have been included in Chinese Language textbooks. This is because Confucian equilibrium, Taoistic plainness, and Buddhistic Paticcasamuppada (or relationship) for youth and love represented in two poets’ poems include far more instructive and conservative values than the senses of deviation and defiance that the after-80 literature of youth since the 2000s has shown. On the artistic side, the two poets mixed influences from traditional poems such as “Nineteen Old Poems”, Lee Sangen, Lee Qingzhao, Lee Yu, and 5.4 short poems, and those of western poets such as Emily Dickinson, Aleksandr Pushkin. In particular, the characteristic weakening of poetic esthetics has been brought about due to the lack of metaphor and symbol caused from the single impression for love and womanly desire of escapism in Xi Murong’s poems, and Wang Guozhen’s short poetic form of lyricism such as aphorism or catchphrase and the duplication of poetic landscapes of his own and others’. As above, the two poets have opened the possibility of public poetry in which modern poetry can make general public entertained and pleased, but controversy of ‘Kitsch’ was caused in that they have not allowed readers to reach the real poetic healing and regeneration by selling cheap superficial emotions and ideals like love, encouragement, mourning, and lyricism as commodities. The bestseller phenomenon of the two poets’ poems casts quite a few embarrassments and problems to modern Chinese poetry and poetic history, creating fundamental questions about the spiritual values and aesthetic senses of the genre of poetry itself, as well as the commercialization and popularization of modern Chinese poetry in the context of the market economy.