The roof of the world's divine writing, also known as the roof of the world literature movement, was brewed in 2002-2004, marked by the long poem "The End of Postmodernism Myth —— The Divine Writing Conception in China's Poetry in 2004" published by Liu Cheng, a third-generation poet theorist, on June 30th, 2004. As a literary concept, "the roof of the world" was first seen in the general preface written by Liu Cheng for Liu Cheng's online literary work "The Magic Pen: The Roof of the World in Poetry". On August 26th, 2006, Liu Cheng initiated the establishment of the School of Poetry Writing on the Roof of the World, and founded the large-scale literary folk magazine Roof of the World. Liu Cheng believes that there is no poem beyond divinity before poetry reaches divinity; Divine writing is writing with divinity as the only background. Divine writing is the core of the roof of world poetics theory and the overall poetics of the roof of world literary movement. Divinity is not a denial of human nature, but the noblest, most penetrating, closest to God's position and most radiant part of human nature. Divine writing is not mythological writing or religious writing, nor is it a rigid stipulation on the theme of poetry, but a comprehensive breakthrough and transcendence of the boundary of poetry theme. It is the meditation and wandering of divinity in all themes, and the poetic treatment of all themes in poetry. Liu Cheng asserts that all the problems in contemporary poetry are the result of forcibly lowering the head of poetry. The roof of the sacred writing in the world pays attention to the ultimate value of human beings. Under the post-modernism background of anti-culture, anti-value, anti-hero, anti-sublimity and anti-grand narrative, he made a strong appearance with the attitude of protecting the human spirit without fear, which was in direct conflict with and completely opposed to the animal writing that had dominated since the third generation of poetry movement, emphasizing the moral background of writing, emphasizing that writing is responsible for the times, and letting writing lead all positive forces in life with the tolerance of kings. Because these poetic concepts are extremely distinct and strong, Liu Cheng is called "the only upper-body poet in contemporary poetry" by netizens. At present, his writing ideas are mainly embodied in The End of Postmodernism Myth —— Divine Writing Idea in China's Poetry in 2004 (Liu Cheng), Declaration on the Roof of the World Literary Movement (Liu Cheng), Divine Writing: Speaking for Everything —— Rethinking the Fundamental Problems of the Poetics of the Extreme Movement on the Roof of the World (Liu Cheng), and Interview with Liu Cheng: Returning to Tianmen ——— From Divine Writing. The basic standard of the roof of world literature is upward, sharp and beneficial. The strategies of the roof of the world literature movement are: self-construction, self-interpretation, long-term existence and independent history.

Representative poets: Liu Cheng, Shi Pin, Dong Ji, Lao Chao, An Qi, Wei Shi, Han Yan, White Crow, Nan Ou, Ye Hang, Shang, Li Hanrong, Jintang, Zhao, Ma Li, Wild Ghost, Sanyuanyang, Cao Yingren, Chi Guo, Ancient Island, Wanderer, Left Bank, Sink Wood, Ten Drum and Wild Ghost. Chongqing Ziyi, Xin Nahong, Yu Xia, Hou Li, Wei Yuan, Liu Zhiji, Zhuang Yan Pig Iron, Miao Hongnian, Huang Haisheng, Zhu, Zhu Jiafa, Zhong Yan, Wang Jiucheng, Xizi Xizi, Mo Feng, Xiao Quantum, Ye Ping, Yi Shiyang, etc.