This concept firstly appeared in Shanghai's literary magazine 'Fiction World'(小说界) in 1996, as a column for young writers born after 1970 (whom were still in early 20s at that time),[1] and then it was widely used in literary criticism[2] from 1990s to early 21st century in China,[3] until the 'Post 80s Generation' emerged soon after.
The well known Post 70s writers include Mian Mian, Wei Hui, Zhou Jieru, Yilin Zhong, Shen Haobo (poet), Ding Tian, Wang Ai, Wei Wei, Dai Lai, Li Shijiang (poet), Jin Renshun, Zhu Wenying, Wu Ang (poet), Yin Lichuan (poet), Sheng Keyi, Ma Yi, Zhao bo, Jia Zhangke (film maker), Xiaolu Guo (film maker), and Xie Youshun (literary critic), etc.
[2] Afterword, this controversy was totally overwhelmed by all newspapers' reports[7] based on each side's different views and arguments,[8] ‘beauty writers' debate' led millions of comments online by mass people, and in public it was like a mass media's carnival.
[14] This China's official action had become a free propaganda to western media and therefore pushed this book further to be translated worldwide and became an international bestseller.
While the iconic figures of 'Post 80s Generation' are 'Guo Jingming' and 'Han Han', both are commercial popular writers and both became Forbes multi-millionaires[15] and have millions of fans in Chinese youth, in 2006, there was a famous debate between the 'Post 70s Generation' iconic figure, the minor group 'Lower Body' poet Shen Haobo and Han Han, the latter who claimed that 'both modern poets and poems are no longer in need of existence, and the genre of modern poetry is meaningless'(现代诗歌和诗人都没有存在的必要，现代诗这种体裁也是没有意义的).