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从诗集《饿死诗人》开始,伊沙坚持着口语化或者被人称为“后口语化”的写作。近年来又由于种种原因,伊沙和于坚、韩东等人一起,声称坚持“民间立场写作”,以与“知识分子写作”相抗衡。这些因素都往往使得伊沙作品看起来十分简单。似乎,能阅读报纸的读者就能领会伊沙的作品。但实际情况恐怕远非如此:如果不是用读报纸的方式来读解诗歌,我们就会发现,看似简单的作品,也完全可能具有极为丰富的内涵。在批评方法中,英美新批评派强调,一个优秀的作品必须具有复杂性或者说对矛盾对立的包容性。笔者曾经主要运用新批评方法,读解过穆旦《诗八首》那样相对比较复杂的作品（《名作欣赏》1998年第2期）,现在试图同样运用新批评的方式,来读解看起来非常简单的一个诗歌文本,这就是伊沙的《张常氏,你的保姆》:
From the poem “Starving the Poet,” Isha sticks to colloquialism or is known as “post-colloquial” writing. In recent years, for various reasons, Isha and Yu Jian and Han Dong claimed to stick to “writing of the civil standpoint” to contend with “intellectual writing.” These factors often make Isha’s work seem very simple. It seems that readers who read the newspaper can understand Isa’s work. However, the actual situation is far from the case: if we do not read the poetry by reading the newspaper, we will find that the seemingly simple work may well have very rich connotations. Among the methods of criticism, the new Anglo-American critics emphasize that a good work must be complex or inclusive. I used to use the new method of criticism to read relatively complicated works like Mu Dan’s “Shi Ba Shou” (“Masterpiece Appreciation” 1998-2), and now I try to use the same new criticism to read A very simple poem text, this is Isa Chang’s, your nanny: