In Thailand, there are a group of Chinese poetry practitioners who constantly turn their eyes to the motherland and express their love for China with their poems with continuous infatuation and fervent feelings. They are fellow poets of Thailand's "Little Poetry Mill". On July 1, 2006, under the planning of Lin Huanzhang and Zeng Xin, Thailand's "Small Poetry Mill" Poetry Society was established, with Zeng Xin as the convener. The members include Lingnan people, Zeng Xin, Lin Huanzhang, Bofu, Jinshi, Yang Ling, Kujue and Mo Fan. This salon style poetry club was established in a hexagonal pavilion. The pavilion is located in the "Little Red Mansion" garden newly built by the convener Zeng Xin, which has laid a relaxed and elegant atmosphere for the activities of the Poetry Club. The activity form of the poetry club is to meet irregularly in a fixed place to create poems within six lines to learn about poetry, and discuss the aesthetic and theoretical issues of the style of poems, with a view to expanding its influence. Since its establishment, the members of "Small Poetry Mill" have been expanding. Jingying, Wen Xiaoyun and Dan Dan joined in 2013, Fan Jun and Yang Zhao joined in 2017, and a new member Zhang Yongqing was added in 2020. The style of small poems in modern poetry has developed for about a hundred years. Since Bing Xin and Zong Baihua started and led the creation of small poems in the 1920s, this style has shown a development process from outside to inside, from dynamic to static, from learning from western poetry to learning from eastern poetry represented by India and Japan. For more than a hundred years, there have been various opinions on the style of small poems, including those advocating less than fourteen lines, those advocating copying western twelve line poems, and even those demanding no more than three lines. However, no matter what kind of proposition, one thing remains unchanged, that is, "small". The "Small Poetry Mill" has inherited the tradition of Chinese new literature poetry and formed its own artistic characteristics by focusing on the "small". Long Peter, a poet and poetry critic, commented: "In their mind, small poems can be no more than six lines long, and no more than six lines long. Their writing has a conscious binding force, which makes their works more concentrated in poetic ideas, more rigorous in structure, and more refined in writing." For example, the poem of Kujue, "The morning sun ate the night/My fish swam in the ink pool", just two sentences between the light and the dark, just sketched out his feelings when he liked to draw bamboo "in the morning. The body is good at thinking and understanding, and the poems in the "mill" are often the sentences that poets "grind" out of life and life. Of course, the specific lines of each poem are determined by the poet according to his specific needs. On the premise of "no longer than six lines", there is no unified and rigid requirement on the number of words used in each line and section. Between leniency and strictness, it naturally creates a relatively neat and swaying style. Only from the perspective of vision, this is a kind of aesthetic poetry that is unchanged and changing. It is said that poetry is a kind of emotional style, and the "mill" poem is no exception. The insistence of Thai Chinese on Chinese writing stems from their yearning for cultural blood. China is the root and soul of their deep feelings. Most of the poets in the "Mill" are not young, so this kind of yearning is more concentrated and profound. Zeng Xin said to himself, "Overseas Chinese are old and always like to find their own in dreams