This article discusses the writings of Zang Di, a pioneer of contemporary Chinese poetry. Through the language theory of jouissance that Lacan developed in his late years, I attempt to examine how Zang's poetry demonstrates a new subjectivity of voidness and how this subjectivity rewrites the discourse of the Other. I analyze the language strategies of Zang Di's poems and investigate the coexistence of the deconstruction of meaning and the jouissance. Finally, I explore how such poetic characteristics echo traditional Chinese Daoism by way of Lacanian theory.