Damrosch defines world literature as an elliptical refraction of national literatures, writing that gains in translation and a mode of detached reading. This article first claims the recognition of WANG Wei's poetry as the world literature in Anglo-American context and then addresses its contextual framing resulting from both classical Chinese poetry and relevant American subcultures and the subsequent translational gains. The study tentatively elucidates that in the 1950s his poetry were firstly domesticated in form to meet with the need for the poetological modernization; In the 1960-70s, the Chan/ Dao implications in his poetry were reproduced to echo the cultural needs of the counter-culture movements and the sinologists were also actively engaged in source-text oriented transcreating; At the moment, the transcreations have been elliptically refracted by the Chinese wilderness cosmology and the Western deep ecology. It is concluded that distinctively contextual and cross-cultural reproductions have been refracted by both WANG Wei’ poetic consciousness and American cultural needs. And this would make the poetic features and cultural implications of the transcreations to be readily resonated and disseminated in the host culture, thus constantly being read and interpreted as world literature.