Since World War II, verse eco-rendering poetics has become a norm for translating classical Chinese poetry in America. As one of its representative translators, Hinton has been noted for alienizing translation in rendering the rivers-and-mountains poetry. It is argued that he is engaged, with the help of mimetic form and thick translation, in the relentless pursuit of the authenticity of cultural spirit of the poetry so that his translating is distinctive for the novelty both in poetic form and in the implied wilderness cosmology empowered by the Dao/Chan philosophy, resulting in impressive translation adequacy. We contend that this makes his translated verses so distinct from the other versions that the alien has been fully achieved for their sheer aesthetic newness, indicating the contemporaneity as world literature and validity as eco-poetics prevailing in the rivers-and-mountains poetry that gains in his translation.