#ThePoeming… So It Begins

This October, I’m joining with 50+ poets across the country for THE POEMING–a found poetry event featuring new poems posted each day, based on the novels of Stephen King.


So, what is found poetry, anyway?

In the most basic sense of the words, a found poem involves taking something found in a text that exists in the world and using it for a poem. Obviously, such an endeavor can come about in many different forms. Here are some of the ways a writer might “find” a poem in a text (some of which I’ll be using for #ThePoeming over the next 30 days):

  1. The Frame – Take a bit of text exactly as it appears in a text and break it into lines.This is often a technique I use to create found poems out of text that has no literary intentions to begin with. I might take, for example, a few sentences from the instruction manual for a power drill and break them into lines. By doing this, I am essentially putting a bit of everyday text and putting it in the “frame” of a poem. Sometimes for me, this form is really about heightening different meanings hidden in the text through the use of line breaks. At other times, it’s about creating a new way of hearing our everyday language by framing it as poetry.
  2. Remix – Select words, phrases, or sentences from a text and use them in any order to create a poem. You can physically cut up the page to do a remix (though some people call that sort a “cut up”) or excerpt bits without cutting.By having defined and finite source material (a tiny word bank), I often find myself stretching meaning in ways I find pleasurable and surprising. I enjoy seeing what colors I can come up with when I’m given a limited palette. Also, I can’t just fall back on my old tricks as a writer when I write a remix. I often have to find new structures to incorporate the words I’m given.

    Some poets are very strict in the way they remix poems, using only the exact words found (as would be required in a cut-up poem). Others allow for alterations (shifts in verb tense, making a plural word singular or vice versa, repetitions or words beyond what is found in the original text).

  3. Mash-up – Select words, phrases, or sentences from two or more texts and use them in any order to create a poem. Often this works best if at least one of those texts is presented in something close to its original order.The poem above is a mash-up of Williams’ famous poem and a random line from King’s The Regulators. The humor here is most obvious when you know “This Is Just To Say” is about eating plums. By sneaking in the line from King, I’ve made the poem (at least in my mind) about eating people. The mash-up here functions as something close to parody, but a mash-up can be used to create different effects, depending on the source materials. For example, I could take the statement of the rape victim in the Brock Turner case and mash it with lines from the court proceedings or the judge’s decision to create a political poem.
  4. Erasure – Erase parts of a text to reveal a poem that can generally be read in the same order as it appeared in the original. Erasure can be presented as a black-out poem or re-typed (or both). Sometimes in blackouts, poets will create visual cues (almost like a flowchart) to suggest the flow of the poem, allowing the poet to present the poem in a somewhat different order than the original.You can find some gorgeously presented blackouts on Pinterest. Here are some pretty sloppy blackouts I wrote a while back:

    I could also retype them and present them as an erasure poem. Here’s a sample of what the one on the left might look like retyped:

    Before I Went Away

    She had never known the true name.
    There is no need for thinking, my sister.

    When it was necessary to utter lies,
    the truth allowed her to call herself

    anyone: your sister,
    his voice, his ancestry, eyes,

    a compliment, her teachers,
    their pupils, her friends,

    such words.

  5. CentoFound Poetry Review describes cento as poetry which “unite lines from other authors’ writings into a new poem. The original lines remain intact; the main intervention comes in arrangement and form.”To be honest, I’ve never felt compelled to take lines from a poem or lyric bit of prose and rework them. To me, found poetry is about finding poems in text that’s not already poetic. I enjoy blackout that uses literary texts as source material, and I enjoy poems that quote a line or two of a source poem as either a launching pad or ending point for a poem that is mostly original (see conversation poems, below).

    The idea, though, of reordering a poem to make another poem doesn’t really interest me.

  6. Conversation poems – Mix bits of found text (literary or not) with your own original lines to create a poem that moves between the two. Often poets distinguish found bits from original but putting one or the other in a different font or in italics.Mary Szybist’s “Annunciation in Nabokov and Starr,” for example, mixes lines from Nabokov’s Lolita and Kenneth Starr’s investigation of the Clinton/Lewinsky affair, The Starr Report with original lines.
  7. Golden shovels – This form creates a sort of back-loaded acrostic (using words instead of letters). Basically, you select a line from a poem, isolate each word in that found line, and then use each of those words in order as the end words for each line of your poem.Terrance Hayes invented this poem with his poem “The Golden Shovel.”

    You can find more complete instructions for form here.

  8. Isolations – Select a single word or structure to “follow” throughout a body of text, isolate it, and present those isolations.For example, one of the poems I’ll be posting this month selects all the dialog from a single chapter of The Regulators. Another isolates every time a proper name is mentioned in a set of pages and presents each in order, with a few words that follow each presentation. (If the name occurred in the subject of the sentence, I would generally select the words up to the verb. If the name occurred in the predicate, I would generally select words to the period.)

    I’m also considering creating a poem that tracks a single word through the entire novel (though I haven’t done that yet, so who knows?).

    This form creates a sort of “condensed” experience of the text. It also, in some ways, suggests a sort of literary analysis of the text.

  9. Found + form – Use any variety of found poem to create a work in form. For example, a remix sestina or an erasure ghazal.These are hard. The only ones I’ve tried have been remix haiku.

What other forms am I missing? Add your comments below.


What the Frick is Norm MacDonald Up To? Big Pete and the 82 Tweets

Norm MacDonald took to Twitter this weekend and posted a story (or maybe two stories?) in a whopping 82 tweets–most coming in rapid fire.

Reactions have varied from “pure genius” to “the Faulkner of Twitter” (hurled as an insult) to “textbook… on how to get unfollowed” to “I want to have your children.” (Okay, no one actually offered procreative services, but there was a good bit of lusty slobbering going on.)

Some of the livelier reactions are included at the end of this post. But first — so you can decide for yourself if this is a new form of flash fiction, an Andy Kaufman-like punk, or something entirely its own — I offer here Norm’s 82 tweets. (You’re welcome!)



To me, the coolest part is seeing people responding to bits of the story as it unfolded.

All in all, the reaction was mixed:

Which leads to my ultimate theory, that Norm MacDonald’s spirit animal is the honey badger.

Life in a Box / Pictures from the Asylum

There was a popular trend in museums a few years back to make traveling “trunk” exhibits that could be checked out by schools or other groups. The idea of a museum-in-a-box was to bring some educational programing of the museum to people (usually children) who might not be able (or inclined) to visit otherwise–and to do it the way museums do best, through objects.

Jon Crispin‘s work photographing the 400 suitcases left in the attic of a New York insane asylum  from 1910 to 1960 is perhaps more like life-in-a-box. The cases include the expected items a person might need when leaving home for a few months: family photos, toothbrushes, a sewing kit. Then there are the unusual, telling tidbits: the paperweight from the 1893 Chicago Worlds Fair, a set of yellow and white checkered drinking glasses, a miniature souvenir bat, a silver soup spoon, silk flowers, a World War II uniform. One man brought his zither.

Crispin’s photos are sparse, haunting tableaux of lives interrupted. The average stay in New York’s Willard Asylum was 30 years. “Looking at these suitcases, you just get the idea that that these people really had lives outside before they went to Willard,” says Crispin.

Duckie in Pink / The original (superior) ending to the 80s classic

Here’s what I remember of seeing Pretty in Pink in the 80s: Molly Ringwald wore nifty hats! Molly Ringwald could sew cool stuff! People told me that I looked like Molly Ringwald! Yay!!!

Oh, and Duckie! I loved Duckie! He wore nifty hats too!

Other than that, the movie has been pretty much a blur in my gray matter for the last few decades until a day or so ago, when I sat down to watch Pretty in Pink once again… this time with my teenage daughter. I still love the hats. And Molly Ringwald can still sew amazing things (though the prom dress was much much uglier than I remembered it).

So here’s an unexpected revelation I had this go around:

Andrew McCarthy has semi-psycho eyes and there is absolutely no reason for Andie (aka Molly Ringwald) to like him.

Seriously. He doesn’t do or say anything particularly likeable. Not even wear a cool hat. So I did a little digging and found out that in the original ending to the movie, Andy ends up with Duckie!


Here, from the Tampa Bay Times, is the script for the final shots:

Andie takes Duckie’s hand and walks him on the dance floor. The crowd separates and opens a large circle. Andie and Duckie stand at the center of the floor. Andie takes Duckie in her arms. She looks at the band leader.

BAND LEADER: He turns his back to his band and they begin to play again.

DUCKIE: He’s terrified.


“I can’t dance.”

“Neither can I.”

“Are we crazy?”


Andie takes a few steps and starts dancing. Dukie follows clumsily. A few steps and they get in step. They dance without shame or concert for what anybody thinks.

BLANE: He turns back to watch Andie and Duckie.

STEFF AND BENNY: They glare at the new couple. Steff can’t hide the anger he feels at being undone by Duckie.

KATE: She glowers at Blane for his gesture to Duckie and Andie. He could care less.

ANDIE AND DUCKIE: The look at each other and smile. Duckie laughs. Andie squeezes him tight and lifts him off his feet.


I’m pretty sure Will, a sweetheart of a character in our upcoming novel DreamBoy (coauthored with Madelyn Rosenberg), owes a good dose of his aesthetic to Duckie. In fact, I think it’s quite possible that on the subliminal level, the novel was a sort of mis-wired protest on my part against Blane and all his supposed perfection. Hmmmm… Ok, that might be an overstatement. Sort of.