There's a lot about found poetry available online. The Academy of American Poets and The Poetry Foundation both give a page to it on their websites, and there's even a journal devoted to it, The Found Poetry Review. For me, the best and most thorough definition is the lead paragraph in Wikipedia's entry:

Found poetry is a type of poetry created by taking words, phrases, and sometimes whole passages from other sources and reframing them as poetry by making changes in spacing and lines, or by adding or deleting text, thus imparting new meaning. The resulting poem can be defined as either treated: changed in a profound and systematic manner; or untreated: virtually unchanged from the order, syntax and meaning of the original. . .

Found Poetry has its roots in the 1920s in the Dada movement when Tristan Tzara proposed cutting up the words from a newspaper article and drawing them out of a bag, and Man Ray redacted an entire page of poetry as with a censor's pen. Since then, the alteration of pre-existing texts and devising random ways to reconfigure them into new meanings have been the methods used by writers such as William Burroughs, who was inspired by Tzara's experiments in "cut-up" and in turn influenced David Bowie.

A browser search will turn up numerous websites with random text generators or javascript routines that produce pseudo-haiku from newspaper headlines, vocabulary lists etc. Happily, some good collections may also be found on the Web if you know where to look: Marlene Mountain's "tear-outs" from the 1970s/80s; Ivan Granger's on his Chaikhana Poetry Blog (2009, Melissa Allen's entries on Red Dragonfly (2010), Ian Marshall's Walden by Haiku (2010), not to mention Renée Owen's colleges in the Experimental section of our December 2010 issue. My own contributions to the list are a collection of "haigacollage" in the 2003 Haigaonline, and a few more from a found poetry workshop led by Neal Whitman in Sketchbook, Jan/Feb 2012).

One of the Wikipedia entries on found poetry makes a point that this involves purposeful decision-making: What exactly do I want to do to the source text? Celebrate, denigrate, subvert or efface it completely? Although it's been done, most of us don't choose a text in order to efface it completely, and denigration may be useful for senryu on political topics. Celebration may offer the most fruitful approach to found haiku. It assumes I've chosen a text that speaks to me, and that I'm working with, not against it. I'm reminded of the Japanese technique of honkadori, or of Susumu Takiguchi's essay in the 2003 Haigaonline , in which he spoke about text/image linking as one honoring the other. All found poems subvert their original texts in some way or another. At its most basic, a found poem can be a length of text extracted from context and reshaped into poetry by insertion of line breaks. Or the alterations can be more radical—omitting sections, changing the order, combining with text by other authors—that totally upend the original author's meaning.

The Found Poetry Review lists these four common approaches to found poetry: Cut-up, Free-form excerpting and remixing, Erasure, and Cento. Because of haiku's brevity and its differences from Western poetry these types play out in distinct ways, but to one degree or another the techniques are all useful for found haiku. Click on the thumbnails to the right for examples of each in haiku, haiga, and other kinds of graphic presentation.

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