By News & Resources Editor Martin Elwell. Send me your found poetry news.
As JAB Magazine (Just Another Bureaucracy) changes its format to quarterly, its editors have added a Found Poetry category for the Spring 2015 issue. The journal will be accepting 10 found poems, and the deadline for submissions of found poetry is December 15th. You can find the guidelines here.
Our mission at JAB! is this; publish poetry for poetry, not for name. Because of this, we accept only blind submissions. We value the poem itself above whoever wrote it. The publishing industry, especially that of poetry, is becoming an increasingly hard “business” to break into. We thought that was very funny, because we’d always been told poetry wasn’t a business: there’s no money in it.
Found poetry is a popular classroom choice for engaging students of any age in poetry. In this post, teacher Lowri Scourfield from Gloucestershire, England reveals how she used found poetry as a gateway into the art form.
After a bit of research and a trawl through Pinterest, I found some interesting ideas on the concept of “found poetry” or “blackout poetry”. All you need is a sample of text; it can be a page from a book, a photocopied extract or even a newspaper article. Then ask students to select certain words and black out others to create a new piece of prose. They aren’t allowed to add words or change the order; these restrictions give them a clear structure to focus on and work within.
What I really love about this lesson is that students are often surprised by how good their poetry looks and sounds. The task works for all abilities, because pupils select the words that appeal to them.
In his review of Rome, by Dorothea Lasky, Felix Bernstein seems to want to elevate Lasky’s poetry above almost all of the major movements of the past 50 years, including Conceptualism, Language Poetry and other forms of experimental poetry.
She pays attention to the lineage of formally experimental poetries and deconstructive philosophies without being thrown into a world where language is fully arbitrary and authorship merely a brand. Lasky’s is a world where the poem matters and not just the wink of the author (as in conceptual poetry) and where the author matters, not just the semiotic world of the text (as in Language poetry) and, indeed, where the reader matters and not just the social network or media platform (as in much post-conceptual poetry and Net Art).
Jim Harrington interviews FPR’s Senior Poetry Editor, Beth Ayer, on his blog 6 Questions For… Click here if you’ve been dying to know which song best describes the Found Poetry Review!
Our most important requirement is that the poet transforms the source material, transcending the original meaning. When reviewing a submission, I usually read the poem over a few times first to get a sense of it, then check the source material, then reread. I find that it is important to first form an impression of the poem before considering the source, but we also want to make sure the piece adheres to our guidelines.