Fusion Poetry: What Is It?

Fusion Poetry: What Is It?

In naming my technique, I considered Poetry Fusion and Fusion Poetry. Since this form draws from lesser-known poetic techniques while forging something new, I chose Fusion Poetry—a title that suggests a recognized approach or movement, where poetry deliberately fuses artistic and literary influences. Unlike Poetry Fusion, which implies an ongoing process of experimentation, Fusion Poetry frames this as a distinct genre, aligning with how artistic fusions, such as Fusion Jazz or Fusion Cuisine, are named.

Most poems in this collection were created using titles from renowned poets to form entirely new works. By blending the original poet’s themes, styles, and structures into something distinct, this technique engages with found poetry, cento, and collage poetry—but with an emphasis on fusion rather than mere pastiche. It integrates the essence of the poet’s voice while reshaping it through a new creative lens.

This form is inspired by OuLiPoian thinking, or as I prefer, its Americanized counterpart: WoPoLian style. Poetry is often seen as requiring inspiration and lofty ideas, yet this approach relies instead on constraints—piecing together fragments from poetic history to create something new.

As a personal choice, I have not credited the original poets whose titles I’ve used. If curiosity compels you, consider it a riddle waiting to be solved.

While Poetry Fusion could encompass various experimental blends of poetic forms, styles, or traditions, Fusion Poetry defines a structured method of poetic composition. It allows for reinterpretation and expansion, inviting future poets to explore and evolve the form. This concept may take on various expressions, including, cross-form poetry – combining structured forms (e.g., sonnets, ballads) with free verse or experimental techniques.

Fusion Poetry can involve interdisciplinary Poetry – Merging poetry with music, visual art, or performance. It can be based on cultural fusion – integrating poetic traditions from different languages and cultures into a single work. It can use
hybrid poetics – blending traditional elements with contemporary themes, such as archaic language in modern contexts. Constraint-driven combinations in Fusion poetry uses pre-existing titles to construct a new poetic work that prioritizes cohesion over imitation.

Fusion Poetry is not simply an experimental process but a deliberate act of synthesis, where poetry is reconstructed through layered influences. Whether merging rigid formalism with new constraints, blending classic and modern voices, or challenging poetic expression through juxtaposition, the goal remains the same: to create something original using the ideas of the past.

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About the Author: Sarah B. Royal

Sarah B. Royal’s writing defies convention. Her poetry and prose traverse the boundaries between structure and spontaneity, often weaving together philosophical inquiry, cultural reflection, and personal narrative. With a background in experimental literature, she is known for crafting works that challenge readers to engage intellectually and emotionally.

Her acclaimed palindrome performance play, 777 – A Story of Idol Worship and Murder, showcases her fascination with mirrored storytelling and thematic symmetry. In o x ∞ = ♥: The Poet and The Mathematician, Royal explores the intersection of poetic intuition and mathematical logic, revealing a unique voice that is both analytical and lyrical.

Royal’s collections—such as Lost in the Lost and Found, Haiku For You, Lantern and Tanka Too, and the WoPoLi Chapbook Series—highlight her commitment to neurodivergent expression and poetic experimentation. Whether through childhood verse or contemporary fusion poetry, her work invites readers into a world where language is both a tool and a playground.

Sarah B. Royal continues to expand the possibilities of poetic form, offering readers a deeply personal yet universally resonant experience. Her writing is a testament to the power of creative risk, intellectual depth, and emotional authenticity.

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