Poetic writing often seems rather like rearrangement these days:
If “creative writing” has become as formulaic as I have been suggesting, then perhaps it is time to turn to what Kenneth Goldsmith calls “uncreative writing.” Tongue-in-cheek as that term is, increasingly poets of the digital age have chosen to avoid those slender wrists and wisps of hair, the light that is always “blinding” and the hands that are “fidgety” and “damp,” those “fingers interlocked under my cheekbones” or “my huge breasts oozing mucus,” by turning to a practice adopted in the visual arts and in music as long ago as the 1960s—appropriation. Composition as transcription, citation, “writing-through,” recycling, reframing, grafting, mistranslating, and mashing—such forms of what is now called Conceptualism, on the model of Conceptual art, are now raising hard questions about what role, if any, poetry can play in the new world of instantaneous and excessive information.Here's the book referred to, by the way.