A fault line poem contains a hidden line running beneath its surface — not in the first letters like an acrostic, or in end-words like a golden shovel, but in the fractures between words. The hidden line is built from edges rubbing together across rifts: the ending of one word, the beginning of another, or both combined. Whole words of the “landscape” poem may also be used. The result should be a smaller poem buried in the landscape poem, like a geological fault hidden beneath stable ground. Perhaps stepping close to it creates a vertiginous feeling of risk, or revelation.
The hidden line can be marked typographically (bold, italics, small caps) for those who want to show the fault line clearly as in my poem below, or left entirely concealed.
The reveal of the fault line at the end, like the haiku that ends a haibun, invites the reader to reconsider the formerly stable ground they were standing on from a new perspective.
To construct one: Begin with the line you want to hide---or don’t, and let the two intertwined pieces develop simultaneously! Either way, you’ll build the poem outward from it, choosing words whose edges, pressed together, yield the words of your hidden text in sequence. The poem must stand on its own — the fault line should be barely visible until the reader falls into it.
I'm posting the original fault line, called "Elves Chasm, Grand Canyon," and then another that I wrote, much shorter.
On the Edge
Show me another gray day
and I’ll surrender, start scanning the
cold, wet landscape for a way out.
I’ll climb a bridge and stand, swaying,
trying to judge how many feet I’d fall, if I’d
hit hard enough. Who can take any more
of this gnawing, windy winter?
How can we stand
any more winter?


Heidi, I'm wowed by your description and your poems! I am especially happy that your Grand Canyon takes the long view, as it fits in well with my poem this week, although I take the looooooooooooooooooooooooooooooooooong view.
ReplyDeleteWow, Heidi. That's pretty cool. The idea of building the poem outward is interesting! Nicely done.
ReplyDeleteThanks for the inspiration!
ReplyDeleteWow, Heidi. I see that beneath the surface of this well structured poem lies much in the way of construct, thought and decision making. This is such a gloriously innovate piece of poetic work. As I said of Mary Lee's poem, you are exploring the outer reaches of poetry's terrain and I love that.
ReplyDeleteWhat an intriguing form, Heidi! Your explanation of it is beautiful.
ReplyDeleteI am really going to have to give this form another shot. Thanks for landing the information here for easy access. Your examples are fabulous.
ReplyDeleteBook mark to the heart! Love this form!
ReplyDeleteHeidi, I am glad to ready your poem once again. It is remarkable. May this format rise as a poetic model for many poets.
ReplyDeleteSuch an intriguing form. Lots of room to play and create.
ReplyDeleteHeidi, you are an inspiration! What a unique treasure and interesting form. I will look forward to playing with it.
ReplyDeleteAh ha! You sneaky poet...hanging out on page two of the links. I found this form very challenging! But, also fun. I'd like to write more. This poem of yours is an exceptional mentor text. Thank you for being a leading poet in my life!
ReplyDeleteThank you for introducing me to fault line poems! That is so great!
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