This essay examines three contemporary Swedish poetry books that are all based on foundmaterial from everyday life such as transcriptions from a radio channel, personal calendarsand documents from the workplace. Using Martin Glaz Serup’s theories about relationalpoetry combined with Walter Benjamin’s ideas on the author as a producer, it investigates thepolitical and documentary dimensions of found poetry as a practice. The books are examinedone by one in chronological order and the analysis aims for a deeper understanding ofquestions about authorship, distribution and the poetic voice, as well as ethical dilemmas. Theresult recognises found poetry as a specific and complex method, that requires more attentionand research in a world where copying text is becoming as natural as writing in itself.