Deleuze and Guattari's concept of assemblage — a multiplicity of heterogeneous elements that form a provisional whole without hierarchy — has directly influenced poets like Anne Carson and Maggie Nelson, whose works assemble fragments, genres, and discourses into hybrid forms; Whitman's catalogues can be reread through assemblage theory as a democratic gathering of diverse elements — people, objects, landscapes — that form a collective body without subordinating any element to a master term; Collage poetry (the Cantos of Pound, the cut-up experiments of Burroughs, the procedural texts of Language poetry) enacts assemblage philosophically, treating the poem as a temporary gathering of heterogeneous materials rather than an organic unity; A poet creating a documentary poem about a historical event might frame their method in terms of assemblage — gathering testimony, archival material, lyric meditation, and visual elements into a form that refuses the false coherence of conventional narrative; Postcolonial poets have used assemblage as a philosophical framework for thinking about the hybrid cultural identities produced by colonial contact — identities that are not organically whole but assembled from multiple, sometimes violently combined, traditions; Juxtaposition in modernist poetry (Eliot, Pound, H.D.) operates on the principle of assemblage — meaning emerges from the unexpected proximity of disparate elements rather than from logical connection