This article uses archive theory and Joan Retallack’s notion of the poethical wager to read Rachel Zolf’s Janey’s Arcadia as an interruption and disruption of the ongoing violences of settler-colonial forms of archival narrative. Specifically, I am interested in Rachel Zolf’s poetic irruptions of the settler-colonial representations of Indigenous peoples and lands in her experimental feminist collection Janey’s Arcadia: Errant Adventures in Ultima Thule.
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