Abstract
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 Ad^ent$res in Ultima Thule.
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