This article reexamines Joy Harjo’s literary oeuvre through her work as an anthologist. Read side by side with her poetry collections and her autobiographies, the three volumes she (co)edited—Reinventing the Enemy’s Language : Contemporary Native Women’s Writings of North America (1998), When the Light of the World Was Subdued, Our Songs Came Through : A Norton Anthology of Native Nations Poetry (2020), and Living Nations, Living Words : A Map / An Anthology of First Peoples’ Poetry (2021)—invite us to reconsider anthologies less as secondary critical work than as the matrix of a personal anthological poetics, conceived as the various moves through which multiple Indigenous texts are assembled and reconfigured. Although historically, the format has often been instrumental in establishing a national canon, if not a literary empire in the United States, Joy Harjo’s own practice rather exposes the erasure, appropriation and assimilation of Indigenous voices they have long entailed, while deploying the political potency of her own montages. The anthology therefore becomes a site of editorial and geographical displacement against the stability of the canon, the occasion for alternative histories to be told “beyond settler time” (Rifkin), or an open perimeter for new literary and political commons to intersect, inflecting the author-editor’s own poetics in return.