Jordan Abel’s Injun takes “cut”, “copy”, and “paste” to the public domain – particularly to 92 westerns published during the heyday of pulp publishing between 1840 and 1950, also a period of unfettered colonialism in North America. Abel’s third book of poetry, a long poem about race and racism, destabilizes the colonial image of the “Indian”, both in the public domain and the western genre as a whole. By narrowing the search to the word “Injun” as it appears in the 10,000-page source text of pulp westerns, and by re-appropriating the “erasure” imposed by settler colonialism, Abel reclaims erasure, and pastiche to chisel a path through privileged, colonial histories. Injun testifies to the need for intervention by calling attention to contested issues of land ownership, territory, and the silencing of Indigenous peoples. A natural follow-up to Un/inhabited, Abel’s visual poetics bring urgency to the materiality of text by restructuring history on the site of the page.