Jennifer Elise Foerster
Books
The Maybe-Bird (2022)
The Maybe-Bird marks Jennifer Elise Foerster as a visionary voice in contemporary poetry. Through a spiraling sequence of lyric poems, a cast of voices—oracles, ghosts, water—speaks to a long history of genocide, displacement, and ecological devastation. Foerster uses new poetic forms and a highly conceptual framework to build these poems from myth, memory, and historical document, resurfacing Mvskoke language and story on the palimpsest of Southeastern U.S. history. Foerster leads us on a journey through the visible and invisible landscapes of our human story, through what feels like multiple lifetimes, where we hear the language of the shifting weather, and stand on the haunted edge of the world.
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When the Light of the World Was Subdued, Our Songs Came Through (2020)
A Norton Anthology of Native Nations Poetry.
Edited by Joy Harjo, with LeAnne Howe and Jennifer Foerster
United States Poet Laureate Joy Harjo gathers the work of more than 160 poets, representing nearly 100 indigenous nations, into the first historically comprehensive Native poetry anthology.
This landmark anthology celebrates the indigenous peoples of North America, the first poets of this country, whose literary traditions stretch back centuries. Opening with a blessing from Pulitzer Prize–winner N. Scott Momaday, the book contains powerful introductions from contributing editors who represent the five geographically organized sections. Each section begins with a poem from traditional oral literatures and closes with emerging poets, ranging from Eleazar, a seventeenth-century Native student at Harvard, to Jake Skeets, a young Diné poet born in 1991, and including renowned writers such as Luci Tapahanso, Natalie Diaz, Layli Long Soldier, and Ray Young Bear. When the Light of the World Was Subdued, Our Songs Came Through offers the extraordinary sweep of Native literature, without which no study of American poetry is complete.
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Bright Raft in the Afterweather (2018)
In her dazzling new book, Jennifer Elise Foerster announces a frightening new truth: "the continent is dismantling." Bright Raft in the Afterweather travels the spheres of the past, present, future, and eternal time, exploring the fault lines that signal the break of humanity's consciousness from the earth.
Featuring recurring characters, settings, and motifs from her previous book, Leaving Tulsa, Foerster takes the reader on a solitary journey to the edges of the continents of mind and time to discover what makes us human. Along the way, the author surveys the intersection between natural landscapes and the urban world, baring parallels to the conflicts between Native American peoples and Western colonizers, and considering how imagination and representation can both destroy and remake our worlds.
Foerster's captivating language and evocative imagery immerse the reader in a narrative of disorientation and reintegration. Each poem blends Foerster's refined use of language with a mythic and environmental lyricism as she explores themes of destruction, spirituality, loss, and remembrance.
In a world wrought with ecological imbalance and grief, Foerster shows how from the devastated land of our alienation there is potential to reconnect to our origins and redefine the terms by which we inhabit humanity and the earth.
Foerster's journey transcends both geographic space and the confines of the page to live vividly in the mind of the reader.
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Leaving Tulsa (2013)
In her first magical collection of poetry, Jennifer Elise Foerster weaves together a mythic and geographic exploration of a woman's coming of age in a dislocated time. Leaving Tulsa, a book of road elegies and laments, travels from Oklahoma to the edges of the American continent through landscapes at once stark and lush, ancient and apocalyptic. The imagery that cycles through the poems—fire, shell, highway, wing—gives the collection a rich lyrical-dramatic texture. Each poem builds on a theme of searching for a lost "self"—an "other" America—that crosses biblical, tribal, and ecological mythologies.
In Leaving Tulsa, Foerster is not afraid of the strange or of estrangement. The narrator occupies a space in between and navigates the offbeat experiences of a speaker that is of both Muscogee and European heritage. With bold images and candid language, Foerster challenges the perceptions of what it means to be Native, what it means to be a woman, and what it means to be an American today. Ultimately, these brave and luminous poems engage and shatter the boundaries of time, self, and continent.
Foerster's journey transcends both geographic space and the confines of the page to live vividly in the mind of the reader.
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