Postcolonial poetry, as both a body of poems and a field of critical discourse, furnishes opportunities to foreground anticolonial and antiracist work while attending to its aesthetic dimensions. Taking a cue from Vahni Capildeo’s “In 2190, Albion’s Civil Conflicts Finally Divided Along Norman-Saxon Lines,” this chapter suggests that their speculative poem enacts a decolonizing practice in at least three ways that ramify throughout postcolonial poetry more broadly: (i) it questions the politicized distinctions between outsiders and insiders, (ii) it makes available for poetry undervalued forms of language and definitions of home, and (iii) it embarks on a project of world-unmaking and world-remaking. Organized according to these three modes of practice, this chapter reflects on how university-level aesthetic education and pedagogy might elucidate the decolonizing work of poets and poems. At the same time, it tests the limits of the term “postcolonial poetry” for such decolonizing work. With a focus on Jamaican poets Louise Bennett, Lorna Goodison, and Kei Miller, the chapter also looks to Natalie Diaz, Nuala Ní Dhomhnaill, Safia Elhillo, and Tjawangwa Dema.