Blame It On The Rain

This book emerged out of a collaborative writing project that began in 2020 in response to The 3:15 Experiment. The ‘experiment’ involved a group of poets who, every August, would write nightly at 3:15am from wherever they were. It began in 1993 with six poets (Bernadette Mayer, Danika Dinsmore, Jen Hofer, Kathleen Large, Lee Ann Brown, and Myshel Prasad) at the Jack Kerouac School of Disembodied Poetics (Naropa University, Colorado), then continued every August for 22 years, with the group growing to over 25 poets, participating from various time-zones. Four of the initial poets—Mayer, Dinsmore, Hofer, and Brown—compiled The 3:15 Experiment (Owl Press, 2001), a selection of their middle-of-the-night writings between 1993-2000.

This edition builds further on this practice.

"We started thinking about a reading and writing practice that is shared but still divisible, divisible but not subtractable. The structures created by synchronicity, repetition, and temporal constraint felt generative. We found that these structures produced the conditions for another logic to emerge, a night-time logic. This night-time logic gestured to a different kind of self perhaps, a self somewhere between a waking-I and a sleeping-I, a self emerged through habit. After all, logic is just a habit.

This nightly rhythm has now become a yearly ritual: every October we’ve returned to this shared practice. As Jen Hofer says, it’s just “to see what is there. Merely what is there, merely to see.”(2) The poems in this book have been compiled from our first batch of 1:53’s. We edited them ‘together-together’—together trying to attune to each poem’s internal logic, while also trying to locate a collective voice that (we hope) textures throughout.

(Certainly) any writing idea of Bernadette’s is one worth pursuing. This book is dedicated to Bernadette Mayer (1945-2022), and the certainty of possibility her work opens up to us."

on nmp.16: 
english, chicago screw, folio cover, 148 x 210 mm
first edition, edition of 115 (numbered).

published commonly, no no no expounds an experimental poetic offering, both text & art.

each issue features a limited edition artwork. which can be tacked or framed or stored in a drawer.

celestial in nature, no no no takes the form required, and necessary.

published commonly, no no no expounds an experimental poetic offering, both text & art.

each issue features a limited edition artwork. which can be tacked or framed or stored in a drawer.

celestial in nature, no no no takes the form required, and necessary.

the second poetry collection from Natalie Briggs titled ‘FLOWER ENGINE’. This collection of cinched, bright free-verse explores the passing locations of love and the slow, private operations of pain’s knocking counterweight. The book extends Briggs’ relay of concise universal suggestions, translating them through brief, intimate utility. 

published commonly, no no no expounds an experimental poetic offering, both text & art.

each issue features a limited edition artwork. which can be tacked or framed or stored in a drawer.

celestial in nature, no no no takes the form required, and necessary.

The Activist begins in the middle of a revolution. There is a protesting group of commuters with a missing leader. There is a bridge that may or may not have been bombed. People speak in nonsense and cannot stop themselves. In the midst of all this, the language of news reporters mixes with the language of confession. The art of this beautifully written book is in how it touchingly illustrates that relations between humans and cities are linked in a more complex interface than most realize. The book is full of entrances and exist, alternate routes and incommensurate geographies. The Activist does not analyze or explain the hopeful desires of protest at the turn of the century, but it does enable us to see them differently. — Juliana Spahr

"Whether this is a dream in which I'm captured or I've been captured and made to think I'm in a dream, I can't figure." Apropos to the rapturous tension The Activist evokes. A covert narrative operating as an event disguised as a repot. A grass trap glimpsed through the lashes of a sleepwalker. Topography of disrupted positionality, reflection girders flaccid memory against the romantic high up. Flea-bitten news and neuralgic placards. You are here**. Is dreaming the medium for crossing the ambiguous borders of talk, responsibility, collectivity, solitude? Or does reading anatomize a phantom bridge that carries you over to an unmappable reality and calls you by your secret name? Root, plan and faction, armed with tongue-tied intensity. You may ask how Renee Gladman knows that this city of slippage is your city, how she holds you within it, riveted. And therein lies the magic of this book. — Tisa Bryant

In the face of utter devastation, Palestinian poets offer their words as mournful testimonies of grief and war, but also of unwavering hope and resistance despite all. In collaboration with Espace Magh, we are proud to present “GAZA, Is there life before death?”: an trilingual anthology of poems written by Fatena Al Ghorra, Hend Jouda, Nour Baaloucha and Wadah Abu Jamie, as well as Charles Ducal.

Edited by Mohamed Ikoubaân and Taha Adnan, the book consists of three parts: the Arabic poems, their French rendering, and newly translated Dutch versions. Across these languages, poetry figures as a bulwark against the degradation of humanity. The book forms a tribute to those who continue to carry out the voice of their people in spite of their occupation and annihilation.

Poëzie is een daad van verzet op een plek waar de hoop lijkt te zijn weggevaagd. Het is een blijvend bastion tegen menselijke degradatie. De Palestijnse dichters Hend Jouda, Fatena Al Ghorra, Nour Baaloucha en Wadah Abu Jami getuigen in hun poëzie over de oorlog op Gaza en de veerkracht van hun volk. Samen met Charles Ducal maken ze deel uit van GAZA, Is er een leven vóór de dood? Deze drietalige bloemlezing, samengesteld door Taha Adnan en Mohamed Ikoubaân, brengt hun gedichten in het Arabisch samen met vertaalde versies in het Nederlands en in het Frans.

En collaboration avec Espace Magh, Moussem présente une anthologie trilingue de poèmes écrits par les poèt·ess·es palestinien·ne·s Hend Jouda, Fatena Al Ghorra, Nour Baaloucha et Wadah Abu Jami, accompagné·e·s de Charles Ducal. Dans GAZA, Y a-t-il une vie avant la mort ?, iels témoignent de la guerre à Gaza et de la résilience du peuple palestinien : des poèmes devenus acte de résistance là où tout espoir semble avoir été écrasé.

De dichtbundel is gepubliceerd ter gelegenheid van het gelijknamige programma dat op 24 juni 2025 plaatsvond in Espace Magh: een avond waar poëzie werd voorgedragen als hulde, als echo van waardigheid en solidariteit. Zoals Taha Adnan aangeeft in het voorwoord: wij hebben niet de rol van spreekbuis willen spelen. Hier is het woord aan Gaza.

De gedichten in het Arabisch (Palestina) en het Frans van Fatena Al Ghorra, Nour Baaloucha en Hend Jouda zijn afkomstig uit het gelijknamige boek, Anthologie de la poésie Gazaoui d'Aujourd'hui, vertaald door Abdellatif Laâbi en samengesteld door Yassin Adnan (Éditions Points, 2025). De Nederlandse vertalingen uit het Arabisch zijn tot stand gekomen in samenwerking met de Onderzoeksgroep Arabistiek en Islamkunde van de KU Leuven.

Doorheen deze drie talen brengt het boek een eerbetoon aan zij die de stem van hun volk blijven uitdragen, ondanks hun bezetting en annihilatie.

Teksten:
Fatena Al Ghorra
Hend Jouda
Nour Baaloucha
Wadah Abu Jamie 
Charles Ducal
Taha Adnan

Vertalingen:
Abdellatif Laâbi
Taha Adnan
Jean-Marie Gerard
Danielle Losman et le Collectif des Traducteurs de Passa Porta
Nisrine Mbarki 
Heleen Mercelis 
Roumaisa Boulbahaim
Hanna Jacobs 
Dilara Karataş
Freya Moonen en Jade Gevers

Why do we yearn to be seen when we are already far too visible? How do we want to be perceived, and how are we exposed? Could we ever really see for ourselves?

In memoir, vignettes, poetry and essays, Suhaiymah Manzoor-Khan records her observations from the stands at the dizzying circus of being seen and unseen. She surveys the criminalising stadium of civic life, the open-air arenas of family, friendship and grief, the performative pageantry of the public eye and the unclad secrets of the self in solitude, paying attention to what’s on show and what goes undetected.

Perhaps the strangest, most exciting possibilities are opened when we surrender to another kind of sight. Submitting to the gaze of the Unseen and the All-Seeing, Manzoor-Khan invites us to close our eyes and discover what it would mean to look with our souls instead.

Suhaiymah Manzoor-Khan is a poet and writer whose work disrupts assumptions about history, race, violence and knowledge. She is the author of Tangled in Terror and the poetry collection Postcolonial Banter; a co-author of A FLY Girl’s Guide to University; and a contributor to the anthologies Cut from the Same Cloth? and I Refuse to Condemn. She is based in Leeds and is currently writing for theatre.