Hate Poems

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 artist, curator and writer Hana Pera Aoake. The book begins with a placenta placed into a Pohutukawa tree and spirals out across manifold interrogations and anecdotes of the poet’s life. the poetry harnesses a vibrant decolonial commentary on the life/death cycle:

“Bodies that span the past, present and future 
It’s non linear, omnipresent, human and non human” 

The poetry maps ways in which the lived and living memories of colonial histories are held, endured and warped inside one’s body, which is to say the whole Earth.  “Pain and age are knotted together” she states. In many ways the book attempts to illustrate a delicate symbiosis of all living and non-living things, yet localises the pain and joy which manifests from these systems within her own life. The poetry asks how ideology changes the way we love, parent and make art.

Hana Pera Aoake expands these cyclical frameworks of flux and impermanence across her otherwise diaristic and witty verse. Hana Pera Aoake writes on sculpture, anger, labor, detention, greed, genocide, the ocean, the family, sovereignty, sanity and love. The writing spares no opportunity for irony and opinion, housing articulations of political dreaming within a resilient and potent humour. The book is generous in its exploration of Māori belief systems and indigenous solidarity as much as it is on rhythmic, free-associative verse. An exciting and expansive collection of poems. 

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. 

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).

Poets Lee Ann Brown and Bernadette Mayer, old friends, began a specific correspondence in early 2020 with the intention of editing them into a book. The poems, letters, letter-poems, pletters, cover the first songbirds of spring, works and advice from friends, art, lists from the messy old internet, the possibility of seeing one another again, some day. Bernadette passed away on November 22, 2022, 3 weeks before this book was completed and bound. Throughout the text Lee Ann and Bernadette merge two distinct and unique voices in both a poetic, loving and humorous sharing. In a letter from Bernadette to Lee Ann she writes: “I imagine the voice to be/ yrs/ Because it is/not/mine.”

Ephemeral and anarchic, Runes and Chords is the first collection of artwork by famed poet, critic and artist Alice Notley. These sketches, drawn on an iPad and first serialized on Notley’s Twitter feed, are a fascinating window into an evolving practice, collages of flowers and poetry, the white space of digital creation and overlaid colors erupting from the page.

They defy containment and category, much like their creator—each a second in a day, an afternoon or evening in Paris, a thought so transient it can only exist in the medium of social media. With this collection, one of America’s most influential living poets and artists continues to prove her worthiness of that title.

Dictee is the best-known work of the multidisciplinary Korean American artist Theresa Hak Kyung Cha. This restored edition features the original cover and high-quality reproductions of the interior layout as Cha intended them. Produced in partnership with the Berkeley Art Museum and Pacific Film Archive, this version of Dictee faithfully renders the book as an art object in its authentic form.

A formative text of modern Asian American literature, Dictee is a dynamic autobiography that tells the story of several women: the Korean revolutionary Yu Guan Soon, Joan of Arc, Demeter and Persephone, Cha's mother Hyung Soon Huo (a Korean born in Manchuria to first-generation Korean exiles),and Cha herself. Cha's work manifests in nine parts structured around the Greek Muses. Deploying a variety of texts, documents, images, and forms of address and inquiry, Cha links these women's stories to explore the trauma of dislocation and the fragmentation of memory it causes. The result is an enduringly powerful, beautiful, unparalleled work.