Daniel Moore, Poet

AH City Lights

Daniel Abdal Hayy Moore, passed away yesterday April 18 after several years of cheerfully coping with illness. He was a night bird poet who invariably wrote in the early hours. Like a nightingale his song was only heard by a few but fortunately was recorded in all the many books he self-published over a fifteen year period till the time of his death. It is said that when a poem is recited the spirit of its author appears in some way and it’s in his poetry that you can still meet with him. There is a huge volume of his work but it is hoped an anthology can be assembled soon to present the essence of his work to a bigger audience. He was well known as a beat poet in the 1960s in the USA and was brought to a large audience by the City Lights bookshop in San Francisco, and his name was always linked with Alan Ginsberg and Laurence Ferlinghetti. But it was a world of poetry that I had little to do with. I only knew him as a fellow traveler through the wild and rocky roads of a Sufi brotherhood over a period of around 45 years.

Others could relate in more detail better than me his early fame in the Floating Lotus Opera Company in San Francisco during the late sixties and the internet might reveal more details and even movie footage. Remember this was in the height of the flower revolution fuelled by LSD and many other stimulants. Many of the pioneers of this new frontier were cosmic explorers seeking whatever they could of Eastern universal wisdom in all its many manifestations, Sufism included. And Islam finally.

He was an early follower of Suzuki Roshi, the famous Zen master, and he once gave me a tour of his old dojo in the heart of San Francisco where a row of small black zen cushions in a large wood panelled downstairs room was evidence of where the disciples endured hours of meditation.

Abdal Hayy was plucked out of that Zen Buddhist world and the shaymanic theatrical world of the Floating Lotus and hip poetry, by the actor Ian Dallas and it was 1971 when I first met Abdal Hayy in London, shed of his long hair, prayer beads in hand. He was en route to Morocco with some other Californians to meet the famous venerable Sufi shaykh in Meknes, Muhammad Ibn al Habib, where he was appointed a muqqadem (a deputy) by the Shaykh. When he finally fled from the gravitational pull of the various communities he found himself living in for many years, he ended up in Philadelphia where he remained till his death. Having been curiously prohibited from writing early on by Ian Dallas, in his newly won freedom, Abdal Hayy began writing poetry again, and prolifically so.

I worked on quite a few of his books and although I must admit I am no connoisseur of poetry there was always a few of his poems that caught my eye. The poems I liked best were honest, observant, surreal, self deprecating and often humorous. The book I know best is Ramadan Sonnets from 2006 which acts as a kind of vessel which could contain his genius. The opening poem The Inevitable is about fasting, and quite timely which is why I quote it here:

It’s like practicing for death. No food or drink
during daylight hours no matter
what, in the
heat of summer or
cold of winter,
and no way out of it but through
sickness, pregnancy, menstruation, madness or travel.
So that

it’s something that comes
inevitably each year, like it or not, whether or not
you’ve got a knack for it, and
some do, and love to fast, and
thrive on it, but
I do not, yet

each year it makes its visit, and year after
year it builds up to be a
sweet thing,

which make it like death, the way its
always on the
horizon, and an
absolute obligation, which must be
why Muslims often die well, They’ve had a
lifetime of Ramadans tenderizing them
for The Inevitable. And the Inevitable surely comes.

–––––––––––––––––––––––––––––––––––––––

RAMADAN SONNETSBut appreciating poetry is always a very personal thing and many people just don’t get it. It tries to express what cannot be expressed in any other way. I also loved the way Abdal Hayy’s words just tripped out of his pen as if they had minds of their own in his endless efforts to define impossible spiritual heights in verse. Loose, free verse. He didn’t really have time for rhyme though it would pop up every so often. In fact I asked him several times to write in rhyme so I could set it to music. I managed to make Raspberry Juleps, one of his poems from the Ramadan Sonnets into a song as it had a bit of rhyme in it. It was unavoidably and inevitably west coast sounding like a Robert Hunter Grateful Dead track. The words always flavoured the song:

Raspberry Juleps sweet as cucumbers,
delicate froth on the rim of the glass,
even the hasty buffalo lumbers
slowly when entering Paradise Pass.

Tweets in triplets cascade in a mass
from eaves where chickadees sit by the trail,
suddenly filtering down through the grass
I imagined appearing in this vale

of tears in the modern city, chromium wail
of silent citizens taking their walks.

Silver in rays, sparkles like chain mail
flash through the nonsense everyone talks
Why not see canyons filling with light?
Any moment leads to some insight.

——————————————-

Even though he tried to express the divine in his poetry, he was still in some ways very much to me the west coast beat poet appraising in his nightly vigils wondrous and infinite celestial and very spiritual inner worlds as well as just the plain ordinary. His words were his rocket fuel, launching him constantly into wonderful journeys into the inner beyond. His own artwork adorned most of his book covers and was a glimpse of the surreal worlds he looked out on and which had surrounded him in his early life in the floating Lotus. He was ever conscious that his imagery would never be endearing to Muslim bookshops. But he stuck to his guns and  carried on regardless creating ever stranger collages and odd juxtapositions.

His poetry was always God conscious poetry and it came from from an encyclopaedic knowledge of the subject. He really knew poetry inside out, and poets too whether from the Caucasian or Hispanic universes. Where he is now only God knows, but I’m sure he is writing a poem about it.

Email me at cwdm.typography@gmail.com
Design work: cwdm-portfolio.com

Posted in Comment, language, miscellaneous, music, Poetry, Publishing, religion, sacred knowledge, tassawuf, typography / design, Uncategorized | 4 Comments

New Publications & Reprints

Mainstay

The Mainstay, a hardback translation of the complete commentary by Ibn Ajiba of The Burda of Busiri, was printed at the end of last year having been designed here in Spain. It was translated by Abdal Aziz Suraqah and published by the Abu Zahra Foundation in the UK and is now available from

U.K. and Europe: http://www.abuzahra.org/product/the-mainstay/
North America: https://www.meccabooks.com
Singapore: http://www.wardahbooks.com


LOVE IS TRAVELLER Jan 27.inddDiwan Cover blog

Poetry specialists Ecstatic Exchange in Philadelphia have just published a first book of poems by Medina Whiteman entitled Love is a Traveller and We are Its Path. Available online from Lulu.comI was only a consultant on this POD production.  Also available now from Editorial Qasida is a reprint of the Diwan of Muhammad Ibn Al-Habib first printed last year. This has been comprehensively proofread by Shakir Massoud who uncovered many errors which have now been put right. I’ve given him a well deserved credit in this edition as well as Tahira Larmore for her proofing of the English and myself the designer. Though perfectly usable, the first printing was a bit of a rough diamond. This one we hope will be highly polished and finely cut! Because of the complexity of the multi-lingual text, teasing out the errors took a lot of time.  We know from experience that these Diwans get heavy use which is why we went to the extra expense of using stronger properly sewn sections so that the book can be hand bound in cloth or leather if needed. With print-on-demand books (POD) the binding is a cut and glue arrangement which cannot be rebound. 

Buy The Diwan direct – now available:
http://www.cpibookdelivery.com/book/9780993225208/The_Diwan
Also it is available from several bookshops in the UK.
In North America:  https://www.meccabooks.com

All bookshop enquiries: editorial.qasida@gmail.com


IB cover front

Also just published by Rabaah Publications is Illuminating the Blackness by Nigerian-English Azhari scholar Habeeb Akande. It presents the history of Brazil’s race-relations and African Muslim heritage. The book is divided into two parts. Part I explores the issue of race, anti-black racism, white supremacy, colourism, black beauty and affirmative action in contemporary Brazil. Part II examines the reports of African Muslims’ travels to Brazil before the Portuguese colonisers, the slave revolts in Bahia and the West African Muslim communities in nineteenth century Brazil. Highly illustrated with a picture index of 169 colour images of Brazil.
Designed here and printed in the UK. It should be available soon.


Content-of-Character

Another reprint from Sandala readied at the end of last year, was the well known Content of Character by Ali Mazrui, (shown left) translated by Hamza Yusuf which was first published over ten years ago. Very much like the Diwan reprint this has been thoroughly overhauled and corrected with a new cover design. Available now from Sandala at sandala.org


POH-cover-SPANISH

Also of interest is the printing of a much needed new Spanish translation of Purification of the Heart previously only available as an ebook. Translated from the original poem of Ibn Mawlud by Hamza Yusuf, with an extensive commentary also by Hamza Yusuf. This was translated by Emilio Abdarrazaq Perez here in Spain and is exactly modelled on the original…but in Spanish. For any enquiries please contact walaya786@gmail.com


A reminder that my old web site ianwhiteman.com is no more. My work is now viewable on cwdm-portfolio.com which is a better experience generally and much easier for me to manage.  There were certain features of the old site which I will make available on this blog in due course. To contact me direct: cwdm.typography@gmail.com

All work displayed above has been designed and typeset here unless specified otherwise.

Posted in Comment, language, miscellaneous, Publishing, religion, sacred knowledge, science, tassawuf, typography / design, Uncategorized | 4 Comments

The Wird of the Diwan

The Wird of the Diwan of Muhammad ibn al Habib,
may Allah be pleased with him

Marrakech Wird Sept 17.indd

To anyone who obtained the Diwan of Muhammad ibn al Habib in the last 9 months, published by Editorial Qasida, the pdf freely downloadable here will be very useful and has been much requested. On mobile platforms it is ideal and works particularly well in an iPad installed in iBooks. Importantly, typos in the original edition have been dealt with. Later this year we hope to print a revised edition of the whole Diwan with all the errata corrected. As it is effectively in three languages getting it 100% correct in the first edition would have meant it would have remained unpublished even now. Nonetheless we apologise for any errors.

The Wird 2016

NB The Diwan has just sold out.
We are currently working on a reprint which should appear in the next few months. When available it will be announced on this blog.

Posted in language, miscellaneous, Publishing, religion, sacred knowledge, tassawuf, typography / design | Leave a comment

Speakers Andalus

Heterophony and Polyphony (and the loss of it.)

The wholesale and loving embrace by Morocco of the amplified musical event has shattered my illusion that Morocco was a place which understood its traditions. Clearly not. That said, it hasn’t actually lessened the actual content of what they sing. Morocco still has some of the best Andalusi singers you will find anywhere whose knowledge of the subject is oceanic and unassailable. But at the point of delivery, where the singing meets its public, whether private or public, the singing is being severely undermined by big black deafening loudspeakers. And I detest them. But the Moroccans, especially the singers, seem to love them.

Heterophony and polyphony are technical terms relating to multiple sung voices.
1. Heterephony describes a single-note many threaded tune with slight natural pitch variations between individual voices, giving choral singing its unique and rich uplifting and meshed quality. This particularly related to Andalusi singing which is essentially one single note tune with slight individual variations
2. Polyphony places each voice in a 3D space so the listener perceives a multi sourced spatial sound. As with any choir.

The human heart, which is the true sensor of any thing conscious, absorbs all this and drowns in the beauty of sound and singing especially. It elevates and expands the heart. A precious and subtle experience. And what do microphones and amplifiers do to this?  Flatten it, homogenise it, and kill it stone dead. And my dear Moroccans are deaf to this phenomenon it seems and given the high volumes they tolerate they might become actually deaf, if they aren’t careful. Furthermore the microphone becomes a vain plaything to toy with as they sing their solos. Like Tom Jones singing in a Las Vegas casino.

Maybe it’s a sign that the world is just becoming noisier that people have to make yet more noise to be heard over the din. I make no apologies for having loved amplified music, instruments, recorded high fidelity sound and also all the explorations into synthetic music that we loved in the 1960s, 70s and 80s. It did seem that it was all going somewhere artistically. But we did have a subtle appreciation of it. But we wanted HiFi, not distorted sheets of sound. But I’m a little tired of amplification now and prefer these days to indulge myself in the subtle acoustic qualities of the human voice, natural instruments, natural room acoustics, the sound of the natural world and so on – if I can find it.

Amplification can only be seen now as a last resort, but better avoided. If I had my way at such events as the Fes Sacred Music Festival, or come to that any public performance of music or singing, I would outlaw amplification, unless it was done with real artistic sensitivity. Instead it has now become an egregious orgy of amplification. The louder the better. I’ve witnessed it. It’s seems to be going the way of heavy metal rock music where without the huge volume, it is nothing.

The way technology has impinged on humans has been a slow burn. With the industrial revolution the effects of technology were brutal, clumsy and absolute, like heavy industry which reshaped and polluted towns and cities in Northern Europe and the growth of railways in the 1800s, which marched across hitherto untouched landscapes, spreading industry everywhere. Culminating sadly in the first tragic industrial world wars of the 20th century crowned by the atomic bombs on Nagasaki and Hiroshima in 1945 a few months after I was born.

gramophones.picbig.hmv.102.red

The intrusion of technology into the home has also been a slow burn. In the 1950s we didn’t have refrigerators and in my family’s house the first washing machine didn’t appear till 1956. And there was no hifi audio then. In fact our only record player was a red wind-up 78rpm gramophone, an HMV, exactly like the one illustrated above. Fridges and washing machines were useful appliances but the corrosive effect of communications technology on families and society could not have been foreseen and subtly seeped its way into our consciousness. Television particularly was the harbinger of the dumbed down society, the powers that be opting to use it to sell stuff to the masses rather than to educate or illuminate. The non-commercial BBC in the UK was a kind of rearguard action that preserved some higher aspirations, but even that is now severely under threat. It is as if the commercial transaction of selling and buying stuff is now the arbiter and sacrament of everything and that the idea of a social good has been abandoned. Welcome to capitalism.

This principle has percolated now down to the internet and interpersonal communications and is challenging the way people behave in a fundamental way. Is it normal that people are glued to a smart phone everywhere they go? In bed, in the street, even while they eat. (I’ve done all these things, by the way) Many of us are aware of this, yet we blithely continue on with our lives with a shrug.

The masses are unaware of what is happening to them as it’s so vast and all-encompassing. OK, we have to accept life as it is and computers are very useful but in the long run we will have to train ourselves to limit their use or else there will be hell to pay, quite literally. Many corporations now severely limit the use of mobile devices, understanding that for certain things they are unproductive and ultimately counterproductive. Proving that people will submit to anything if it affects the bottom line. There has to be a reaction sooner or later. Could this happen in Morocco? Not for a long time.

 

Posted in Comment, miscellaneous, music, religion, sacred knowledge, typography / design, Uncategorized | 2 Comments

Some new work

Al-MADINA BOOKS spread.indd

The eight books illustrated above, published by Al-Madina Institute were finally printed this year but only available in the USA from Mecca Books. These were typeset and designed over a four year period but all printed this year. I trust their titles can be deciphered from the image above. They include 6 translations of works by Ibn Ajiba including excerpts from his voluminous tafsir the Bahr Madeed. The other two books are by Sh. Muhammad Er who recently passed away. He was a remarkable Kurdish Sufi shaykh who settled in the USA where he died and whose students put together these two books from his writings. The titles are self explanatory. The Soul of Islam and The Laws of the Heart. It resonates with traditional scholarship and wisdom. All familiar to students of the subject but fresh as a daisy.

Kashifi CD front A3.indd

Also this year saw a new release by MAT and designed and recorded locally here in Andalusia: The Rawdhat al-Shuhuda’, a CD and book of excerpts of a 14th century litany by Husayn Vayiz Kashifi, of Herat in Afghanistan, set to Celtic tunes by Abdal Hakim Murad (Tim Winter). Hard to imagine how this fusion would work but it is quite refreshing to hear Qur’anic recitation and traditional illahis in Irish, Manx and Scottish musical modes. Abdal Hakim has been working for many years attempting to bridge the cultural gap between Arab, Persian and Turkish poetry and British musical traditions and sensibilities and this is quite a step forwards. It’s an area which can be approached in different ways and like most things of an artistic nature is dependent on personal taste. I would like to explore this subject in another blog post as it has also been a pet subject of mine for many years.

T of H cover artwork3.indd

Another book designed from here and just published is A Taste of Honey, a scholastic work on Erotology by a Nigerian Azhari scholar, Habeeb Akande. It will probably raise a few eyebrows with the prudes amongst us, but is a thorough and useful compendium of the science and art of lovemaking from traditional Muslim sources. Taking this knowledge from Prophetic wisdom is probably the only way this most powerful of human activities can shed the smuttiness and guilt that it has become tainted with in western cultures. Highly researched, Habeeb Akande has explored every avenue of the subject with extensive reference to the great Islamic scholastic tradition which is so hard of access to most English speakers.

Please visit my new portfolio at cwdm-portfolio.com

Posted in typography / design | 4 Comments

Back to the Blog

calor-espana_top


I’ve had a long holiday from this blog for various reasons including moving house, re-building it, and printing and publishing our new Diwan translation and all that that involved. Two months of unusually hot weather here in Spain further slowed my desire to visit my blog and only when I finally submitted to installing air-conditioning have I had the energy and inclination to put thumbs and fingers to Ipad. It’s odd when you are used to daily temperatures in the high 90s, often over 100ºF (that’s 38ºC) and you walk into a room in your house that’s like a fridge. Your whole life changes. I don’t think AC is without its down sides but right now it’s a relief.

I don’t envy publishers who produce books on a regular basis and try to make a living in the process. Fortunately making a living as a publisher is not one of my career goals and this Diwan is looking more and more like a one-off charity event. This is because of the hidden overheads, the free copies, the cost of ISBNs and the books that you have to send by law to five British deposit libraries. But nonetheless working on it has been a wonderful experience even though there were shortcomings in the final printed book. The standards of proofing could have been better but typesetting and proof reading a complex text which is in effect three languages, (if you count transliterated arabic as a language), then getting it right first time was being a bit hopeful.

The fact that readers have been discovering errors and telling me was proof that it was being read and closely read, which is gratifying. After all it is a living thing which is not just picked up once and then forgotten about. Until it is memorised and understood then it is likely that it will go on being used in perpetuity and why it will continue to be a work-in-progress and why we are happy to have any reasonable suggestions to improve it. The value of the content of the book to any rational human being cannot be under-estimated.

This first edition was a short run and we hope to go for a new improved edition as soon as it is viable. I want to thank the many people who have bought one, two, three, four copies at a time. This Diwan has been hard to get hold of in the last 30-40 years whether in English or in Arabic and even for myself this new translation has injected new and refreshed understanding of its contents.

‘There are no Accidents’ (Miles Davis)
Looking back at this blog over the last five years I’ve been writing it, by far the most visits have been to do with typography which surprised me as it is really an arcane pursuit and I was hopeful my rantings on other subjects weren’t falling on deaf ears. One thing I’ve learnt in the many years I’ve been involved with all kinds of design is that you learn the rules in order to creatively break them. For me all so-called mistakes are creative opportunities. That goes for all of life really. In jazz improvisation for example it is the accident that is the very spring of creative ideas. All you have to do is to know what to do with the mistake. The same can be said of graphic design and particularly typesetting and book design which is all rules, based on well-tried methods but in which there is always room for the odd quirky variation if it doesn’t rock the boat too much. I have to deal with editors quite often who aside from writers have their own often pedantic notions of what is right and wrong. And I often fall foul of this although I know I can be wrong and that compromise is often the best solution.  I just have preferences which I push for as much as possible.

The transliteration I spoke of above is one territory where pedantry lives and breathes. Mostly writers, publishers and typographers have a consensus on how to best represent, for example, an Arabic letter or vowel in roman script. My biggest complaint is that no-one really holds to any one system and I get every conceivable kind of transliteration system sent to me. But I should be grateful as it is much simpler now than it ever used to be. One lengthy manuscript I received some ten years ago was constructed in Word on a PC and all transliteration marks were little macros which it took weeks to decode and convert into a usable font. At times I thought I was in Bletchley Park in WW2 working on the Enigma code, it was so incomprehensible. The coming of Unicode and pro-fonts made things much easier in many ways but also opened the door to new levels of pedantry because so much more was possible. I can give you one example.

Ayn Hamza issues

The ayn symbol, commonly used now for over 25 years by myself and many publishers I have worked with ( a superscript c) has always sufficed very well. But recently editors and writers have introduced a reverse superscript c to represent an Arabic hamza. (see example above). The hamza has always sufficed as a reverse apostrophe and could not be confused with the aforesaid ayn symbol. But having two c symbols vying with each other for attention is a mistake in my opinion and I advise my clients to avoid it. It might seem like a small thing but typography is all about very small things all being as perfect as possible and this reverse c symbol seems to be wrong. There’s other issues which I won’t go into here. But you see how we shouldn’t let rules take us over if there is no point in them.

A Film on Andalusi Calligraphy.
At times I have written about my much loved Andalusi Arabic script which was made illegal after the Catholic king and queen took over Granada after 1492. To have abolished a language and its writing must have meant that they were afraid of something so terrible that if you so much as had a book containing Arabic in your possession you could face extreme punishment, torture and death. Arabic books were burnt in their millions.

A crowdfunding campaign has just been launched (see below) to help complete a documentary on this subject. Please visit and contribute even a few dollars as it’s the number of contributions that gives it prominence not the amounts donated. These old scripts are like languages and rare plant and animal species threatened with extinction. They are all things of beauty which you can personally help preserve.

Crowdfunding Site:
www.launchgood.com/project/andalusi_calligraphy

YouTube Trailer:
https://youtu.be/Gc_fn-7M0S4

Posted in typography / design | Leave a comment

The Diwan: a new translation

Editorial Qasida is pleased to announce the publication, of  a new translation of the famous Diwan of the great Moroccan Alim and Sufi master, Sidi Muhammad Ibn
al-Habib, may God be pleased with him, whom a small group of us first met in 1971 shortly before his death on his way to Hajj at the great age of of 103.

COVER√
He appeared at a significant time in Moroccan history at the end of a great époque of western Sufism and he was in some ways the isthmus between the old Muslim world of the East and the new age of Islam taking root in the West. Morocco is of course, significantly, one of the most western Muslim nations, parts of it being in fact further west than the UK. Ibn al-Habib was teaching formal knowledge of the Islamic sciences in the Karoueen mosque in Fes as long ago as the year 1900 but by the time he died in 1971 he was a renowned spiritual master as well, with many disciples in Morocco and Algeria and a small number from Great Britain, France and America. He is buried in his zawiyya in Meknes.
Photo of the zawiyya below right (Courtesy of Peter Sanders.)
  
Morocco; Meknes; Zawiyya Shaykh Muhammad ibn al Habib The first translation of this Diwan into English was by British translator Humphrey Davies in 1971 and a few years later a more complete translation was made by American translator Aisha Bewley. No other translations have been published till now. It seems new translations of any Arabic works of importance are much needed, including of course the Qur’an itself, for those whom Arabic is difficult of access. A new English text helps to give perspective and a fresh mind to translated ideas that can become jaded or taken for granted over time. It is also an opportunity to correct any errors or omissions.
 
Of course the translator becomes a means, a filter, through which the meanings have to percolate and it all rests on firstly the depth of understanding of the Arabic by the translator; secondly his or her grasp of the English language and thirdly a deep and practised understanding of the subject matter. Of course mistakes can be made and translators will disagree with one another but Arabic poetry is not easy and a choice of translations can only help.
  
Singing these poems is another aspect of this remarkable book. The very fact that this knowledge is approached by singing is an indication that it is something special and not just poetry. This Diwan is sung in Morocco in traditional ways that have come down over centuries in the Andalusian tradition but simplified for use by ordinary people. However in Algeria for example, they will use many local tunes as well, appropriate to the verse metre.
  
This new translation by Abdurrahman Fitzgerald of Marrakech, and Moroccans Fouad Arasmouk and Moulay Abdelkebir al-Belghiti, has been designed to be accessible by novices or experienced Arabists alike. Abdurrahman is director of the Centre for Language and Culture in Marrakech and although American, has lived in Morocco for thirty five years and has many published translations to his credit. Fouad Arasmouk has worked closely with Abdurrahman on all of his published translations particularly excerpts from the great Qur’anic exegesis, the Bahr al Madeed of Ibn Ajiba. Moulay AbdelKebir is the son of the present head of the Habibiyya tariqa in Morocco and an itinerant teacher of sufism in Morocco. The translators also wish to acknowledge the help from American poet, Abdal Hayy Moore and Hamza Weinman in some of the translation work.
  
Recognising the difficulty westerners have reading Arabic, each verse has been be translated into English and transliterated. The task of translation of this Diwan has continued on and off for over six years and this edition is quite long at 280 pp, being three times its size had it been in one language. A sample page is shown here to illustrate its use of Arabic, its translation and transliteration. It has been designed for practical use with qasidas all numbered and listed in a table of contents. Of particular interest will be a biography of Ibn al Habib by Moulay Abdelkebir al Belghiti, as such never seen before in English.

>>DIWAN Book FEB  7 - 2015.indb

It has been very rewarding working on this book, a feeling shared by the translators who have often spent days unraveling the meanings of its more obscure verses and what was intended by the author. This translation helps breathe new life into this unique book.
  
To purchase

From Mar 27 2015 it will be available world wide directly from CPI Books.
The following link will connect you directly to the book on the CPI web site.

http://www.cpibookdelivery.com/book/9780993225208/The_Diwan

Any bookshop enquiries will need to contact editorial.qasida@gmail.com direct.

Posted in miscellaneous, music, Publishing, religion, sacred knowledge, tassawuf, typography / design | 9 Comments