First, in spite of the fact that some of his works have been published in limited editions in printed form, the primary means by which al-Nawwab's poetry is disseminated is live recitation or performance, and, more importantly, the samizdat cassette network, or the widespread non-commerical reproduction and dissemination of audio-cassette taped recordings of these live performances.
These enabling features of the mode of oral recitation, when combined together with the eminently accessible technology and "subversive mobility"(3) of the audio-cassette, create a formidable literary and political weapon capable of outmaneuvering some of the most entrenched and extensive forms of state censorship.
10) Those who assumed they would take the opportunity to record al-Nawwab's performance were surprised to see conspicuous signs at the entrance to the performance hall and in a note on the program strictly forbidding any members of the audience from recording any part of the event on video or audio-cassette.
19) A commercial recording of Sa'di al-Hadithi singing al-Nawwab's Li al-Rayl wa Hamad on audio-cassette was produced in London in 1995, and in recent years al-Hadithi and al-Nawwab have appeared in live performances together in Berlin, London, Chicago, Boston, and elsewhere.
From Jisr al-Mabahij al-Qadima, near end of Side One of audio-cassette (p.
Jisr al-Mabahij al-Qadima, Side One, audio-cassette (p.
Jisr al-Mabahij al-Qadima, (JM) Side One, audio-cassette (p.
Reading the Rain Notebook); as mentioned above, this poem is published in all existing editions of Watariyyat Layliyya, and is included in the recorded recitation of the latter on audio-cassette as well.