Crater 36: January 2016 [sic]. Robert Sheppard, Petrarch 3. The Complete Petrarchs of our time and poetics are splendid, but what happens if you dig down and realise version after version of just one sonnet (Petrarch’s third), stuttering in repetition, re-staging it for voice and situation, from a Scouse dog at Christmas to Jimmy Savile beyond the grave; a twittersonnet or a lengthy semantic poetry translation; a French Symbolist version or a Middle English sonnet? Robert Sheppard’s pamphlet is what happens, leaving a performance of humour, excess, variation, and an uncanny undersong courtesy of Petrarch himself. Confusingly folded, full colour, £4 + p&p. Run of 200.
Two new summer Craters are now available:
Crater 33: August 2015. Philip Terry’s Du Bellay – Like Catalan Anarchy, with a lino-cut by Tim Atkins. Letterpressed broadside, three colours, £3 + p & p (run of 60).
Crater 32: August 2015. John Hall & Emily Critchley’s A Salutation to
Poetry. Letterpressed broadside, three colours, £3 + p & p (run of 70).
Available at www.craterpress.co.uk
Monday, May 16 · 7:30pm – 10:30pm
Location The Old Red Lion Pub, Kennington
This is the latest Crater seasonal event – Ken Edwards, Gareth Farmer, Gregorio Fontaine, Rob Holloway and Joseph Luna will showcase their wares in a free and easy poetry enviro. Turn right outside Kennington tube, it’s 100yds on your left. No charge, no dress code.
The Crater Press is pleased to announce a new articulated double-sided broadside by Rob Holloway from his sequence-in-progress Flesh Rays. The pamph./side contains 7 brain-squeezers; here’s some explanation:
Crater XI samples from the early stages of Rob Holloway’s new prose sequence ‘FLESH RAYS’ that one day will stretch to 107 such sections. One sentence reads ‘All sun’s got inside breath, soft as a head without a ghost.’ Another, ‘Shift left red sun, I’m cutting out a girl of paper.’, so perhaps it’s all about the sun. Then again, we’re instructed to ‘Rinse roads as if bricks were still wrapped in their towels’ so best we head for the hills. The ‘two Asian women soldiers at Checkpoint Charlie’ mentioned in the section ‘Moulded Books’ are real. ‘Reassembling the central crabapple’ is the ultimate purpose of the sequence.