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msarki

M Sarki

Besides being a poet with four collections published, M Sarki is a painter, film maker, and photographer. He likes fine coffee and long walks. 

M Sarki has written, directed, and produced six short films titled Gnoman's Bois de Rose, Biscuits and Striola , The Tools of Migrant Hunters, My Father's Kitchen, GL, and Cropped Out 2010. More details to follow. Also the author of the feature film screenplay, Alphonso Bow.

Currently reading

L'Appart: The Delights and Disasters of Making My Paris Home
David Lebovitz
We Learn Nothing: Essays
Tim Kreider
Elmet: LONGLISTED FOR THE MAN BOOKER PRIZE 2017
Fiona Mozley
Limbo, and Other Places I Have Lived: Short Stories
Lily Tuck
The Double Life of Liliane
Lily Tuck
At Home with the Armadillo
Gary P. Nunn
American Witness: The Art and Life of Robert Frank
RJ Smith
Autumn
Karl Ove Knausgård, Ingvild Burkey, Vanessa Baird
Inside Out: A Personal History of Pink Floyd (Reading Edition)
Nick Mason
American Witness: The Art and Life of Robert Frank
J.R. Smith

Woman in Darkness

Woman in Darkness - Luisgé Martín, Michael McDevitt http://msarki.tumblr.com/post/106654159223/woman-in-darkness-by-luisge-martin

It took me just a little bit past the halfway mark into the reading of this tantalizing book before I felt myself becoming extremely filthy and complicit in my slow, but devoted, undertaking. I felt complicit because I believed I was being written upon by something I should have closed and turned away from. But in order to continue on with my reading of this sex-driven deceitful erection I reminded myself that this was a so-called “thinking person's book” dealing with duplicity and debauchery. And I like to think of myself as introspective and willing to have an open mind. But more importantly this book was begging the question as to which side of the fence I might stand on faced with the same given circumstances. I am certainly aware of lies and deceit engaged in by specific others I have had acquaintance with and/or superficially known or been a member of the family in some temporary or permanent fashion. And I realize and accept that none of us are completely honest with ourselves and others all of the time. But it has been my personal quest to be as truthful and forthcoming as I am able to be, given my own character flaws and subject past involved in the time others spent directing my upbringing and choosing my environment to grow up in. But I personally refuse now to be involved in a deceitful or dishonest relationship with anyone I am currently intimate with. People I cannot be honest with remain just acquaintances or a family member I am merely cordial with, and therefore, keep safe distance from.

The deceit among all the characters in this book is despicable. Even the writing is performed in a way that tricks the reader into thinking this book was written for him (or her). There is a promise suggested within this privilege of literary sophistication that somehow the story of these lives we are being entertained by will lead us eventually to something endearing, or even redeeming, and if not, at the very least, give us a dreadful ending we will never forget. But the book fails. And not one promise is ever kept. The ultimate victory Luisgé Martín can claim as his own is his achievement of having made his beastly mark upon me (and also that I read his text through unto the very last page). Something I am neither proud of nor thankful for.