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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

Inside Out: A Personal History of Pink Floyd (Reading Edition)
Nick Mason
American Witness: The Art and Life of Robert Frank
R J Smith
Why Bob Dylan Matters
Richard F. Thomas
Deception
Philip Roth
Nevertheless: A Memoir
Alec Baldwin
A $500 House in Detroit: Rebuilding an Abandoned Home and an American City
Drew Philp
Spring Song and other stories
Joyce Cary
The Dying Grass: A Novel of the Nez Perce War
William T. Vollmann
Brett Whiteley: Art, Life and the Other Thing
Ashleigh Wilson
Girlfriends, Ghosts, and Other Stories
Annette Wiesner, Nicole Kongeter, Robert Walser, Tom Whalen

Incest

Incest - Christine Angot, Tess Lewis https://msarki.tumblr.com/post/164553574748/incest-by-christine-angot

…A man’s sex penetrates radically. I like what’s radical. Other kinds of penetration are possible, borders, journeys…

Angot begins finally at the three-quarter mark to describe the incest in meeting her father, whom she never previously knew, and then subsequently being charmed by him. Eight days in which she was afforded the chance to know him firsthand as a father, and then as a lover for a time, first with that kiss on the lips and then whatever else Angot chooses to eventually deliver on her page.

…And I’m still a dog and I’m still looking for a master.

Isn’t all good writing some form of obsession, a supersaturation of some pressing demand on our heart and the meaning of our being? Lives riddled by mistakes and insufficient plans. Character studies among the worst of the worst. The insistence to finally get things right. To make of life something more interesting and palatable. Trying on names for things and different ideas. Seeing things in ways others are not susceptible to or aware of. Taking that one step out of line and suffering the consequences. No playing it safe on the sidelines. Decorum saved for our last days and attempts at amendments guaranteed to be forgotten within days of being deceased. A moving on regardless of past promises. Hollow effects falling on deaf ears. There is no cover, Lish said. Charge the fire.

…in Savoie there was a church in the village where all the houses had flagstone roofs, in this church the Stations of the Cross were particularly beautiful and the confessional witnessed my open mouth on my father’s penis, I had to finish him off in the car, he didn’t want to ejaculate in the confessional after all.

Angot claims she does not care what others think of her, or her writing. Her pen must be free of mediation that might control the outcome. She has no agenda, no vengeance on her page, just her freedom of expression. And damn those she says who want a story, or plot and romance without the pain of process it takes in getting to the end. And she claims she will, as desire is the vehicle in which to escape our despair. Angot goes on to say, Tough luck. That is her exacting sentence, and there is no doubt it is she who is speaking.

…Dogs are stupid, you can get them to suck on a plastic bone, and they’re stupid, dogs believe you.

Her needs are rarely met. Meanwhile she licks and sucks and fucks whomever needs it. And then creates entire books about the subject and her behavior. Angot is popular in France and widely read. She is controversial, at times sued, and in spite of it wins the occasional award judged for important writing. But she often feels despicable while unable to do anything about this feeling. Similar to the trap she is unable to escape from. And yet I do sympathize with her, still wanting her to indulge herself in every profane act imaginable. I want her dutifully soiled by her own making and then have the courage to write about it. It is Angot’s chosen way to redemption in her search for satisfaction on the page. It is her perpetual hunger unassuaged and a monster in the making.