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Little War Machine

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A second collection of Sarki's poetry, following Zimble Zamble Zumble. The poetry in Little War Machine is ambiguous, intelligent, playful and exciting. A fine second collection in the spirit of Wallace Stevens and other modern luminaries. Limited edition paperback with Sarki's original artwork on the cover.

40 pages, Paperback

First published December 23, 2004

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About the author

M. Sarki

20 books238 followers
For the last several years M Sarki has maintained a literary blog called The Rogue Literary Society. Sarki can now be found more liberally on Substack https://substack.com/@msarki where he publishes his critical views on subjects and books read, photographs and nude art collaborations with his wife, as well as periodical attempts at creating poetic artifacts. Since 2000 Sarki has produced four collections of poetry and four books of prose.

M Sarki has also written, directed, and produced four short art films titled Gnoman's Bois de Rose, Biscuits and Striola, The Tools of Migrant Hunters, My Father's Kitchen, and he is the author of the feature film screenplay, Alphonso Bow.

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m sarki
mewlhouse@gmail.com

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Displaying 1 - 3 of 3 reviews
Profile Image for Eddie Watkins.
Author 28 books5,558 followers
September 10, 2016
Since I know a thing or two about Sarki through this site, I could not help seeing him, often in his cabin and its natural surroundings, while reading this collection; but in my mind he became something of a bear, or at least a large furry being, and in my mind this “bear” spent his time engaging in various forms of sex, observing the natural world, and playing with little toys which he took apart and rearranged and gazed upon with satisfaction. I saw big hands, big hairy hands, arranging these little colorful things, so that some of the big hairy bear energy was transferred into the little toys, investing them with a kind of mechanical life bordering on the organic. The bear took the playing with these toys very seriously so that a current of complex emotion established itself between his paws and these toys, and they became a living simulacrum of his inner life, if only for a moment. The bear enjoyed himself immensely with these games. It was a large yet restrained enjoyment, which manifested occasionally in small groans or howls of satisfaction. The bear’s wife was the only other being privy to these groans or howls, and even she often missed them, so that the bear’s enjoyment was tinged with a sadness, a sadness as long as time itself. Sometimes to combat this sadness the bear would draw his attention away from his toys and his appreciation of trees and wind and sky and water and direct his suddenly erect fur covered penis to his somewhat domineering but usually willing wife. The bear would mount her from behind and let out different small groans or howls of satisfaction, and the bear would penetrate her beneath trees and even in streams; the whole natural world possibly pausing for a moment at the commotion. These comminglings would have a tremendous concentrated physicality, with the gravitational pull of an invisible planetoid, yet they would still remain small and toy-like in a way; as if the bear were engulfing two toys in his big paws and making them hump in the wild realms of his imagination; an imagination as real as any reality, an imagination charging reality with a lively tangible significance. What I am saying is that this book felt small and fur-covered and though its pages were of dry paper they still seemed steeped in he-bear semen and she-bear vaginal juices.
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