The texan girl with the dreadfull kiss.
Act III of an erotic tale taking place in San-Antonio, Texas.
I hear noises behind the door. I wake up from my somnolence. The door opens discreetly, a shadow approaches
in the darkness, I have difficulty to identify it, a shadow that advances prudently and that turns around me like an animal smelling its prey and that is indecisive in throwing itself on to it; I hear its breath when it approaches the bed, the white globules of its eyes which bores the darkness and fix me with greediness. Is this an animal or a woman, the shade of a woman or of an animal, the charming body of an animal or of a woman, which turns around my body and leans over my naked body and invades me as an animal invades its prey? Or is it in fact hallucinating thoughts invading me and torturing me and inviting me to let myself carried away by erotic phantasmagorias?
I did not move, I retained my breath, trying not to disturb the mystery that surrounds this sexual approach as strange as unaccustomed. I thank in myself, the mysterious bewitched animal which I know is Juliet, to have been able, by this approach, to fill my more subtle sexual fables.
Before being able to put order in my thoughts, she throws herself over me with the sinister growl of an hungry animal. I had no time to react; voluntary, she sticks herself to me like a she-wolf who immobilizes her victim before immolating her. I receive her, thus, astonished and apprehensive, she spread out her body all over me and stick to me, she rubbed herself on me, she bruise my flesh with her body covered with metal
objects, thin leather straps strewed with nails, chains and motley objects.
However, I did not move, I did not had the strenght to do it; the surprise and a certain recognition in my flesh invite me to accept this strange ritual. She promptly imprisons my wrists through metal rings which freezes my skin; she immobilizes my arms at the head of the bed. I am now her prisoner, I am slighty anxious but over-excited in my flesh. I am at the mercy of this woman whom I imagined being soft and conventional, and suddenly, she becomes a wild animal, an outrageous devouress of man, I accept as if
my senses told me that I would reach Nirvana in the debauchery of my senses sublimated by violence,
maltreatment and perhaps death. I was like the anxious toreador in front of the orgiac instinct of the bull.
She approaches cunningly and sniffs me, she surveys my body from top to bottom, ruminant, evacuating air from her nose, slipping her sticky tongue on my flesh while letting escape chuckles of covetousness, strongly applying her fingers of sharpened nails, over the sensible areas of my body as if she was searching for the favorable place to attack my body and to torture it to better devour it after.
Then, stricken by a sadomasochistic madness, she whips me, she inveighs me, she hammers my body and rubs to me with erotic and sensual movements, she slip over my body, leaves there the bloody traces of the instruments of torture that furnish her flesh, she enchains me heavily, activates my senses with her fingers of sharpened and nervous nails, penetrates my mouth with her avid tongue, sucking it while groaning, she slips nervously her fingers with her sharpened nails all along my flesh, leaving deep crevices, then she
reaches my sexual organs which she handles with a worrying roughness, my testicles, then my penis which she grabbed and activates in accelerated movements until it almost burst into ejaculation.
I am bewitched, a strange feeling seizes me following those physical tortures which exacerbate my sexual pleasures; it is as if I felt pleasure in suffering and that I agreed to let myself torture like that, no matter if the issue is death. Is this what she thinks about, the woman who badgers and who bewitches and who exacerbates my senses, and tortures me in such a morbid ritual? Is she hoping for my death, that delirious animal who devours me, and who is on the point of sacrificing me under her body, in blood and
death?
Then she engulfs in her mouth, my penis already inflated with blood; she activates it, slipping along my sharp flesh, alternating between the careful movement of her juicy and greedy lips and the perilous scraping of her sharpened teeth, tightening and loosening the pressure, passing and passing by again moving up and down in alternate rhythms, penetrating slightly, then coming out temporarily to suck the nipple like a lollipop or penetrating more deeply reaching the opening of the esophagus, hardly avoiding to choke, then stopping suddenly right before my orgasm just to prolong my pleasure. I agitated myself with fury under her,
using my free member to violence her, spreading her legs , activating her vulva with my free knee, moving and
gesticulating while seeking to impale myself more profoundly in her mouth, returning to her, blow by blow, these physical tortures. And, without any advice, overcome and stroke out, I burst into her mouth with all the intensity of a "Niagara" letting escape from my throat a lengthy and plaintive growl of pain. This moment of morbid ecstasy is prolonged as if it could never stop while she does not cease activating me, with all the impetuosity of a vampire, swallowing my seed like the tastiest of the elixirs.
Suddenly the room fills with an intense light, I come suddenly out of my carnal torpor. Juliet is there besides the half-opened door, with a fixed glance, she awkwardly slips on her sexy kimono adorn with Japanese design, she let it fall on the wooden parquet floor; I had only a short moment left to foresee her naked body of a sublime beauty, then she close herself, motionless and silent, looking on to the scene with stupor.
Under me, very close by and raising her head from between my wide apart legs, still ecstatic by the sustained effort of a long and fervent fellation, I see the horrify face of Emily, her eyes exorbitate, her large mouth wide open on her hooks ringed by links of shining steels, still dripping with my coldly ejaculated sperm.
Marco Polo or the imaginary journey (Contes et légendes, translated from french, 1 janvier 2000) © 1999 Jean-Pierre Lapointe