“Don’t come yet,” Donny says as he puts his hand over my mouth. His lips are shiny with the gloss of my pussy. Two fingers on his left hand are strung together with pearly strands, like a spider’s web spun of my lust.
Donny pushes me back on the bed, marches on his knees up the conquered territory of my body and puts his cock, slagging at pudding consistency half-mast, in my mouth. It, like his fingers, like his lips, tastes like me. I’m lemony-sweet today. Like a lemon meringue pie, like a lemon drop, like a sweet tart. Donny groans as I struggle to take the whole of his cock in my mouth, down my throat and into my gullet, if I could, which I can’t.
These cinematic pieces, were they pieced together in a linear narrative, rather than beginning in medias res, rather than enjoying a post-modernist reluctance to lockstep with chronology, rather than being more Pulp Fiction than Maltese Falcon, would still tell a delightfully elliptical story. It would be a chronicle that began in an unexpected place and refused conventional sexual narrative convention. It would begin with fucking—my being bent face-first into the white duvet of my bed, Donny behind me, my dress wadded wantonly up around my ribcage, Donny’s cock introduced rather rudely into my not entirely prepared pussy—rather than exactly end with it.
This story would begin with my pussy being not unlike like a girl with the towel still around her head when her swain arrived for the big date. It would begin with surprise. It would start with unreadiness.
This narrative would move swiftly along, propelled by the trajectory of my boyfriend’s lust but informed with his intellect. The narrative would not flash-culminate with his fucking my pert up-turned pussy, my ass jiggling seismically with his every thrust, his gutter-whispering in my ear, “How does my cock feel?” and my answering back honestly and gratifyingly, Big.
This story wouldn’t pyrotechnic-quick finish with his spraying jism like wet streamers on my vanilla ass, as if we were welcoming a diminutive parade of wee astronauts of some tiny extra-terrestrial world. It would not end that quickly or that expectedly. No, it would not: it would continue with a more sensory than auditory pop! as Donny pulled his cock out of me like a cork from a bottle and flipped me over to lick my recalcitrant pussy.
It wouldn’t be linear, this sexy story, because I asked for it not to be. Grown weary of my boyfriend’s rather phallic and predictable linearity, I told my boyfriend that while I appreciated his desire to make me come with/in/by/around his mouth, as well as his love bordering on fetish of fucking my just-orgasmed pussy, it wasn’t working so well for me. It was too straight a line, I told him. After it, I said, I felt like Peggy Lee. Is that all there is? I wanted to ask, while he lay panting and moaning and shaking his head as if to clear it from semen’s cobwebs.
It wasn’t easy to critique my lover’s loving. I found myself screwing up my courage in order to tell him how to screw me better. Donny, being the man he is, and that would be the man who loves me—a lot—took the critique as well as he might. He listened patiently. He asked questions. He looked pensive. He acted slightly churlish, letting drop a couple of self-deprecatory jokes that slammed himself and his Patented Donny Technique. And then in bed, where it counted, he showed he’d taken my words to heart.
He fucked me elliptically. He teased me. He made sinuous love to me. He fucked me in circles. I loved it. I loved him more.
This fucking session, the one with which I began this elliptical narrative, stands as groaning testament to the power of elliptical fucking. Having been fucked, licked and fingered, I suck my boyfriend’s cock in slurpy lemony gratitude. Having been surprised, unnerved, made uncomfortable and shocked into lust, I lie on my back in abject supine praise of him.
“Ride me,” he says from above. We switch positions, and I start to draw my dress over my head. He tells me to keep on my dress, and I climb on him, slowly sinking his cock into me with delicious squelchy friction, which we can hear but not see, hidden as this theatre is behind the curtains of my dress. I ride him, I do. I slide and sway and curve and circle. I move my hips in ancient rhythms that come, I find, from somewhere rather other than memory. I ride him, and I become more urgent, I lose myself, my thinking, my mind, if I’m thinking I do so in short, blunt phonemes. My mind all but points and grunts.
I ride him. Fuck me back, I tell Donny, and he does, and as he does, I find that sweet hot pink swell buoying me from below and crashing on me from above, like I’m a surfer held thick wet prisoner in this fucking pink pipeline, and riding him, I ride that wave as it goes crash crash crash in shocking infinite elliptical sweetness.
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