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From: "Adhara Law"
Subject: {Adhara} "The Death & Life of Edward Grable" {MF, MFF}
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As always, I hope you enjoy the story. This particular story of mine
involves less descriptions of sex than my previous story (and I know
that people often complain that they also have precious little ;) ) --
the story is primarily _about_ sex rather than involving sex.
If you're looking for a stroke story, this will probably not be your cup
of tea. However, I'm posting it to the group because I know there are a
few readers who look for my stories.
Thanks,
Adhara Law
THE LIFE AND DEATH OF EDWARD GRABLE
by Adhara Law
Copyright 1999 Adhara Law. All rights reserved. May not be reproduced or
distributed, with the exception of USENET archiving, without express
written permission by the author.
Edward Grable was among the greatest lovers who had ever lived. Were sex
an art form, galleries would have devoted entire wings to the master and
his work during his lifetime, studies in the evolution of his genius.
The aura of artistry surrounded him, and people who coveted his secret
hovered around him continuously, hoping to siphon some of that genius
off of him.
But none of that mattered now, because Edward Grable was dead.
To understand the sexual artistry of Edward Grable's life is to
understand his fitting and timely death, and this begins in his youth.
His first lover was a woman almost twice his age. She lived next door to
him in a split-level house, the kind that dotted every suburb in the
fifties. Her husband paid Eddie -- he was called Eddie back then -- to
take care of the yard, to trim the shrubs and mow the lawn and generally
keep the estate ahead of the rest of the neighborhood in that
unspoken-of contest for suburban domination. Eddie had just finished
mowing the lawn and was about to start trimming the shrubs when Mrs.
Carlson appeared in the door, her capri pants and tight pink sweater
leaving no curve to the imagination. She leaned seductively against the
doorjamb and called Eddie's name.
"How about a glass of lemonade? You must be parched," she cooed.
Eddie thought that sounded nice. He followed her into her kitchen,
admiring the décor on the way -- he had never been this deep into the
Carlson's home before -- and graciously accepted the cool glass, the
condensation dripping over his fingers in tiny rivers. Mrs. Carlson
watched him with heavy-lidded eyes as he drank it down and his Adam's
apple bobbed mechanically in his throat. At his last gulp, she reached
for the glass and set it with fluid grace on the counter, then settled a
perfectly polished and manicured red nail on his shoulder. She traced
the outline of his oxford button placket down the front of his chest.
"Eddie," she whispered, "would you like to see the bedroom?"
Eddie gulped.
She led him gently by the hand to the master bedroom, her swaying hips
enticing the young Edward Grable forward the way a snake charmer seduces
the cobra out of its basket. In the bedroom, she turned to him and
pulled him closer.
"Mr. Carlson is away on business," she whispered in his ear as she began
unbuttoning Eddie's shirt. She noticed his nervousness in the uneven
rise and fall of his chest and said, "Don't be nervous, honey. This is
perfectly natural."
So Eddie stopped being nervous.
They eased onto the bed, Mrs. Carlson guiding Eddie's hands to her
nipples, Eddie nuzzling the warmth between her neck and shoulder. There
was something innate that told him what to do even though he'd had no
such experience before. His hands knew just what to touch, his lips knew
just what to kiss. Amidst the sighs and moans of Mrs. Carlson, Eddie
worked the magic he didn't know he had.
It is said that prodigies are infused with an old spirit that guides
them through their art, giving them knowledge that would take them years
to learn in school. It is said that Mozart began composing at the age of
five.
If Eddie could be said to be a prodigy, then this was his composition.
Mrs. Carlson's surprise was clear; she had obviously expected a
neophyte, and rightly so. Watching Eddie through the years next door,
she had seen him buffeted by the turbulence of puberty, watched him grow
up from a shy, awkward, and gawky teenager into a shy, awkward, and
gawky young man. He was tall, skinny, and his ears were a little too
large for his head, and made all the more prominent by the blond buzz
cut that was so fashionable in the fifties. She could not recall ever
seeing a young woman on his arm.
She watched the blond bristles as they moved ever so slightly up and
down between her legs. "Oh, Eddie," she moaned. "You're absolutely
incredible!" And with her back arched and her head thrashing from side
to side, she came for the first time in years without the aid of her
hand.
And so it began. Composition No. 1: Mrs. Carlson.
Geniuses shine with a different light than ordinary people. They contain
a magnetism that one feels at the core, though often their outward
appearance contradicts it. The diamond of Edward Grable's genius had
been polished through the guidance of Mrs. Carlson, and now it glittered
for all the world to see, despite its gawky and awkward exterior.
Though Eddie visited Mrs. Carlson as often as time and Mr. Carlson's
busy travel schedule allowed, he was suddenly beginning to notice just
how many _women_ there were out there. Women he had never met began
striking up conversations with him on the street. Waiting for the bus
downtown, he would be surprised to find himself in the middle of a
pheremonally-induced circle of femininity, soft hands accidentally
brushing against his thigh accompanied by the sounds of, "Oh my, excuse
me...." He would find himself making apologetic faces to the men who
were left standing alone at the other end of the bus stop, scowling at
him. He would later learn never to apologize for his gift.
His next composition was a young woman by the name of Marilyn Cullers.
Only a year older than he, she'd found a way to sit next to him on the
bus downtown every day for the past week. Eddie was oblivious to the
wordless catfight that ensued every afternoon between the five or so
women who rode the same route home that he did. Marilyn had schemed to
be the first on the bus when it came to her stop so that she'd have
first choice among available seats. Now as she sat down next to Eddie
and smoothed her skirt, she shot a smug smile back at the women who gave
her dirty looks as they passed by.
"Hi, I'm Marilyn." She demurely offered her hand to Eddie, who was
staring out the window.
"Oh," he said, taking her hand awkwardly. "I'm Eddie Grable."
"Eddie..." She said the name as if it was a holy password into some
unknown vault of treasures. She would find out that it was. "Would you
like to come home with me?" Her wild whisper sounded almost like a plea
for help.
Eddie went home with her. She nearly tore her own clothes off as she
dragged him to the bedroom, pulling at him wildly as she fell onto the
bed. Eddie's artistry took over and soon he was creating art on the
canvas that was Marilyn. His fingers and body moved over her as he
watched her face carefully, controlling the moment so as to elicit just
the right facial expressions, the right twist of the head and the right
parting of the lips. As she moaned, writhed, contorted under him, he
waited for the perfect moment, and then released the power of his
genius.
Her face was a study in angelic, epiphanal beauty.
Composition No. 2: Marilyn Cullers.
At a time when most men of his generation were looking for a woman to
marry and settle down with, Edward Grable never even flirted with
monogamy. There were a few women who complained, but for the most part
his lovers were willing to compromise fidelity for the most incredible
sexual experience they'd ever had or would have. And it gave Edward more
canvases to work with.
The fifties gave way to the sexually liberated sixties. Though Edward
never gravitated toward the hippie lifestyle, his sex life certainly
espoused the free love sentiment that surrounded him. Still somewhat shy
and socially inept, he didn't have to worry himself with the awkward
task of meeting women; they flocked to him. And it was around this
period that he learned the technique of slowing time.
He was in the bedroom of his small apartment with a tall, sleek redhead,
her form stretched languidly beneath him. As his body slowly brought
forth the art that was in her, he studied her carefully. Her eyes were
shut, her mouth open in what was about to be a cry out. He realized that
the moment was slowed so that he could work the canvas until it was
perfect. It was as if he could get inside the moment, crawl around in
this little bubble of time and stretch it, compress it, tinker with it
until it was absolutely right.
He took advantage of it. He moved his fingers and his body, watching her
expression change. There -- her mouth was set so perfectly, almost but
not quite an O. Now the eyes -- he moved and played until they were open
ever so slightly, just the way he liked it. She was ready. He let time
expand back into regularity and watched as his work of art blossomed
like a flower beneath him; he admired the delicate arch of her back as
she came, the sound of her cries resounding against the walls of the
small room. When the moment had passed, she smiled lazily up at Edward.
Edward Grable developed a photographic memory out of necessity. Where
most artists had a gallery in which to display their work, Edward had
only his memory and a sole audience of one -- himself. Even his lovers,
his compositions, could not see the genius in their own faces, being
wrapped up in the moment as they were.
Awkwardness and social ineptitude eventually left Edward Grable as he
matured through the sixties and into the seventies. In the early part of
the decade, he moved to the west coast in a fit of artistic ennui. Word
of his arrival had somehow spread prior to his coming, and women of the
rich and famous elite were already banging down his door before he'd
unpacked the boxes. He realized he had a new challenge: take the faces
and the bodies that had been seen all over the world and transform them
in his own vision.
He was immediately invited to all the important social gatherings; he
was often the only one who was introduced without a title. A simple,
"This is Edward Grable" often made the new acquaintance's eyes open wide
with recognition. If he was a man, he shook Edward's hand graciously and
for the next hour, tried desperately to pry Edward's secrets from him.
If she was a woman, she used every ounce of her charm to get into his
bed before the night was over. "Please," she would often say. "Let me be
your next composition, your new canvas. I won't disappoint you."
Sometimes Edward took them up on the offer; sometimes he didn’t.
He was getting discriminatory as his art flourished, choosing only those
faces that, like a slab of unchiseled marble, told him what new creation
lay hidden inside. And he no longer limited himself to a single woman.
In the late seventies Edward embarked on what was to become known as his
pivotal work -- Menage No. 1. A group of three women.
By now, people begged Edward to let them see a creation in the making.
He only had to say the word and tickets would be sold at exorbitant
prices, auditoriums would be filled to capacity. The outpouring of
admiration nearly brought tears to his eyes. So he agreed to showcase
this most astounding, most daring work yet.
He arranged the women on a soft landscape of velvet and satin pillows,
making sure that the lighting was right for each one of them. The
players were stunning -- a young African-American woman with skin the
color of flawless mahogany, a strong Nordic blond with the bluest eyes
he'd ever seen, and a delicate Asian woman whose features were exotic
and enticing. The spectators were gathered at a discreet distance, none
of them wanting to become known as the one who disturbed the master at
his greatest moment. A pregnant, shrieking silence filled the room.
He began with the Asian woman. They watched as he moved over her, his
once awkward and stringy body moving with a fluid ease that was borne of
his inherent talent. She writhed and moaned and he hands clutched at him
wildly. While one hand worked between her legs, the other hand moved on
to the African-American woman. She arched her hips toward him as a cool
smile played along her lips. And as he worked the canvases of these two
women, he lowered his lips to the blond.
The pillows were a sea of writhing limbs and colors, Edward's blond head
and long arms moving in an orchestrated dance the way a conductor
controls his music. There was not a single part of his body, a single
appendage or muscle, that was not somehow making these women sigh and
moan and weep in almost religious ecstasy. Even the crowd, in a strange
kind of sexual osmosis, writhed in tiny movements as they watched Edward
bring the symphony to a close.
The moment was right. In that bubble of expanded time that only included
Edward and his creations, he watched each woman carefully to determine
the right moment in which to bring her to climax. He decided to go with
the blond first, then the Asian woman, and then the African-American
woman in a dazzling sexual spectrum. While he moved gently in and out of
the delicate Asian beauty, his lips and tongue danced between the legs
of the blond. Edward's art had become so refined that he didn't need to
see the blond to know when the timing was right to release her; he felt
it in the core of his being. As her back arched and her eyes closed, he
watched her quiver and clutch the pillows by her head in orgasmic
ecstasy. In an instant his attention was focused on the Asian woman, her
dark hair scattered over the pillow under her head like a halo in
shadow. She came seconds after the blond, her tiny mouth open in a small
O. Finally, he moved to the African-American woman, who he had been
saving for last, keeping her on the edge with his free hand. He moved
down between her legs and watched as she threw her head back with wild
shrieks.
The room exploded in raucous applause, shouts of "Bravo!" filling
Edward's ears.
It capped off the closing of the decade nicely. Through the early
eighties, Edward was often asked to repeat the performance, but he felt
that every woman was an individual creation under his body, and any work
of art that she was involved in was an extremely limited edition.
Like all artists, Edward went through phases. As he got older -- Edward
was now in his fifties -- he experimented with age, trying to turn back
the clock in that one bubble of time and make an older woman seem twenty
years younger. He created some lovely pieces then. Then there was the
series of compositions in which he wanted to see years of sudden wisdom
appear in the face of younger women. There were some unique compositions
there, too.
But as the years wore on, Edward Grable grew tired of his art. In his
seventies, he had begun to feel that he'd exhausted all the creative
possibilities that sex and women afforded him. He had seen every nuance
of the female orgasm, had seen every conceivable contortion of the lips,
the eyes, and the face. There was simply nothing left.
He had gone to a bar near his small studio apartment in L.A. to try and
forget what the passage of years had done to him. As he ordered a gin
and tonic and fixed his gaze on the old television above the bar, he
heard the most beautiful voice reverberate next to him as its owner
ordered a drink.
She was stunning. She looked to be in her late twenties. Her hair was
gold without somehow being blond, and her face held all the images that
Edward had mentally collected over the years, all of his most striking
compositions. This was a woman who would awaken his muse, he thought.
"You're Edward Grable, aren't you?" She asked politely. He could tell
that she knew exactly who he was, but was demure enough not to fawn.
He told her that indeed he was.
"I've heard so many wonderful things about you." She extended her hand
firmly.
They talked over drinks, and once again Edward could almost feel that
bubble in time, and he tried expanding it and transforming it, not
wanting the moment to end for a while. But it did end, and they sat
across from each other and stared.
"I think we should go back to your apartment," she said quietly. It was
not a question, or even a statement inflected as a question. It was
almost an order.
Edward did not refuse it. His seventy-odd year old bones felt almost
twenty again, almost as young as when he had first walked into Mrs.
Carlson's house that day and drank her lemonade and saw her bedroom and
made her come. He watched this woman's hips lead him forward the same
way that Mrs. Carlson's hips led him forward as they climbed the stairs
to his apartment. And he almost felt the same nervousness that he felt
with Mrs. Carlson as the young woman removed her clothes in a seductive
striptease that elicited a croaking moan from him.
They eased to the bed. Edward instinctively covered the young woman's
body with his, but she put a hand firmly on his chest.
"Let me," she demanded.
He gently lay back on the bed and let her.
She moved like a cat above him, her hands and mouth and legs all working
in concert. He was amazed. The heavy lids of his eyes closed and he was
back in Mrs. Carlson's house, in her bedroom, listening to her sugary
voice whisper, "Don't be nervous, honey. It's perfectly natural." And he
heard Marilyn Cullers ask desperately if he would go home with her, and
he heard himself answer that he would. And he saw the three beautiful
women he had made sexual art with and heard their sighs of contentment
as the audience applauded.
The young woman slid down between his legs and began working her own
magic, sliding him in and out of her mouth with fluid grace.
As his back arched in delight, he heard the familiar whisper in his ear.
"You were the genius, Eddie," Mrs. Carlson -- long dead now -- cooed
seductively.
"You gave to all of us, Eddie, but you never took any for yourself," he
heard Marilyn whisper.
"You deserve so much," the blond, the Asian, and the African-American
all whispered.
Edward had never experienced the sexual ecstasy that he had elicited in
hundreds of women. But as the young woman with him covered his body with
hers, all the faces of all the women he had made love to, all the lips
and all the eyes and all the arms kissed and embraced and smiled at him,
all at once.
Edward Grable died, his face the ultimate work of sexual art, far
surpassing any composition that he had ever created.
--------------------------------------------------------
Adhara Law
More of my stories can be read at:
http://members.theglobe.com/adhara_law
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