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The Evolution of Bruno Littlemore - Benjamin Hale [85]

By Root 2235 0
like a diseased mouth. The way she is lying on the bed might suggest she fell on it from a tenth-story window. Yes, everything about her posture calls to mind not restful slumber, but a suicide, or some hostile defenestration, lying supine in a crunchy green stardust of broken glass on the sidewalk; she is not, as she usually sleeps, fetally half-curled on her right side, with one hand under the pillow to muffle the thunder of her own amplified heartbeat—no, but on her back she lies, one arm thrown above her head, the other sprawled at an irrational angle across my side of the bed, her legs apart, one outstretched, the other bent. She’s wearing her nightgown, her bone-colored silk nightgown (silk, that texture!), and her bare feet are mouthwateringly desirable, so pale and smooth, her ankles, her insteps florescent with tiny blue hairline veins. In her sweaty drugged sleep, her nightgown has become wadded and crinkled, damply glued to her thighs, and in the night it has ridden up and up her thighs, exposing her legs, reaching almost up to the damp hairy jungle of her crotch.

Now this. Here lies Bruno beside her—not dead, far from it—not even asleep, but wide awake. It is the middle of the night, a rainy night, desultory clusters of raindrops crackling on the roof, and outside the window one can see a murky sky thrown over the city of Chicago like a dirty sheet, the creamy clouds reflecting the light of the city, so that they appear to glow dull orange, as if lit from within. Yes, I am awake, having been stirred to consciousness by uneasy dreams. In the kitchen, the refrigerator quits humming. A clock somewhere is itching out the seconds, slowly driving me insane with sensual desire, the insistent itch-itch-itch of the clock like a tiny finger tickling my loins. The smell of her. The sweat of her feverish druggy sleep smells intoxicant and delicious. She smells more lushly human now than anything this chimp’s nostrils have previously smelt. I take her in, snfffffffffffff. And something, something is happening to me…. My most Darwinian organ is slowly ratcheting to life, itch-itch-itch-itch. My heart is beating faster, boldly ensanguinating this once-harmless tube of flaccid flesh, each successive pump of my wild heart feeding it more blood, the outflow of every beat making it longer and fatter. An errant hand drifts toward the thing, a hand with a flat, elongated palm and a small hooklike opposable thumb, and long purple fingers wrap around it. That smell. Not too long ago I would have been chilled, horrified by the idea of Lydia not being able to wake up from her sleep—in the beginning, I didn’t even believe that humans slept. Not anymore.

That smell. And where, our hero wonders, gazing pruriently upon a completely zonked-out Lydia, is the source of this most human of odors? It is a humid smell—earthy—thick, sultry as a tropical rain forest, oily, metallic, sweet and salty all at once. I am bent over Lydia now, sniffing. I sniff her feet—no, that’s not it. My nose travels up her leg, across tracts of maddeningly soft sticky glabrous flesh—Bruno, the world’s greatest physical anthropologist! Up and up the length of her body my nose travels, that smell growing stronger and stronger—we are approaching the source! And now I have, as in a dream, positioned myself between this woman’s two big beautiful long thick smooth strong human legs, and I am sniffing her thighs. I seem to be almost involuntarily pressing and rubbing my now fully engorged little monster against the sheets. I dive beneath the rumpled hem of her nightgown, as if diving under a tent flap. I am now in an enclosed environment, a ceiling of bone-colored silk sliding along the back of my furry head and a floor of hot heaving flesh beneath me. And the smell is utterly overpowering—intoxicating—choking—possessing—and my face is right in it. Here it is. This is the first time I have seen a real human vulva, in the flesh. I haven’t really even seen them in paintings, before—even the nudes at the Art Institute are always arranged in such a way as to prudishly obscure

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