In addition to being a Mountain Fukari informant from Iagip, Wyo.,
GA lends her nimble volars to plucking, fondling, palpating, occasionally bowing and thumping and generally stroking the relatively slack-strung strings from nut to bridge of a dorophonic viola da gamba in Romer’s Samba and Ishtar’s Hand, typically constraining for such purposes her pale bosom (miraculously ample for one so thin, neophytes not uncommonly mark) with a glossy black sportsbra of bison or boar. Regulars of
imssoc’s lustral Glo Bersh may wish to recall that gala year of 2003 and spirit forth
GA’s role in Glamporium’s haptic update of Larry Lath’s
Aunt Smaragdina’s Parandrus from 1926 as
A Tara T Dirty™, for it was during the four always titillating and never so very long acts of said “socio-physiological” play that your favorite still unsaggingly slim tippler
GA (b. 1975) unforgettably portrayed vivacious bint Norlia, third-cousin of buxom hussy Oria, which latter was or is herself half-sibling of central character Vivian Darkbloom’s first-cousin Nirusa, a brassy slut.
It was at this very production, if you recall, that the salty wan labia, oily snaking digits, thrillingly agonistic āsanas, and bibulously anal antics (linga, sago, longan, snails, bonsai sabal, an entire lasagna, a bottle of anis, a mop — head, handle, and all — the tyro quails at the very mention of this signal artist’s ambitious repertoire!) of our ivory-limbed agile angular creature as she was cavorting with her sultry sibs and amorous analogs and other gladsome gals as well as an agnostic Angolan boa so enthralled the gaze of Flouzianian featherweight and
imssoc nonerand
Napoléon Péalono, so glandularly tugged on, in a word, the basal albid lianas of his schizomythic glia and made him go so slobberingly gaga that the long and short of it is or was that he spilt his vodka gibson and his thong literally went “Boing!” and his heart cried “Bingo!” such that the full albino saga of it proclaims that
GA has been his regular
minion, sexy whore ever since. As such,
GA countenances no perturbation of her usual schedule, other than some extracurricular grooming on occasions when
NP’s stamina does not betray his enthusiasm, or vice-versa. Meanwhile, shall we recount a scantling of the viscous bons mots that overflowed the sphincter of her speech and pearled upon the pallid labia of her palaver like so much crass inassimilable parandrus spunk imbibed during the course of the above-mentioned piece of handy histrionics? We shall.
“Could you mop all this up, s’il vous plaît?”
That, essentially, is the gist of it.
And although we shan’t dare speculate on the psychomachy motivating the enamoration of
NP for
GA at the prick of said words whilst she was busy on-stage picking parandrus-torn couch cushions up from the floor, shaking off rainbow pills of cuniculous hart spoor, sniffing palms, fists, and armpits, and then plumping down on said couch to speak said fatidic phrase to the obsequious minion Xwarpo (no relation to
imssoc members
Xwarpo and Saian Xwarpo), we will note that the orality of
GA’s polite command did contain the conditioning lexical referent “mop” — yo
u readers may figure it out from there.
- Senimalism
- Divastigations
Ouida Willoughby Johnson | Owlstain and Lutèce : Editions MSS, 2010 | In particular, § 120, § 262, and § 288.
- An account of antlion larval silk production among Mountain Fukari of Iagip
Ouida Willoughby Johnson | JSocPhys 01607, July 2009.
- Aunt Smaragdina’s Parandrus
A Tara T. Dirty™ imagistic bodyworks adaptation of Larry Lath’s titular “socio-physiological” play (lost in London c. 1926) | Owlstain : Glamporium, Playground of Taboo, 13 July 2003 | Put out in Owlstain SCAT, 16 July 2003, and Ouida Willoughby Johnson (2010), Divastigations § 191.