Secrets Lovers Keep, V2 Box Set of 12 Erotic Tales

12 Erotic Short Stories for Your Ultimate Reading Pleasure (Including Free Reads!)

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The Metamorphoses remains one of the most important sources of classical mythology. Ovid talks more about his own life than most other Roman poets. Information about his biography is drawn primarily from his poetry, especially Tristia 4. Other sources include Seneca the Elder and Quintilian. That was a significant year in Roman politics. His father wanted him to study rhetoric toward the practice of law. According to Seneca the Elder , Ovid tended to the emotional, not the argumentative pole of rhetoric.

After the death of his brother at 20 years of age, Ovid renounced law and began travelling to Athens , Asia Minor , and Sicily. Ovid's first recitation has been dated to around 25 BC, when he was eighteen. He married three times and divorced twice by the time he was thirty years old. He had one daughter, who eventually bore him grandchildren. The first 25 years of Ovid's literary career were spent primarily writing poetry in elegiac meter with erotic themes.

His earliest extant work is thought to be the Heroides , letters of mythological heroines to their absent lovers, which may have been published in 19 BC, although the date is uncertain as it depends on a notice in Am.

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The authenticity of some of these poems has been challenged, but this first edition probably contained the first 14 poems of the collection. The first five-book collection of the Amores , a series of erotic poems addressed to a lover, Corinna, is thought to have been published in 16—15 BC; the surviving version, redacted to three books according to an epigram prefixed to the first book, is thought to have been published c. Between the publications of the two editions of the Amores can be dated the premiere of his tragedy Medea , which was admired in antiquity but is no longer extant.

Ovid's next poem, the Medicamina Faciei , a fragmentary work on women's beauty treatments, preceded the Ars Amatoria , the Art of Love , a parody of didactic poetry and a three-book manual about seduction and intrigue, which has been dated to AD 2 Books 1—2 would go back to 1 BC [16].

Ovid may identify this work in his exile poetry as the carmen , or song, which was one cause of his banishment. The Ars Amatoria was followed by the Remedia Amoris in the same year. This corpus of elegiac, erotic poetry earned Ovid a place among the chief Roman elegists Gallus, Tibullus, and Propertius, of whom he saw himself as the fourth member. By AD 8, he had completed his most ambitious work, the Metamorphoses , a hexameter epic poem in 15 books.

The work encyclopedically catalogues transformations in Greek and Roman mythology, from the emergence of the cosmos to the apotheosis of Julius Caesar. The stories follow each other in the telling of human beings transformed to new bodies: At the same time, he worked on the Fasti , a six-book poem in elegiac couplets on the theme of the calendar of Roman festivals and astronomy. The composition of this poem was interrupted by Ovid's exile, [c] and it is thought that Ovid abandoned work on the piece in Tomis.

It is probably in this period, if they are indeed by Ovid, that the double letters 16—21 in the Heroides were composed. Ovid wrote that the reason for his exile was carmen et error — "a poem and a mistake", [18] claiming that his crime was worse than murder , [19] more harmful than poetry. The Emperor's grandchildren, Julia the Younger and Agrippa Postumus the latter adopted by him , were also banished around the same time. Julia's husband, Lucius Aemilius Paullus , was put to death for conspiracy against Augustus , a conspiracy Ovid might have known of.

The Julian marriage laws of 18 BC , which promoted monogamous marriage to increase the population's birth rate, were fresh in the Roman mind. Ovid's writing in the Ars Amatoria concerned the serious crime of adultery. He may have been banished for these works, which appeared subversive to the emperor's moral legislation. However, in view of the long time that elapsed between the publication of this work 1 BC and the exile AD 8 , some authors suggest that Augustus used the poem as a mere justification for something more personal. In exile, Ovid wrote two poetry collections, Tristia and Epistulae ex Ponto , that illustrated his sadness and desolation.

Being far from Rome, he had no access to libraries, and thus might have been forced to abandon his Fasti , a poem about the Roman calendar, of which only the first six books exist — January through June. The five books of the elegiac Tristia , a series of poems expressing the poet's despair in exile and advocating his return to Rome, are dated to AD 9— The Ibis , an elegiac curse poem attacking an adversary at home, may also be dated to this period.

The Epistulae ex Ponto , a series of letters to friends in Rome asking them to effect his return, are thought to be his last compositions, with the first three books published in AD 13 and the fourth book between AD 14 and The exile poetry is particularly emotive and personal. In the Epistulae he claims friendship with the natives of Tomis in the Tristia they are frightening barbarians and to have written a poem in their language Ex P.

Some are also to the Emperor Augustus, yet others are to himself, to friends in Rome, and sometimes to the poems themselves, expressing loneliness and hope of recall from banishment or exile. The obscure causes of Ovid's exile have given rise to endless explanations from scholars. The medieval texts that mention the exile offer no credible explanations: In , scholar J. Hartman proposed a theory that is little considered among scholars of Latin civilization today: This theory was supported and rejected [ clarification needed ] in the s, especially by Dutch authors. In , a research paper by Fitton Brown advanced new arguments in support of the theory.

Orthodox scholars, however, oppose these hypotheses. In December , Ovid's banishment was formally revoked by Rome's city council. Ovid died at Tomis in AD 17 or The Heroides "Heroines" or Epistulae Heroidum are a collection of 21 poems in elegiac couplets. The Heroides take the form of letters addressed by famous mythological characters to their partners expressing their emotions at being separated from them, pleas for their return, and allusions to their future actions within their own mythology.

The authenticity of the collection, partially or as a whole, has been questioned, although most scholars would consider the letters mentioned specifically in Ovid's description of the work at Am. The collection comprises a new type of generic composition without parallel in earlier literature. The first 14 letters are thought to comprise the first published collection and are written by the heroines Penelope , Phyllis , Briseis , Phaedra , Oenone , Hypsipyle , Dido , Hermione , Deianeira , Ariadne , Canace , Medea , Laodamia , and Hypermestra to their absent male lovers.

Letter 15, from the historical Sappho to Phaon , seems spurious although referred to in Am. Paris and Helen , Hero and Leander , and Acontius and Cydippe are the addressees of the paired letters. These are considered a later addition to the corpus because they are never mentioned by Ovid and may or may not be spurious.

The Heroides markedly reveal the influence of rhetorical declamation and may derive from Ovid's interest in rhetorical suasoriae , persuasive speeches, and ethopoeia , the practice of speaking in another character. They also play with generic conventions; most of the letters seem to refer to works in which these characters were significant, such as the Aeneid in the case of Dido and Catullus 64 for Ariadne, and transfer characters from the genres of epic and tragedy to the elegiac genre of the Heroides. The Amores is a collection in three books of love poetry in elegiac meter, following the conventions of the elegiac genre developed by Tibullus and Propertius.

Elegy originates with Propertius and Tibullus; however, Ovid is an innovator in the genre. Ovid changes the leader of his elegies from the poet, to Amor love. This switch in focus from the triumphs of the poet, to the triumphs of love over people is the first of its kind for this genre of poetry. This Ovidian innovation can be summarized as the use of love as a metaphor for poetry.

Within the various poems, several describe events in the relationship, thus presenting the reader with some vignettes and a loose narrative. Book 1 contains 15 poems. The first tells of Ovid's intention to write epic poetry, which is thwarted when Cupid steals a metrical foot from him, changing his work into love elegy. Poem 4 is didactic and describes principles that Ovid would develop in the Ars Amatoria. The fifth poem, describing a noon tryst, introduces Corinna by name. Poems 8 and 9 deal with Corinna selling her love for gifts, while 11 and 12 describe the poet's failed attempt to arrange a meeting.

Poem 14 discusses Corinna's disastrous experiment in dyeing her hair and 15 stresses the immortality of Ovid and love poets. The second book has 19 pieces; the opening poem tells of Ovid's abandonment of a Gigantomachy in favor of elegy. Poems 2 and 3 are entreaties to a guardian to let the poet see Corinna, poem 6 is a lament for Corinna's dead parrot; poems 7 and 8 deal with Ovid's affair with Corinna's servant and her discovery of it, and 11 and 12 try to prevent Corinna from going on vacation.

Poem 13 is a prayer to Isis for Corinna's illness, 14 a poem against abortion, and 19 a warning to unwary husbands. Book 3 has 15 poems. The opening piece depicts personified Tragedy and Elegy fighting over Ovid.

Poem 2 describes a visit to the races, 3 and 8 focus on Corinna's interest in other men, 10 is a complaint to Ceres because of her festival that requires abstinence, 13 is a poem on a festival of Juno , and 9 a lament for Tibullus. In poem 11 Ovid decides not to love Corinna any longer and regrets the poems he has written about her.

The final poem is Ovid's farewell to the erotic muse. Critics have seen the poems as highly self-conscious and extremely playful specimens of the elegiac genre. About a hundred elegiac lines survive from this poem on beauty treatments for women's faces, which seems to parody serious didactic poetry. The poem says that women should concern themselves first with manners and then prescribes several compounds for facial treatments before breaking off. The style is not unlike the shorter Hellenistic didactic works of Nicander and Aratus. The Ars Amatoria is a Lehrgedicht , a didactic elegiac poem in three books that sets out to teach the arts of seduction and love.

The first book addresses men and teaches them how to seduce women, the second, also to men, teaches how to keep a lover. The third addresses women and teaches seduction techniques. The first book opens with an invocation to Venus, in which Ovid establishes himself as a praeceptor amoris 1. Choosing the right time is significant, as is getting into her associates' confidence. Ovid emphasizes care of the body for the lover.

Book 2 invokes Apollo and begins with a telling of the story of Icarus. Ovid advises men to avoid giving too many gifts, keep up their appearance, hide affairs, compliment their lovers, and ingratiate themselves with slaves to stay on their lover's good side. The care of Venus for procreation is described as is Apollo's aid in keeping a lover; Ovid then digresses on the story of Vulcan's trap for Venus and Mars.

The book ends with Ovid asking his "students" to spread his fame. Book 3 opens with a vindication of women's abilities and Ovid's resolution to arm women against his teaching in the first two books. Ovid gives women detailed instructions on appearance telling them to avoid too many adornments.

He advises women to read elegiac poetry, learn to play games, sleep with people of different ages, flirt, and dissemble. Throughout the book, Ovid playfully interjects, criticizing himself for undoing all his didactic work to men and mythologically digresses on the story of Procris and Cephalus. The book ends with his wish that women will follow his advice and spread his fame saying Naso magister erat, "Ovid was our teacher".

This elegiac poem proposes a cure for the love Ovid teaches in the Ars Amatoria , and is primarily addressed to men. The poem criticizes suicide as a means for escaping love and, invoking Apollo, goes on to tell lovers not to procrastinate and be lazy in dealing with love. Eros was thus celebrated as divine power, as fellowship with the Divine. The Old Testament firmly opposed this form of religion, which represents a powerful temptation against monotheistic faith, combating it as a perversion of religiosity.

But it in no way rejected eros as such; rather, it declared war on a warped and destructive form of it, because this counterfeit divinization of eros actually strips it of its dignity and dehumanizes it. Evidently, eros needs to be disciplined and purified if it is to provide not just fleeting pleasure, but a certain foretaste of the pinnacle of our existence, of that beatitude for which our whole being yearns.

Two things emerge clearly from this rapid overview of the concept of eros past and present. First, there is a certain relationship between love and the Divine: Yet we have also seen that the way to attain this goal is not simply by submitting to instinct. Purification and growth in maturity are called for; and these also pass through the path of renunciation. This is due first and foremost to the fact that man is a being made up of body and soul. Man is truly himself when his body and soul are intimately united; the challenge of eros can be said to be truly overcome when this unification is achieved.

Should he aspire to be pure spirit and to reject the flesh as pertaining to his animal nature alone, then spirit and body would both lose their dignity. On the other hand, should he deny the spirit and consider matter, the body, as the only reality, he would likewise lose his greatness. The epicure Gassendi used to offer Descartes the humorous greeting: Only when both dimensions are truly united, does man attain his full stature.

Only thus is love — eros —able to mature and attain its authentic grandeur. Nowadays Christianity of the past is often criticized as having been opposed to the body; and it is quite true that tendencies of this sort have always existed. Yet the contemporary way of exalting the body is deceptive. On the contrary, he now considers his body and his sexuality as the purely material part of himself, to be used and exploited at will.

Nor does he see it as an arena for the exercise of his freedom, but as a mere object that he attempts, as he pleases, to make both enjoyable and harmless. Here we are actually dealing with a debasement of the human body: The apparent exaltation of the body can quickly turn into a hatred of bodiliness. Christian faith, on the other hand, has always considered man a unity in duality, a reality in which spirit and matter compenetrate, and in which each is brought to a new nobility. Concretely, what does this path of ascent and purification entail?

How might love be experienced so that it can fully realize its human and divine promise? Here we can find a first, important indication in the Song of Songs , an Old Testament book well known to the mystics. According to the interpretation generally held today, the poems contained in this book were originally love-songs, perhaps intended for a Jewish wedding feast and meant to exalt conjugal love.

First there is the word dodim , a plural form suggesting a love that is still insecure, indeterminate and searching. Love now becomes concern and care for the other. No longer is it self-seeking, a sinking in the intoxication of happiness; instead it seeks the good of the beloved: It is part of love's growth towards higher levels and inward purification that it now seeks to become definitive, and it does so in a twofold sense: Love embraces the whole of existence in each of its dimensions, including the dimension of time.

It could hardly be otherwise, since its promise looks towards its definitive goal: In these words, Jesus portrays his own path, which leads through the Cross to the Resurrection: Starting from the depths of his own sacrifice and of the love that reaches fulfilment therein, he also portrays in these words the essence of love and indeed of human life itself. By their own inner logic, these initial, somewhat philosophical reflections on the essence of love have now brought us to the threshold of biblical faith.

More significantly, though, we questioned whether the message of love proclaimed to us by the Bible and the Church's Tradition has some points of contact with the common human experience of love, or whether it is opposed to that experience.

This in turn led us to consider two fundamental words: There are other, similar classifications, such as the distinction between possessive love and oblative love amor concupiscentiae — amor benevolentiae , to which is sometimes also added love that seeks its own advantage. In philosophical and theological debate, these distinctions have often been radicalized to the point of establishing a clear antithesis between them: Were this antithesis to be taken to extremes, the essence of Christianity would be detached from the vital relations fundamental to human existence, and would become a world apart, admirable perhaps, but decisively cut off from the complex fabric of human life.

Yet eros and agape —ascending love and descending love—can never be completely separated. The more the two, in their different aspects, find a proper unity in the one reality of love, the more the true nature of love in general is realized. The element of agape thus enters into this love, for otherwise eros is impoverished and even loses its own nature.

On the other hand, man cannot live by oblative, descending love alone. He cannot always give, he must also receive. Anyone who wishes to give love must also receive love as a gift. Certainly, as the Lord tells us, one can become a source from which rivers of living water flow cf. Yet to become such a source, one must constantly drink anew from the original source, which is Jesus Christ, from whose pierced heart flows the love of God cf.

In the account of Jacob's ladder, the Fathers of the Church saw this inseparable connection between ascending and descending love, between eros which seeks God and agape which passes on the gift received, symbolized in various ways. In that biblical passage we read how the Patriarch Jacob saw in a dream, above the stone which was his pillow, a ladder reaching up to heaven, on which the angels of God were ascending and descending cf. A particularly striking interpretation of this vision is presented by Pope Gregory the Great in his Pastoral Rule.

He tells us that the good pastor must be rooted in contemplation.

Only in this way will he be able to take upon himself the needs of others and make them his own: He also points to the example of Moses, who entered the tabernacle time and again, remaining in dialogue with God, so that when he emerged he could be at the service of his people.

We have thus come to an initial, albeit still somewhat generic response to the two questions raised earlier. Yet when the two dimensions are totally cut off from one another, the result is a caricature or at least an impoverished form of love. And we have also seen, synthetically, that biblical faith does not set up a parallel universe, or one opposed to that primordial human phenomenon which is love, but rather accepts the whole man; it intervenes in his search for love in order to purify it and to reveal new dimensions of it.

This newness of biblical faith is shown chiefly in two elements which deserve to be highlighted: First, the world of the Bible presents us with a new image of God. In surrounding cultures, the image of God and of the gods ultimately remained unclear and contradictory. In the development of biblical faith, however, the content of the prayer fundamental to Israel, the Shema , became increasingly clear and unequivocal: There is only one God, the Creator of heaven and earth, who is thus the God of all. Two facts are significant about this statement: Certainly, the notion of creation is found elsewhere, yet only here does it become absolutely clear that it is not one god among many, but the one true God himself who is the source of all that exists; the whole world comes into existence by the power of his creative Word.

The second important element now emerges: The divine power that Aristotle at the height of Greek philosophy sought to grasp through reflection, is indeed for every being an object of desire and of love —and as the object of love this divinity moves the world [6] —but in itself it lacks nothing and does not love: The one God in whom Israel believes, on the other hand, loves with a personal love.

His love, moreover, is an elective love: God loves, and his love may certainly be called eros , yet it is also totally agape. The Prophets, particularly Hosea and Ezekiel, described God's passion for his people using boldly erotic images. God's relationship with Israel is described using the metaphors of betrothal and marriage; idolatry is thus adultery and prostitution.

Here we find a specific reference—as we have seen—to the fertility cults and their abuse of eros , but also a description of the relationship of fidelity between Israel and her God. The history of the love-relationship between God and Israel consists, at the deepest level, in the fact that he gives her the Torah , thereby opening Israel's eyes to man's true nature and showing her the path leading to true humanism.

It consists in the fact that man, through a life of fidelity to the one God, comes to experience himself as loved by God, and discovers joy in truth and in righteousness—a joy in God which becomes his essential happiness: And there is nothing upon earth that I desire besides you We have seen that God's eros for man is also totally agape.

This is not only because it is bestowed in a completely gratuitous manner, without any previous merit, but also because it is love which forgives. Hosea above all shows us that this agape dimension of God's love for man goes far beyond the aspect of gratuity. It is precisely at this point that God is revealed to be God and not man: How can I hand you over, O Israel!

My heart recoils within me, my compassion grows warm and tender. God's passionate love for his people—for humanity—is at the same time a forgiving love. It is so great that it turns God against himself, his love against his justice. Here Christians can see a dim prefigurement of the mystery of the Cross: The philosophical dimension to be noted in this biblical vision, and its importance from the standpoint of the history of religions, lies in the fact that on the one hand we find ourselves before a strictly metaphysical image of God: God is the absolute and ultimate source of all being; but this universal principle of creation—the Logos , primordial reason—is at the same time a lover with all the passion of a true love.

Eros is thus supremely ennobled, yet at the same time it is so purified as to become one with agape. We can thus see how the reception of the Song of Songs in the canon of sacred Scripture was soon explained by the idea that these love songs ultimately describe God's relation to man and man's relation to God.

Thus the Song of Songs became, both in Christian and Jewish literature, a source of mystical knowledge and experience, an expression of the essence of biblical faith: But this union is no mere fusion, a sinking in the nameless ocean of the Divine; it is a unity which creates love, a unity in which both God and man remain themselves and yet become fully one. As Saint Paul says: The first novelty of biblical faith consists, as we have seen, in its image of God.

The second, essentially connected to this, is found in the image of man. The biblical account of creation speaks of the solitude of Adam, the first man, and God's decision to give him a helper. Of all other creatures, not one is capable of being the helper that man needs, even though he has assigned a name to all the wild beasts and birds and thus made them fully a part of his life. So God forms woman from the rib of man. Now Adam finds the helper that he needed: Here one might detect hints of ideas that are also found, for example, in the myth mentioned by Plato, according to which man was originally spherical, because he was complete in himself and self-sufficient.

But as a punishment for pride, he was split in two by Zeus, so that now he longs for his other half, striving with all his being to possess it and thus regain his integrity. The biblical account thus concludes with a prophecy about Adam: Two aspects of this are important. The second aspect is equally important. From the standpoint of creation, eros directs man towards marriage, to a bond which is unique and definitive; thus, and only thus, does it fulfil its deepest purpose. Corresponding to the image of a monotheistic God is monogamous marriage. Marriage based on exclusive and definitive love becomes the icon of the relationship between God and his people and vice versa.

God's way of loving becomes the measure of human love. This close connection between eros and marriage in the Bible has practically no equivalent in extra-biblical literature. Though up to now we have been speaking mainly of the Old Testament, nevertheless the profound compenetration of the two Testaments as the one Scripture of the Christian faith has already become evident. The real novelty of the New Testament lies not so much in new ideas as in the figure of Christ himself, who gives flesh and blood to those concepts—an unprecedented realism.

In the Old Testament, the novelty of the Bible did not consist merely in abstract notions but in God's unpredictable and in some sense unprecedented activity. When Jesus speaks in his parables of the shepherd who goes after the lost sheep, of the woman who looks for the lost coin, of the father who goes to meet and embrace his prodigal son, these are no mere words: His death on the Cross is the culmination of that turning of God against himself in which he gives himself in order to raise man up and save him.

This is love in its most radical form. By contemplating the pierced side of Christ cf. It is there that this truth can be contemplated. It is from there that our definition of love must begin. In this contemplation the Christian discovers the path along which his life and love must move.

Jesus gave this act of oblation an enduring presence through his institution of the Eucharist at the Last Supper. He anticipated his death and resurrection by giving his disciples, in the bread and wine, his very self, his body and blood as the new manna cf. The ancient world had dimly perceived that man's real food—what truly nourishes him as man—is ultimately the Logos , eternal wisdom: The Eucharist draws us into Jesus' act of self-oblation.

More than just statically receiving the incarnate Logos , we enter into the very dynamic of his self-giving. The imagery of marriage between God and Israel is now realized in a way previously inconceivable: Here we need to consider yet another aspect: Union with Christ is also union with all those to whom he gives himself. I cannot possess Christ just for myself; I can belong to him only in union with all those who have become, or who will become, his own.

Communion draws me out of myself towards him, and thus also towards unity with all Christians. Love of God and love of neighbour are now truly united: God incarnate draws us all to himself. We can thus understand how agape also became a term for the Eucharist: Only by keeping in mind this Christological and sacramental basis can we correctly understand Jesus' teaching on love. The transition which he makes from the Law and the Prophets to the twofold commandment of love of God and of neighbour, and his grounding the whole life of faith on this central precept, is not simply a matter of morality—something that could exist apart from and alongside faith in Christ and its sacramental re-actualization.

Faith, worship and ethos are interwoven as a single reality which takes shape in our encounter with God's agape. Here the usual contraposition between worship and ethics simply falls apart. A Eucharist which does not pass over into the concrete practice of love is intrinsically fragmented. This principle is the starting-point for understanding the great parables of Jesus. The rich man cf. Jesus takes up this cry for help as a warning to help us return to the right path.

The parable of the Good Samaritan cf. This limit is now abolished. Anyone who needs me, and whom I can help, is my neighbour. Despite being extended to all mankind, it is not reduced to a generic, abstract and undemanding expression of love, but calls for my own practical commitment here and now. The Church has the duty to interpret ever anew this relationship between near and far with regard to the actual daily life of her members. Lastly, we should especially mention the great parable of the Last Judgement cf.

Jesus identifies himself with those in need, with the hungry, the thirsty, the stranger, the naked, the sick and those in prison. Love of God and love of neighbour have become one: Having reflected on the nature of love and its meaning in biblical faith, we are left with two questions concerning our own attitude: And can love be commanded? Against the double commandment of love these questions raise a double objection. No one has ever seen God, so how could we love him?

Moreover, love cannot be commanded; it is ultimately a feeling that is either there or not, nor can it be produced by the will. Scripture seems to reinforce the first objection when it states: But this text hardly excludes the love of God as something impossible. On the contrary, the whole context of the passage quoted from the First Letter of John shows that such love is explicitly demanded. The unbreakable bond between love of God and love of neighbour is emphasized.

One is so closely connected to the other that to say that we love God becomes a lie if we are closed to our neighbour or hate him altogether. Saint John's words should rather be interpreted to mean that love of neighbour is a path that leads to the encounter with God, and that closing our eyes to our neighbour also blinds us to God. True, no one has ever seen God as he is. And yet God is not totally invisible to us; he does not remain completely inaccessible. God loved us first, says the Letter of John quoted above cf. God has made himself visible: Indeed, God is visible in a number of ways.

In the love-story recounted by the Bible, he comes towards us, he seeks to win our hearts, all the way to the Last Supper, to the piercing of his heart on the Cross, to his appearances after the Resurrection and to the great deeds by which, through the activity of the Apostles, he guided the nascent Church along its path. Nor has the Lord been absent from subsequent Church history: In the Church's Liturgy, in her prayer, in the living community of believers, we experience the love of God, we perceive his presence and we thus learn to recognize that presence in our daily lives.

Greg has always been missing something in his life Until, that is, the perfect day when his dream girl walked into his life. Mass male eradication is not something that can be fully handled by the new government; it needs a little helping hand on the ground. A change is taking place; a new leader has emerged to united her people against a common enemy: Mom tries to divert her son and his friends from their video game,it worked but not according to plan. After having sex with my sister for the first time, and having our mom finding it out, things went way out of hand.

But in a good way. This is the first part of Mandi's sorority challenge set by her sisters to see if she can suck 20 dicks in one day! Effeminate Post-Grad student tries to go straight and get a girl friend but lands himself with two trannies and their boyfriends who give him what he really needs. Every grandmothers have a desire to sex with their grandsons this particular sexy grandma got a chance to fuck her grandson. Here is the brother thinks his own son would do his wife like his sister and son doing in their life. Finally he found that all sons are dreams about their own moms and some of them will come.

Saanju and his friend Anurag both are likes to fuck old womans but Aanurag find his friends mom as his fucking teacher. Saanju and his friend Anila goes to new ways of sex life with their old teacher it is very erotic an old woman play with younger. Diaries depict two journal entries about a mother and son living out their desires for each other.

This is not only for a mothers desire all widows with only son having women had in theirs deep mind these hidden feelings waiting for its time. Here is brother and sister accidentally involved into Incest but they loved it and they would like to join another brother and sister too. After her father has an accident on the farm his daughter visits him to help him out during his recuperation.

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Jamie and Jason were cousins and best of friends. After they decided to go on a trip with friends,they realised that there was more to the relationship that they had with each other. This story narrates the consequences for turning my traditional Indian Mom to a Low class slut for the financial support to her family. Young Latino dropped his pants and turned around showing me the sweetest caramel colored little bubble ass Jim loves twink ass but when he would meet his new neighbor, John he would meet an anal slut who would love his big cock.

Janell, a petite blue-eyed blonde goes to bar for birthday and enters pleasures when she meets two new friend. Janell's new found friends show her what it means that it takes a woman's touch to send her sexy little body into ecstasy. Janell is having a Happy Birthday she will soon never forget. Alex is back and he out looking for a rich wife!!! My daughters friend Tanya had been flirting with me, and recently she showed me her pert tits and we almost got caught. We had to arrange a day where we could be alone Terms of Use Privacy Policy Contact us. A Sex Stories Stories on Review. A work colleagues wife.

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The farm part four the conclusion. Fucking my 81 year old grandmother. Raped two black men. The farm part three of four. The farm part two. My wife at work. In A Dream Part 2. Tied up naked outside at night. Out for a walk on the moor. How roommates girlfriend becomes mine. Richard Tanya and Jeff. A night of forced smelling facesitting. Staying with my sister. A sister explores her feelings for her brother. Dinner party ends in swap. Sleepover Submission - Femdom Story.

Bonds of the Family 7. Bonds of the Family 6. Wearing my mommy's pantyhose 'N' panties. My strange fetish of truck horn sound vibrations. Experiencing my aunt part 1. Rebecca Steve and abanu. Innocent wife with indecent collegue. Sneaking into mommy's room. I tried to resist , but it was useless to try. By the Grace of God go I. Sue is converted in to a cum loving slut. Picnic in the woods. My Mother, her needs, her desires Drugs for erectile dysfunction.

Training Mommys new daughter. Neighbour invites me in. Sex with my gf. Sex with a senior lady. I did my MIL. Wife could not stop wanting cock. Faithful wife om vacation. Muslim slut disowned becomes tramp. Sex crazy woman I married. My Daugther's Make me Cum.

Working with sex goddess. To Be Captured and Feminized. Bonds of the Family 5. Bonds of the Family 4. My Daugthers Make me Cum. Hidden pre cummies in the train. The nurse and the older gentleman. A threesome with a married couple. Ann Marie, Ashley and Steven.

Claire and her parents. Keith Julie Steve and Rebecca. The bride to be last fling. Just a quick ride Fucking a big black cock thanks to my husband. Fucking and sucking mom. Old man and youn girl affairs. Fucking mom and daughter. Fucking and sucking a black cock with my step mom. The Awakening Part 1. Showing off part 3. Fucking mom and my sister. Fucking my sister and her teen age daughter. I became a big cock sucker for married men. Brother and sister dry humping. My wife wanted two men at the same time.

Bonds of the Family 3. Bonds of the Family 2. Bonds of the Family.

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