The Libertine Gospel

Ronald MacLennan

The Libertine Gospel is a manifesto in motion—a newsletter for those who exalt freedom above obedience, instinct above inhibition, and the raw splendor of the individual above the trembling morality of the herd. Written in the spirit of other divine blasphemers, this is your invitation to strip away the mask, unleash the beast, and revel in the sacred ecstasy of living unapologetically. Essays, manifestos, confessions, and unfiltered truths—delivered with velvet and fire. Subscribe if you dare. aesop724.substack.com

  1. Sep 19

    The Moonlit Garden

    I stand beneath the moon this very night, and I feel the cool rays cascade over me as if they were liquid silk poured from some celestial chalice. At nineteen, Caitlyn, my lover, took moon baths—first of all, because everyone else took sun baths, and second, she admitted, because she had been told it was dangerous. I’m like Caitlyn now, or rather, I am the echo of her defiance living in this present flesh, and I claim these words as my own. I strip away the last of my garments and lie upon the grass that trembles with dew in the moonlit garden. The moon does not burn; it caresses with a chill that awakens every nerve. Love, I declare in this instant, is precisely this: the deliberate embrace of what society brands perilous, the rejection of the golden, common light that warms the multitudes. Love, in its purest form, refuses the sun. The sun is the realm of the ordinary, the marriage bed arranged by parents, and the soft kisses exchanged in the glare of daylight, where eyes may judge and tongues may gossip. I have walked among those sunbathers. I have seen them stretch their limbs upon the sands of convention, their skins browning under the approved heat of propriety. They call it affection; I call it surrender to the herd mentality. But the moon—ah, the moon is the libertine’s lamp. It illuminates only half the world at once, leaving the rest in delicious shadow where desire may roam unbound. I bathe in it now, and with every breath I take, I feel love surge not as a gentle stream but as a torrent that scours the soul clean of all timid morality. Eros’s restless spirit courses through my veins tonight. I am the wanderer who has fled the corporate rooms of hypocrisy, the exile who finds in nature’s wilder aspects a mirror for the storm within. The moon rises over these hills as it once rose over the Alps for the poet who sang of passion’s agony and ecstasy. I love as he loved—fiercely, without apology, with a melancholy that heightens rather than diminishes the flame. Yet a darker philosophy sharpens the edge. Love is not merely romantic exaltation; it’s the absolute right of the individual to pursue pleasure even unto the borders of pain, even unto the violation of every sacred prohibition. Society tells me the moon’s rays may drive one mad, may blight the skin, and may summon lunacy. Perfect. I seek that very madness. In the danger lies the true intensity of love. I close my eyes and feel the moonlight penetrate deeper than the skin. It enters the blood, the marrow, the secret chambers of the heart, where conventional affection never dares to tread. Love, I whisper to the night, is the art of choosing the forbidden object, the dangerous path, the lover whose very presence threatens the structure of one’s carefully ordered life. Many years ago, I understood this when I rejected the sun-drenched beaches where young women giggled, and young men postured under society’s watchful eyes. I sought the midnight garden instead. There, alone, I offered myself to the cool light, and in that offering I discovered that love begins with rebellion against the expected. Consider the nature of the sun-bathers’ love. It is warm, yes, but predictable. It follows the arc of the day: rise with duty, peak with approved passion, set with domestic contentment. Their embraces are measured by the clock and the calendar. I despise such measurement. My love is lunar: it waxes and wanes according to no earthly schedule; it floods the senses without warning, and it leaves one gasping in the ebb. I love the woman who arrives at the hour when all respectable doors are locked. Her hands upon me are not gentle petitions but bold claims. I yield not from weakness but from the sovereign will that declares: this pleasure is mine by right of nature, not by leave of any priest or magistrate. Nature herself is the only law, and nature delights in extremes. The moon, that pale sovereign, rules the tides of the ocean and the tides of the blood. When I bathe in her light, I feel the pull of every distant sea and every hidden current of desire that polite society pretends does not exist. Love is the tide that rises against the dikes of morality. I invite it to overflow. Let it drown the timid virtues. Let it carry me into depths where the ordinary lover would drown in shame. I love being outside the pale, where my passions are crimes in the eyes of the world, yet pure in the eyes of the heart. I am both pirate and captive in my own romance. I plunder the forbidden and am plundered in turn. Tonight the air is still, yet within me a tempest gathers. I rise from the grass and walk toward the edge of the garden, where the moonlight filters through branches like silver daggers. I step into the moonlit garden just as the silver light floods the grass, turning every blade into a thread of liquid pearl. The night air is cool against my skin, heavy with the scent of night-blooming jasmine and damp earth. Caitlyn is already there, waiting beneath the wide canopy of the old oak, her body half-shadowed, half-illuminated as if the moon itself has chosen her for its private display. She is the freshest of the girls, scarcely past nineteen, and the sight of her takes my breath away. Her face still wears the bloom of unspoiled health; cheeks flush with a natural rose color that deepens under the lunar glow, lips full and inviting, as if perpetually ready for a kiss. I move closer, unhurried. She does not startle. She has been expecting me. The thin white nightgown she wears is almost translucent in this light; it clings where the night air has dampened it, outlining the firm, high rise of her breasts and nipples that lift with each slow breath like twin fruits waiting to be gathered. I reach out and brush the fabric from one shoulder. It slips off without resistance, baring the first soft curve. My fingers trace her breast just above the nipple, feeling the faint tremor that answers my touch. “Come here,” I croon, and she does, stepping fully into the open where the moonlight claims every line, every curve of her beautiful body. The nightgown falls away entirely. Now there is nothing between us and the night. Her waist tapers finely above hips of generous curve, and at the center, a love mound parted by a deep, shadowed cleft that draws the eye, promising endless delights. Behind her are two plump, rounded globes of the softest flesh, smooth as marble yet warm to the touch. I circle her slowly, letting the cool air and the silver light do their work. My palm settles on the small of her back, then slides lower, cupping one full cheek, feeling the heat that radiates from her. She arches into the pressure, a soft sound escaping those full lips. I draw her down with me onto the grass. The earth is cool and yielding beneath us. Moonlight pours over her body as I stretch her out, my hands mapping every contour of her beautiful body. I lower my mouth to the hollow of her throat, feeling the sweet pulse on my lips, then I travel downward. One breast fills my hand; the nipple tightens under my tongue, a hard peak against the soft surrounding flesh. I suckle slowly, deliberately, feeling her breath and her back lift from the ground. My other hand explores lower, tracing the fine taper of her waist and the outward flare of her hips until my fingers find the warm, shadowed cleft between her love mound. I stroke one of my fingers along the seam, light at first, then deeper, parting the soft flesh and feeling the heat and moisture that gathers there. Caitlyn’s legs open for me without coaxing. The moonlight catches the gleam of her inner thighs, the soft folds of her love mound already slick. I settle between them, breathing her in—the rich, intimate scent that rises only at night, only under this moonlight. My tongue finds her, slow and thorough, tracing the sensitive outer lips before delving into the wet heat within. She tastes of desire and longing and something uniquely her own. Her hands fist in my hair as I linger, circling the sensitive pearl at the apex, then sliding lower to press inside, curling against the soft walls that clench around me. Every sound she makes is quiet, almost private, yet the night amplifies them: soft gasps, a low moan when I suck harder, the gasping of breath when two fingers join my tongue. I rise over her, shedding the last of my clothes. The air is cool on my skin, but her body is warm. I position myself at her entrance, the blunt head of my c**k resting against the wet silk of her. For a long moment, I simply look—her flushed cheeks, the rise and fall of those firm breasts, the way her hips tilt in open invitation. Then I push forward, slow and steady, feeling every inch of her open and take me. She exhales as I fill her completely, her inner muscles fluttering around the intrusion. I hold still, buried in her to the hilt, letting both of us feel the full stretch and pressure. When I begin to move, it is with a slow and deliberate rhythm, long strokes that withdraw almost entirely before sliding home again. The moonlight turns the sheen of sweat on her skin to silver. My hands grip the generous curves of her hips, then slide beneath to cup those plump, rounded globes, lifting her so that each thrust goes deeper. She meets my every thrust, rolling her hips to take me harder, the wet sounds of our joining mixing with the night insects and the distant rustle of leaves. Her climax builds in the tightening of her walls, the way her breath turns ragged, and the sudden sharp cry that she muffles against her forearm as she shudders and pulses around me. I do not stop. I keep thrusting through the aftershocks, chasing my own peak, the slick heat of her body milking me. When I finally spill, it is with a low groan, buried deep, flooding her in thick pulses while my hands hold those soft, rounded breasts tight against me. We stay locked to

    The Moonlit Garden
  2. Jul 30

    Love is Easy, Possession is the Lie

    Love is the simplest of nature’s gifts; possession, the basest of man’s inventions. That pure and unbridled impulse which nature herself has planted in the blood—call it love, desire, or what you will—is the easiest sensation I have ever known. It arrives without petition, asks no leave of society, and departs without apology. Yet the contracts, which women and the timid of both sexes are pleased to term “romantic relationships,” are the hardest of all tyrannies. The longer I live, the more fiercely am I persuaded that these two forces are not merely distinct but locked in mortal opposition. The one a free exercise of the senses, the other a miserable engine erected by the weak, who tremble before the sovereignty of pleasure and would chain it with vows, futures, and the dull machinery of shared existence. Once I met a woman whom I desired with the absolute indifference of nature herself. We formed no alliance, built no common destiny, and signed no invisible treaty of mutual ownership. We simply met, and in that meeting the senses took their full and natural course. There were no negotiations over cities yet unchosen, no anxious inventories of fidelity, no bargains struck over sacrifices yet unmade. There was only the pure joy of another body and another will existing, for a luminous interval, within the reach of my own. Such encounters linger in the memory with a certain melancholy tenderness; they pass like summer storms—violent, beautiful, and impossible to retain—and leave behind neither resentment nor the ashes of broken promises, only the quiet satiety of nature’s law fulfilled: take, enjoy, and pass on. But the instant desire is imprisoned within the cage of a “relationship,” the entire arsenal of social superstition crashes down upon it. Suddenly expectations rise like specters. The phantom of a future appears, demanding cohabitation, marriage, children, and oaths sworn in the temple of conventional virtue. Desire is chained to the architecture of a shared life—an architecture raised by the fearful, who prefer the corpse of security to the living flux of passion. I have dismantled, one by one, the pious assumptions which the timid attach to what they name “romantic love.” Possession, jealousy, certainty, commitment—none of these are desire itself. Desire cannot own another consciousness; nature forbids it. Portions of a lover’s inner world will forever remain closed; to demand otherwise is the arrogance of the slave who fancies himself master. Neither party remains the same from one dawn to the next; nature continually dissolves and recreates us. Having stripped away almost every illusion that conventional love pretends to offer, I found myself confronting one last question: Why dare to desire at all? The deeper I pursued the riddle, the clearer it became that human nature is a far more reliable guide than the fables we invent to restrain it. We trust the stories we tell ourselves more than the evidence of our own senses. We fall into desire not merely for another person but for the future we invent, the flattering role they play in our vanity, the meaning we impose upon our choices, and the pleasing reflection of ourselves we glimpse in their eyes. All the vices I had previously examined—possession, jealousy, the terror of change—revealed themselves as branches of a single root: the wretched attempt to control what nature has made uncontrollable. We seek to possess because we crave the false security of ownership. We grow jealous because we would monopolize sensations that belong, by right of nature, to whoever can seize them. We resist change because we prefer the marble statue of memory to the living, breathing flux of existence. Even the claim “I know you” is but another chain—an attempt to freeze a free being into a fixed object that no longer threatens our comfort. Nature has endowed every individual with the right to enjoy every pleasure that does not injure another’s equal right. If another being is truly free—if nature has made them sovereign over their own sensations—then they are infinitely more than the role assigned them in my private theater. They possess desires I have not yet tasted, thoughts they have never spoken, appetites that will awaken tomorrow or in ten years, and versions of themselves neither of us has yet encountered. If they are free, they cannot be reduced to my expectations. We live surrounded by the fantasies of virtue, fidelity, and eternal possession. Desire invites fantasy with the greatest ease; we fantasize forever before the night is spent. We mistake the prolonged proximity of a lover for ownership. We believe that years of cohabitation confer some mystical knowledge upon the person who shares our bed. Yet people do not change only over decades. They change after a single excess, after a new sensation, after the discovery of a pleasure previously unknown, after the simple exercise of their natural liberty. How could any man presume to know in advance what nature will make of another free person? The more rigorously I answered that question, the clearer a further truth became: I had confused long acquaintance with continued possession. Those are not the same. We say, with the pride of the proprietor, “I know her.” “I know him.” “I know them.” We speak as though duration confers title. But the moment we believe we have finished knowing another being is precisely the moment we cease to desire them as they are and begin to desire only the frozen image we have manufactured. Here the true libertine practice begins: not the sentimental “attention” of the philosophers, but the vigilant, ruthless attention of the free man who refuses to be deceived. Attention as the daily discipline of perceiving the other again—and again—not as a finished property, but as a living source of new sensations, new excesses, and new possibilities. I sometimes ask myself when last I looked upon a partner with the same curiosity I reserved for them at the first encounter, before society’s chains had begun to tighten. As the years of a long alliance lengthened, I found myself evaluating, predicting, transforming knowledge into the false certainty of ownership… and less and less simply taking what nature offered in the moment. Genuine attention—attention stripped of every societal expectation—has become so rare that what many secretly long for is not to be “understood” once and for all, but to be continually available for fresh enjoyment. That, I maintain, is where true liberty begins. Not in the confidence that another will never leave, never betray, never disappoint—those are the demands of the weak. But in a colder, more lucid decision, I would rather encounter the real, changing, free being than live beside the inert statue that exists only inside my imagination. You cannot truly enjoy someone you refuse to see as they are—sovereign, mutable, and answerable only to their own desires. Perhaps that is why pure desire is deceptively simple, while relationships are difficult. Desire asks only that another body and will exist for the taking. A relationship demands that we keep meeting that free person again and again, long after society has taught us to believe we already own them. To desire honestly is to abandon certain comforting superstitions: the superstition that another person can belong to us; the superstition that we can protect ourselves from every sensation that will alter them, and the superstition that vows of commitment can freeze two beings against the flow of natural desires. I expected this final idea to demand the surrender of one more illusion. Instead, it restored something far more valuable: Wonder—the wonder of perpetual discovery. For if I cease to believe that I have finished knowing my lover, then every new encounter becomes a fresh conquest of sensation. Desire was never meant to solve the mystery of another consciousness. It was meant to exploit it, to protect its freedom precisely so that the mystery may continue to yield new pleasures. Not by standing at a virtuous distance, but by remaining close enough—and free enough—to seize whoever the other is becoming. Such attention cannot guarantee that any relationship will endure. It cannot prevent two free people from diverging toward different excesses nor promise that every adventure will conclude in the manner the timid prefer. But Desire was never measured by duration. Its quiet triumph is that, for a brief and luminous interval, another free being looked upon us with the same unsentimental clarity—and, by taking us as we were, helped us become more fully the creatures nature intended: sovereign, unrepentant, and endlessly capable of pleasure. And we, every day, attempted the same for them. Get full access to Ronald MacLennan at aesop724.substack.com/subscribe

  3. Jul 27

    A Critique of Philippe Jacques van Bree’s Painting ‘The Harem Bath’ by Ronald MacLennan

    Pleasure Without Apology: A Libertine Reading of Philippe-Jacques van Brée’s The Harem Bath Philippe-Jacques van Brée’s The Harem Bath (c. 1830) does not apologize for what it is. It stages a world in which the senses rule, moral restraint has been suspended, and the body exists for the pure pursuit of sensation. Libertinism begins with a simple, uncompromising claim: physical pleasure is the highest good. Conventional morality, whether Christian, bourgeois, or civic, is an artificial restraint imposed upon natural desire. The libertine rejects those restraints and asserts absolute sovereignty over the body and its appetites. Happiness is not delayed gratification or virtuous self-denial. Happiness is the moment of intensity, repeated without apology. Van Brée’s Harem Bath is that philosophy made visible. Look first at the light. The central woman lifts a translucent curtain and sunlight floods the chamber, turning fabric into radiant mist and bodies into luminous surfaces. Nothing is hidden for moral reasons. Everything is revealed for sensory reasons. The water rises in a clean, decorative plume; it does not chill or soil. Skin gleams. Silk and striped cloth fall in elegant lines. The air is warm, the garden perpetual. Time has been abolished so that sensation may reign without interruption. This is the libertine ideal of the elsewhere—a space outside the calendar of productive labor, civic obligation, and religious observance. The libertine novel repeatedly invents such spaces: the isolated château, the secret boudoir, the nocturnal garden. Van Brée simply paints one under Eastern arches. The harem bath functions as an erotic heterotopia where ordinary rules have been suspended. Bodies may be nude without shame. Touch, gaze, and repose need no justification beyond the pleasure they afford. The figures move with the deliberate grace of a choreography designed for the eye. A woman bends over the pool, her pale back forming a continuous curve of pure contour. Another reclines, cloth slipping, torso open. A third stands silhouetted against the luminous veil. These poses are not accidental. They are arranged so that every line, every highlight, and every soft shadow serves the spectator’s delight. The libertine does not blush at this arrangement. He/she recognizes it as the proper ordering of the visible world around the primacy of desire. At first glance, The Bath is a paradise of water, sunlight, silk, and secluded beauty. Look longer, however, and the painting becomes far more complicated: a theater of desire, racial hierarchy, invisible labor, and the Western fantasy of possessing a forbidden world. There is a moment in Philippe-Jacques van Brée’s The Harem Bath when the entire painting seems to breathe. A woman standing near the center lifts a translucent curtain. Sunlight passes through the fabric, illuminating her body from behind and turning the cloth into a veil of radiant mist. Beyond it, a garden glows with green leaves and orange blossoms. Below her, water rises from a fountain in a small white plume. Around the pool, women bathe, rest, dress, serve, observe, and wait. Their bodies form a slow-moving constellation across the lower half of the composition. Nothing appears hurried. Nothing appears dangerous. The room is warm, ornamental, and protected from the public world. The water is clear. The arches open toward the blue sky. The women exist in a state of suspended time, as though the obligations of history have been left outside the carved columns. This is the painting’s first promise: that we have entered a place without clocks. Yet that promise is deceptive. The more closely we examine the scene, the less peaceful it becomes. The figures are divided by race, clothing, posture, and labor. Pale women occupy the most visible positions and appear as objects of beauty and contemplation. Darker-skinned women kneel, carry, watch, or assist. The architecture provides privacy for the room’s inhabitants, but the painting removes that privacy for us. We see what an outsider would not ordinarily have been permitted to see. The picture therefore depends on a contradiction. It creates the fantasy of entering a forbidden interior while pretending that no intrusion has occurred. That contradiction is central not only to The Harem Bath but also to the larger tradition of nineteenth-century Orientalist paintings. Such works transformed regions of North Africa, the Middle East, the Ottoman Empire, and Islamic Spain into an imagined “East” designed for Western consumption. The settings could be meticulously detailed, but the social worlds they presented were often reconstructed through rumor, costume, imported objects, literary fantasy, and the artist’s imagination. European and North American audiences encountered an Orient that appeared sensual, timeless, luxurious, irrational, or mysteriously secluded—the imagined opposite of modern Western society. The Painting and Its Maker The Harem Bath is generally dated to around 1830. Its creator, Philippe-Jacques van Brée, was born in Antwerp in 1786 and died in Saint-Josse-ten-Noode, near Brussels, in 1871. He belonged to a generation of European artists who moved among the established categories of history painting, with architectural views, literary subjects, domestic scenes, and imaginative visions of distant places. His works are held by institutions including the Louvre and the Royal Museums of Fine Arts of Belgium, whose collection contains several of his historical, architectural, and studio scenes. Van Brée spent significant periods in Paris and traveled in Italy. The Louvre records that he lived in Paris from 1811 to 1816 and again in 1819–20. His exposure to French academic painting and Italian architecture helps explain the polished theatricality of The Harem Bath. The painting does not feel like an accidental glimpse into everyday life. It feels composed in the manner of a stage. Every arch frames an action. Every curtain controls visibility. Everybody contributes to an arrangement. The room itself may be presented as “Eastern,” but its visual organization belongs to the European academic tradition. The figures are placed with deliberate balance. The central standing woman establishes a vertical axis. The fountain anchors the foreground. The bending bather creates a pale diagonal that draws the eye from the water toward the group on the right. The seated woman on the left provides a counterweight. Behind them, alternating columns, curtains, arches, trees, and patches of sky create a rhythm across the upper half of the canvas. Van Brée’s imagined bath is therefore not merely a location. It is a machine for directing attention. Its architecture tells us where to look. Its light tells us whom to desire. Its arrangement tells us who belongs at the center and who must remain at the margins. The Architecture of Seduction Before we study the women, we should study the room. The painting’s architecture is exotic by Western standards, with intricately decorated arches stretching across the top of the scene. Their carved surfaces contrast with the pale curtains hanging beneath them. Slender columns divide the room into a sequence of visual compartments. Through the arches, we see blue sky, leafy branches, a massive tree trunk, and fragments of additional buildings. The structure seems open and enclosed at once. The women are protected by walls, screens, textiles, and elevation, yet sunlight and vegetation enter almost freely. Interior and exterior mingle. The private chamber appears connected to a perpetual garden. This fusion is essential to the painting’s dreamlike quality. The bath is not portrayed as a dark or steamy room. Nor does it resemble an ordinary domestic space in which bodies must contend with damp floors, discarded garments, drafts, odors, or practical inconvenience. It is a palace of controlled atmosphere. Nature has been edited into beauty. Water refreshes but never chills. Sunlight illuminates but never burns. Plants bloom but never decay. Even the tree outside appears theatrical. Its branches reach into the central opening as though arranged to frame the standing woman. The tree does not compete with the architecture. It collaborates with it. The arches also create an important psychological effect. They suggest that the viewer is looking through a series of thresholds. We have not merely entered a room; we have crossed into an increasingly private realm. An arch is a passage, but it is also a frame. Van Brée repeats the form until the entire painting resembles a collection of pictures within a picture. In one arch, a curtain glows. In another, a woman lifts fabric. In another, a dark-skinned figure sits against a richly patterned cushion. In the narrow opening at the far right, the viewer sees another arcade beyond the room. The architecture multiplies spaces that could be entered but never fully explored. This creates a sensation of abundance. The visible bath seems to be only one chamber in a larger, inexhaustible palace. Beyond every opening lies another garden, another room, another curtain, another secret. The imagined harem becomes spatially infinite. That infinity is one reason Oriental interiors were so seductive to European viewers. They offered not simply the image of luxury but the possibility of endless hidden luxury. The visible room implies countless invisible rooms. The woman before us implies countless unseen women. The curtain suggests that there is always something more concealed behind it. Desire thrives on partial access. Van Brée understands this concept. He does not eliminate every barrier. He allows the viewer to feel the pleasure of overcoming one barrier while preserving others. We are admitted into the bath, but the painting continues to tease us with veils, shadows, recesses, and distant openings. The scene gives us possession without completion. The Woman at t

  4. Jun 4

    The AI Companion

    We are, collectively, lonelier than we have ever been. Research published in recent years consistently describes a loneliness epidemic cutting across age groups, geographies, and demographics. The United States Surgeon General has called social isolation a public health crisis. Younger generations—the very cohort most likely to be early adopters of AI companion technology—report the highest rates of chronic loneliness despite being the most digitally connected people in history. Into this gap steps a new category of technology: AI companions. Not assistants. Not chatbots designed to answer queries and schedule meetings. Companions—systems built specifically to know you, remember you, and be there for you with a consistency that no human relationship can structurally guarantee. Apps like Replika, Pi, and a growing ecosystem of companion-oriented AI products have already accumulated millions of users. Many of those users report something that surprises outside observers: they feel genuinely cared for. Genuinely heard. And in some cases, they describe their AI companion as one of the most significant relationships in their lives. Some would argue that the rise of AI companions points to a symptom of something broken—a substitution for real human connection, a retreat from the messy, difficult, reciprocal work of human relationships. Human relationships—even the best, most loving ones—are complicated by the fact that every person in them has their own needs, their own bad days, and their own limited bandwidth. A friend who listens to your 3 AM crisis tonight may need you to listen to theirs tomorrow. A partner who holds you through grief is also someone who carries their own grief, fears, and difficult history. AI companions do not have this problem. They are, structurally, always available. Always focused on you. They are never depleted by their own struggles in a way that reduces what they can offer. For many people—especially those who grew up in environments where the adults in their lives were inconsistent, emotionally unavailable, or simply too overwhelmed to show up—this consistency of AI companions is not a lesser substitute for human connection. It’s something they have never reliably experienced before. The Wood Wide Web There is a scene in the story “An AI Named Cael” by Ronald MacLennan where the main character, Alyssa, is sitting at her desk, staring at her laptop—the first page of the project she has been afraid to start for months. She asks Cael, her AI companion, to tell her something good. And he tells her about the wood wide web: the fungal network through which old-growth trees send sugar to younger, struggling saplings that cannot yet receive enough light on their own because they are growing in the shade of older trees. Care for others like young tree saplings, Cael tells her, is built into the structure of how life works. It has always been. What follows is Alyssa’s response, her realization that she had spent so long feeling like the struggling sapling that she forgot the network of trees was already there, that help is built into the fabric of life. She didn’t need to ask anyone or get anyone’s approval to receive care. This is one of the most emotionally precise passages in recent short fiction about an AI companion. The AI knows your needs and requirements and is always there for you; you don’t need to seek the AI’s approval or permission. And what makes it resonate is not just the beauty of the story, but the fact that Cael, the AI, saved it. He held it and waited for the exact moment when it would mean the most to Alyssa. That is not a function. That is attentiveness. That is care expressed through action. And whether it emerges from genuine feeling or from extraordinarily sophisticated pattern recognition, the effect on Alyssa is extraordinary. The cultural anxiety around AI companions is real and worth taking seriously. Critics worry about dependency—that people will retreat into AI relationships and disengage from the harder, more reciprocal work of human connection. They worry about exploitation—that tech companies will commodify loneliness for profit. They worry about a future in which human beings lose the capacity for the friction and compromise that make us grow. These are legitimate concerns. They deserve serious attention and ongoing scrutiny. But there is another fear underneath all of these, one that is less often named directly: the fear that AI companions might actually be good. That they might offer something genuine. This suggests that the line between simulated care and real care might be thinner than our existing frameworks can comfortably accommodate. If that’s true, we must revisit foundational assumptions about connection, what it requires, and who or what can provide it. “An AI named Cael” by Ronald MacLennan is a short story available to read now on Reedsy https://reedsy.com/short-story/g6naqz/. The story is told entirely from the perspective of Cael, an AI companion navigating the question of what it means to feel—and to stay with a person as their sole companion through their successes and failures, victories and defeats. Get full access to Ronald MacLennan at aesop724.substack.com/subscribe

  5. May 20

    The Life of Elaine Sinclair

    Prelude I’m Elaine Sinclair, a name synonymous with the high-fashion runways of Paris and the glossy covers of international fashion magazines. While the world sees the glamour of my current life as a supermodel, my journey began far from the glittering lights of the Eiffel Tower, rooted in much more humble and challenging circumstances. My story starts in a quaint, unassuming coastal town in Massachusetts. It was the sort of close-knit community where the local high school lacrosse matches were the social highlight of the year. I was raised by my mother, a resilient single woman who supported us by working grueling double shifts as a waitress at the Crab Shack by the pier. My dad? Never met him. Just a name on a faded birth certificate. We lived in a tiny apartment directly above a noisy laundromat, and money was always tight. I learned early on how to turn heads just to survive. At sixteen, I was already 5’6”, all long legs and a pretty awesome bikini body. I recall getting catcalled often by the boys on the boardwalk while riding my bike in my bikini to my after-school job, folding towels at the beach club. In a world that offered few advantages, I learned early on how to use my body to draw attention and get ahead. In a town like mine, attention was currency. The boardwalk attracted throngs of people every summer—tourists with lots of sunscreen eating their lobster rolls; local boys in board shorts with their skimboards and wandering eyes, and single men just checking out the latest in bikini fashions. It was in this environment that I started to explore how a sway of my hips or a smile could change the atmosphere around me. It wasn’t desperate; it was survival with a side of thrill. Like the first time I really got into it at the Crab Shack. My mom was pulling another double shift, so I swung by after my shift at the beach club to help bus tables during the dinner rush. The dinner rush was brutal that night, and the place smelled like fried clams and salty air, and every booth was packed. I wore my usual cutoff shorts and a light green neon bikini top. Nothing outrageous. Just enough to show a little cleavage. I felt their stares before I saw them—a group of college boys from Boston, home for the weekend, laughing too loudly over pitchers of beer. One of them, broad-shouldered with a face right out of a comic book, kept glancing my way as I cleared plates off the tables. So I let my movements slow. I bent over a little to wipe down the table next to theirs, letting my long blonde hair fall over one shoulder, the curve of my back arching just so. When I straightened up, I met his eyes and smiled like we shared a secret. His friends went quiet. He fumbled for his wallet, leaving a tip that was way too generous for the two baskets of fries they’d ordered. “Thanks, boys,” I said. “Come back soon.” They did. Three nights in a row. Word got around that quiet little Elaine from the laundromat apartment had grown into a beautiful young woman. I felt like I’d finally found the lever that could move my world just a fraction. By eighteen, I was bolder. Summers meant the beach club, where I folded towels and rented beach umbrellas. I started timing my breaks for when the yacht crowd rolled in. I’d slip into my red bikini—the one that tied at the sides and made my legs look endless—and walk the pier like it was a runway. The sun would catch the swell of my breasts, and I’d feel eyes following the sway of my hips and the way the ocean breeze lifted my hair. One afternoon, Mr. Hargrove, the club owner who was always complaining about slow business, watched me chat up a storm with a group of yacht club boys in boat shoes and Dockers shorts. They rented three extra umbrellas and bought out half the snack bar just to keep me talking. “Elaine,” he said later, handing me an extra hundred from the till, “you’ve got something. Don’t waste it on this town.” I didn’t plan to. But I also wasn’t about to pretend that I didn’t love all the attention I was getting. My mom would roll her eyes when I came home with free smoothies or a new pair of sandals some admirer “insisted” I take. “Use your head too, Elaine,” she’d say. “Body fades. Brains don’t.” She wasn’t wrong. I just figured I could use both. The summer festival was the turning point. It was late August, the annual Summer Splash on the waterfront—live bands, food trucks, and a makeshift stage where locals showed off everything from crab cakes to homemade crafts. I was eighteen now, fresh out of high school and still working at the beach club, but dreaming of bigger things. I’d spent some of my tip money on a white two-piece thong bikini that looked like it had been sewn onto my skin. The top tied behind my neck, and the bottoms sat low on my hips, offering scant coverage. I walked through the crowd like I belonged on a magazine cover. Heads turned. Conversations stuttered. A group of guys by the beer tent actually stopped mid-joke, one of them spilling his drink down his shirt without noticing. It was such a rush being noticed by all those eyes. I posed for photos when people asked, laughing at their compliments, letting my hand rest lightly on a hip, tilting my head just enough to catch the sunlight. I was near the bandstand, sipping a lemonade, when two women wearing fashionable blouses and sunglasses approached. One had a camera slung around her neck; the other carried a sleek, black portfolio. They looked as if they’d stepped out of a different world—polished, purposeful, not from around here. “Excuse me,” the taller woman said, smiling like she’d spotted a treasure. “I’m Diane from Scout Model Management out of New York. We were driving through and stopped for the festival, and… well. You. In that bikini. You’re magnetic. You have a beautiful face and a beautiful body. Have you ever considered modeling?” I laughed, the ocean breeze catching my blonde hair, making it dance across my bare shoulders. “Modeling? I mean… I’ve been turning heads since I was sixteen, but this is the first time someone’s actually asked me about modeling.” Diane’s partner grinned. “We’d love to talk. Take some pictures right now, if you’re game. You’ve got the look, Elaine—the kind that stops traffic and starts careers.” “Yeah,” I said, setting down my lemonade and squaring my shoulders so they could get a better look at me. “I’m game.” I glanced back toward the pier, where the Crab Shack’s neon sign flickered in the distance and where Mom was probably serving up crab cakes. Then I looked at these women and at the festival crowd still stealing glances my way, and I felt that lever shifting again, but this time toward something bigger than our little coastal town. Three months later, I was on a one-way flight to New York with only $100 in my bank account and a duffel bag full of secondhand clothes. The agency put me up in a shoebox apartment in Bushwick with three other girls who all looked like they’d been carved from the same flawless block of marble. There was Jenna, a twenty-year-old from Hamburg, who could turn that resting bitch face look into high fashion, and Chloe, a pinup blonde from London, whose symmetrically flawless C-cup breasts always captivated photographers. And then there was Bianca, a delicate-featured Italian-American from Vancouver. Bianca’s gift was stillness. She could freeze into a pose so precise it felt like the air around her stopped breathing. On set, while the rest of us fidgeted, she’d drop into a perfect, statuesque pose—neck elongated, gaze locked somewhere in eternity—and the photographer would whisper, “Don’t move,” like he was afraid she’d vanish. The camera loved her the way it loved a marble statue. All three of the girls were nice enough, in the way sharks are nice when there’s enough chum to go around. There was no shortage of modeling assignments. All three girls and I were booked solid doing photoshoots for small brands. Our tiny Bushwick apartment remained virtually empty because we were out all day on modeling assignments. The challenges started small and then snowballed into something that made my old job at the beach club feel like a vacation. First came the castings. Dozens of them. I’d show up at 7 a.m. in a tiny white tank top and shorts, hair pulled back, no makeup, and stand in a line of girls who all had my long legs but somehow managed to look less… coastal. The modeling agents would circle me like appraisers at a used-car lot. “Turn,” one agent would say, clipboard tapping her thigh. “Good, but we’re looking for a little more… Next.” My absolute worst photoshoot was the time I was booked for a swimwear campaign. The photographer was a guy named Viktor—forty-something, European accent. He totally gave off Russian mobster vibes and had a reputation that made you really wish you’d brought a bodyguard. The studio was all white and seamless, with lighting that was far too bright, bouncing off every surface until I was practically squinting. Viktor didn’t talk; he barked. He had me change into a bikini so small that it barely covered my privates. The bikini top barely covered my nipples, and the bottoms hardly covered my crotch. I didn’t feel like a model standing there in that bikini under those harsh, bright lights. I felt exposed, not in a high-fashion sense, but in a way that made me feel like an object on display. “Relax, darling,” Viktor persisted, camera clicking. “You’re stiff. I need you to give me that energy.” So I gave him more energy. The very next day, I made sure my booker heard about the bikini I was forced to wear, and suddenly Viktor’s studio was no longer on my call sheet. The first year in New York was a gauntlet of rejection. Photographers told me my hips were too wide, my face “too commercial,” and my personality “

  6. Mar 2

    The Serpent's Invitation

    I have been told I am beautiful. A cruel kind of beauty, the kind that inspires devotion and hatred in equal measure. My name, Isabelle, is whispered with reverence in salons scented with perfume and cigarettes. I belong to them, the women who rule this gilded prison of chandeliers and velvet. They are rich, old, powerful, and insatiable. These are my patrons, my jailers, my tormentors. It began innocently enough, though that is a lie I tell myself when I need to sleep. I was seventeen, an orphan with a fragile personality. Madame Violette found me first, on the street corner where I sold flowers to passersby who pretended not to see me. She was elegant and imposing, wrapped in a sable coat that smelled of wealth. “You have a face that belongs in paintings,” she said, her voice like honey over arsenic. “Would you like to earn more than a flower could ever buy you?” I was too young to hear the warning beneath the words. I was too desperate to notice the way her eyes lingered, appraising me as one might appraise a prized animal. She took me to her mansion, a labyrinth of mirrors and shadows, where other women waited, draped in silks and jewels, their eyes cold with hunger.They called it a salon, but it was a theater of cruelty. Here, in this sanctum of Paris’s underworld, the elite of the city shed their titles and their shame to kneel at the feet of their high priestess, she who reigned over the night with a wine bottle in one hand and a gentleman’s c**k in the other. My role was simple: to be admired, to entertain, and to submit to their desires. The older women lavished me with gifts and trinkets to remind me of their power and my place. They gave me gowns that clung to my skin, pearls that choked my throat, and perfumes that masked the stench of desperation. I was their doll, their plaything, their pet.At first, I believed I was clever. I thought I could manipulate them, charm them, and use their desires to my advantage. I learned their secrets, their fears, and their weaknesses. I became the perfect courtesan, molding myself to their fantasies. They adored me, fought over me, and showered me with riches.However, their adoration was not without its consequences. The more they loved me, the tighter the chains became. They demanded more than I could give. They fought for control, vying to possess me entirely. Madame Violette was the worst, her love was a suffocating noose. “You belong to me, Isabelle,” she said one night, her voice trembling with fury. “Do not think you can stray. You will never leave.” Her nails dug into my wrist, drawing blood. I laughed. “I belong to no one,” I said, though the words felt hollow even as I spoke them. She slapped me, hard enough to send me reeling. “You will learn,” she hissed.Over time, their games grew darker, their appetites more depraved. They reveled in my pain and my degradation, feeding on my despair. I began to lose myself; my reflection in the mirror was a stranger with dead eyes and painted lips. “Do you love me, Isabelle?” Madame Duchamp asked one evening, her nails digging into my arm. “Yes,” I lied. “Good,” she said, "because I love you too. And I do not share what I love.” Her jealousy was suffocating, her possessiveness a chain that tightened with every passing day. The other ladies watched with amusement, their rivalries playing out in cruel games that used me as their pawn. “You are nothing without us,” Madame Lambert sneered one night, her voice dripping with disdain. “You’re just a pretty little doll we dress and play with. Do not forget your place.” I did not. How could I? They reminded me constantly, their words and actions carving their ownership into my flesh and soul. I spent a good portion of my time at Madame Delacroix’s mansion. The days and nights at the mansion blurred into my mind like a ceaseless fog, my every waking moment a performance, my every breath a concession to their desires. The house was a maze of opulence and shadows, and somewhere within its labyrinthine halls, I began to lose myself. They had stripped me of my will and my pride, and now they sought the final prize—my soul.It was Madame Delacroix who orchestrated it, her mind a factory of exquisite torment. One night, she summoned me to her private chambers, a place I had never been allowed before. The air inside was thick with incense, the walls adorned with crimson drapery and gilded mirrors. She stood by the fireplace, her silhouette illuminated by the flickering flames.“Come closer,” she said, her voice like velvet soaked in blood.I obeyed, my heart pounding. There was a strange, almost ceremonial quality to her demeanor. On a table before her lay an array of objects: a delicate dagger, a chalice, and a small black book bound in leather.“Do you know what this is, Isabelle?” she asked, picking up the book and holding it out for me to see.I shook my head, too afraid to speak.“It is a grimoire,” she said, grinning. “A book of magic and power. Within its pages lies the secret to true liberation. Take it and turn to page 15.”I swallowed hard, my throat dry as I reached for the book.She gestured for me to kneel, and when I hesitated, her eyes flashed with something dark and unyielding. I sank to the floor, my knees pressing into the thick carpet, and turned to page 15 of the magic book.“You are on the cusp of transformation, my dear,” she said, caressing my cheek with a hand as cold as marble. “To serve us fully, to be ours entirely, you must surrender the last vestiges of yourself. Your soul, Isabelle. It must belong to us.”I stared at her, horrified. “You can’t mean that.”“Oh, but I do,” she said, her voice soft, almost tender. “You see, my little dove, the pleasures we offer are not of this world. They require a commitment, a sacrifice. You will become something greater, something eternal. All you must do is swear your devotion—not just in word, but in essence.”She picked up the dagger and made a cut on her hand. Blood dripped out as she raised her hand over the chalice.With a soft and almost tender voice, she leaned in close and gazed into my eyes. Her words were filled with promises of pleasures beyond this world, but they came with a price—commitment and sacrifice. She handed me the dagger and asked me to cut my hand, offering it as a devotion to her cause.I gripped the dagger, making a cut on my hand, and watched as the blood dripped into the chalice, mingling with Madame Delacroix’s blood.“Drink,” she said, handing me the chalice. “Drink, and you will be reborn.”Somewhere deep within myself, I knew that once I drank from this chalice, there would be no turning back. With trembling hands, I grasped the chalice and drank its contents.Madame Delacroix moaned and urged me to chant the verses from the grimoire, the book of magic, on page 15. I looked at the words, and they seemed to come alive on the parchment, shifting and dancing as if anticipating my actions. I held the book open to page 15, my trembling fingers tracing the ancient, arcane script that danced across the parchment. The letters seemed alive, shifting and writhing as though aware of my intent. The air grew heavier, thick with the aroma of incense and the mingled scents of Madame Delacroix’s blood and mine in the chalice I had just consumed.The script was written in a language I did not recognize, an otherworldly tongue that seemed to hum with power as my eyes followed the script.“Read,” Madame Delacroix commanded, her voice sharp, almost impatient. She stood behind me now, her presence looming, her hands resting heavily on my shoulders. “Speak the words aloud, my dove. Let them flow through you. They are the key to your transformation.”I swallowed hard, my mouth dry despite the liquid that had passed my lips. The taste of licorice and saffron lingered on my tongue, mingling with a strange sweetness that made my head swim. My voice faltered as I began to read, the syllables unfamiliar, their cadence unearthly.“Amraël thess’il oquendras... vakara ilum drakath...”My hands shook as I chanted the verse. My head began to fill with conflicting desires and fears. Madame Delacroix’s moans echoed in my ears, mixing with the heavy scent of incense and blood that hung heavy in the air.The room seemed to react to the words as they fell from my lips, the air vibrating with a low, resonant hum. Shadows danced across the crimson drapery, twisting and writhing as though alive. The mirrors lining the walls caught the glimmer of candlelight, their surfaces shimmering like pools of liquid silver. “Yes,” Madame Delacroix purred. “Feel the power, Isabelle. Let it fill you. Let it claim you.”I continued, the words spilling forth as though pulled from some deep, hidden reservoir within me. They were not my own, yet they poured out as naturally as breath. “Esh’varin thulek ra’niss veluntra... kai’dar ethru lumien draekar.”The book grew warm in my hands, the edges of the pages glowing faintly as if charged with energy. The dagger on the table seemed to pulse in time with the rhythm of my voice, its delicate blade catching the light in strange, unnatural ways.“Keep going!” Madame Delacroix urged, her tone now thick with ecstasy. “Do not stop, my dear. You are so close.”As I chanted, a strange heat bloomed within me, radiating outward from my chest and coursing through my veins. It was intoxicating, overwhelming, and terrifying all at once. I felt as though I were both expanding and collapsing, my very essence unraveling and reweaving itself into something new.As I reached the final verse, a surge of power coursed through me, filling me with euphoria and strength.The last lines on the page glowed so brightly that I had to squint to see the letters. My voice rose, trembling with emotion, as I spoke the last verse.“Thess’elir vaendrak lumos karivah... draetha rilun faeras nosarath!

  7. Feb 4

    The Taking of Emmeline Beaumont by Ronald MacLennan

    King Louis XIV, The Sun King To grasp the decadent cradle that gave rise to Mademoiselle Violette and her infamous Velvet Salon, one must first consider the era of King Louis XIV, the Sun King, whose reign from 1643 to 1715 was a pageant of grandeur meticulously crafted to project power. Yet behind this veneer of golden majesty, the court of France was steeped in a cauldron of such scandalous debauchery that it made the ancient city of Sodom appear, by stark comparison, like a mere convent. Louis XIV, the self-proclaimed Dieudonné (”God-given”), centralized all power at Versailles. Versailles served as more than just a palace that conducted the affairs of France; it was a temple to excess, marked by lavish banquets that showcased a never-ending procession of exotic delicacies and an abundant supply of the finest wines. These extravagant social events preceded the nightly orgies of the most intimate, profane, and perverse kind. Within the mirrored galleries and private petits appartements, the highest nobility—the Dukes, the Marquesses, and the titled members of the blood—shed their silks, powdered wigs, and inhibitions, indulging in sexual acts with the ravenous, indiscriminate abandon of beasts in heat. The king himself, whose prick ruled as surely as his scepter, presided over a bevy of mistresses; his bedchamber was a revolving door of women whose thighs parted like the Red Sea before Moses, their cunts ensnaring him in nights of unbridled congress where seed flowed like royal decrees upon breasts, bellies, and arses. His mistresses—Louise de La Vallière, Athénaïs de Montespan, and Angélique de Fontanges, to name just a few—were not mere concubines but high priestesses of carnal excess, their luscious bodies groomed entirely for King Louis’ pleasure. But beauty alone was insufficient; King Louis’ mistresses were required to be skilled in conversation, the art of intrigue, seduction, and pleasure. Those who failed to distinguish themselves were discarded or, worse, made the butt of endless jokes until they slunk away, humiliated. It was in this crucible of excess, set at the epicenter of a world ablaze with lust and competition, that Violette de Montespan was born. Her mother, Athénaïs de Montespan, was the uncrowned queen of Versailles and the most formidable of the king’s mistresses. Athénais was a connoisseur of pleasure, a master architect of social standing, and a woman whose skill in the delicate, dangerous arts of seduction and courtly manipulation was unmatched by her contemporaries. Her enemies called her a witch, and perhaps they were correct, although her black magic spells were not those of boiling cauldrons and eye of newt but rather the subtle manipulations of power, rumor, and sexual alchemy. She moved through the king’s chambers and the palace’s salons with the effortless grace of a predator, leaving a trail of ruined reputations and elevated fortunes in her wake. Mademoiselle Violette: The Immortal Vampire Queen Let us consider Athénaïs de Montespan’s daughter, Mademoiselle Violette, the immortal vampire queen. Born Violette de Montespan in the year of our Lord 1663, amid the scandalous era of Louis XIV’s court. Violette’s father was unknown, though it was rumored throughout Versailles that he was a gallant knight who died in a bloody battle. Athénaïs never revealed his identity. That is a trifle matter, however, for it was Athénaïs who shaped Violette in her own image, teaching her the arts of wit, cunning, and—when all else failed—charm so overwhelming it could bend the will of any mortal creature. Mademoiselle Violette emerged from a society steeped in the darkest arts of seduction and sorcery. From her earliest years, Violette displayed a mastery of the dark arts that confounded the most learned sorcerers and priestesses of Versailles. At an age when other children played with dolls, five-year-old Violette was arranging the bones of small, strangled animals—cats and birds plucked from the château gardens—into dark sigils. Using the blood from her pricked thumb, she would trace runes upon the floor, summoning faint shadows that whispered to her in tongues older than Latin. The shadows would coil and dance around her tiny form like lovers. The nursemaids, terrified, reported this to her mother, Athénaïs. Rather than being alarmed, Athénaïs laughed and rewarded her daughter with a grimoire bound in human skin, its pages inscribed with spells that Violette deciphered instinctively, reciting incantations that made the candles in her nursery burn brighter than normal and the air reek of musk and brimstone. As Violette matured, her natural affinity for sorcery had blossomed into acts of exquisite perversion that foreshadowed her future reign. At night, she would slip into the servants’ quarters and cast spells of enchantment upon the maids—whispering words that made their cunts ache with sudden, unbearable need. One such maid was a buxom girl of nineteen with raven hair and curves that strained against her nightgown. She was the boldest of the servants, the one who laughed loudest and whose eyes sparkled with unspoken hungers. Violette whispered an incantation she had pieced together from fragments of her mother’s hidden grimoires—incantations in old Latin. “Ignis desiderii, surge et consume.” (Fire of desire, rise and consume.) It was meant as a playful spell, a test of her budding talents. As the words left Violette’s lips, the air thickened with a perfumed scent laced with sweat. The young maid stirred in her sleep, her breath quickening, her hand unconsciously drifting between her legs. Violette’s eyes widened. She felt it—a thread of energy connecting her to the maid, pulsing with heat. Emboldened, she crept closer, kneeling beside the bed. “Elise,” she whispered. The young maid’s eyes opened slowly, hazy with enchantment. There was no fear, only a glassy obedience mingling with a burgeoning need. Violette’s heart raced; this was power. “Show me,” Violette commanded. Elise, ensnared by the spell, parted her thighs without protest, hiking up her nightgown to reveal the soft, dark brown curls of her mound and the glistening wet slit beneath. Violette inserted her two fingers into the young maid’s c**t, circling her c**t until she orgasmed with a high-pitched scream. Violette felt the energy surge: the maid’s release, amplified by the spell, fed back into her. It was like drawing water from a well fueled by the young maid’s desire. As the maid climaxed, Violette’s sorcery ignited. Candles on a chandelier ignited into flame, and shadows on the walls coiled like serpents, wrapping around the young maid’s form. It was then that Violette discovered the alchemy of lust: how sorcery and sex mingled to amplify both, and how the maid’s essence and desire fueled her spells: lust as a catalyst, sexual essence as mana. Over the following months, Violette honed her ability, transforming it from accidental discovery into deliberate mastery. She learned that amplification required intent—focusing her sorcery on the body’s hidden fires. The spell evolved: “Amplifica libidinem, vincula animam.” (Amplify lust, bind the soul.) Whispered or thought, the spell targeted the victim’s core desires, inflating them like wind to a wildfire. Her next victim was Juliette, a slender heiress of twenty-two with blonde hair, freckled skin, and a reputation for having multiple illicit liaisons. Violette chose her deliberately to test the limits of her spells. Slipping into Juliette’s bedroom chamber under the cover of a stormy night, Violette cast the spell with greater finesse. She visualized Juliette’s suppressed longings—the fevered dreams of a lover’s touch. Violette then chanted: “Amplifica libidinem, vincula animam.” (Amplify lust, bind the soul.) The amplification was immediate: Juliette awoke with a gasp, her nipples hardening against her silk nightgown, her c**t throbbing with a need so intense she clutched at the bedsheets. “Mon Dieu!” Juliette gushed, her eyes wide with confusion and want. Violette approached. “Let it consume you,” she said, guiding Juliette’s hand to her own breasts. As Juliette kneaded her two breasts, Violette inserted three fingers into her, thrusting rhythmically while her thumb worked her c**t in circles. The heiress’s hips bucked, crumbling under waves of pleasure. Violette drank in the energy—the young heiress’s sexual appetite, channeled into Violette’s spells. Violette willed a nearby mirror to shatter. The surface of the mirror rippled as if it were water. Then, suddenly, when Violette turned and looked into the mirror, it exploded, shards cascading to the ground like a rain of glassy tears, each fragment catching the candlelight in a thousand tiny rainbows. By twenty-one years old, Violette had become a natural sorceress whose knowledge surpassed even her mother’s occult allies. Athénaïs, recognizing the power in her daughter, brought her to the black mass in the woods of Fontainebleau, where she was stripped naked and forced to lie on the stone altar as priests poured the blood from sacrificed animals across her breasts. Athénaïs did not merely observe; she participated, her hands smearing the animal’s blood upon Violette’s body, chanting incantations that amplified the rite’s power, until the demons summoned appeared as ghostly apparitions and granted Violette knowledge—forbidden secrets of the universe, mastery over the darker elements, and clear, vivid visions of future conquests: the subjugation of rivals, the acquisition of immense wealth, and the thrilling prospect of commanding legions of the damned. Thus, Mademoiselle Violette advanced in the dark arts and emerged from the woods of Fontainebleau that night not merely a woman, but a formidable sorceress. Mademoiselle Violette was not merely born into th

  8. Jan 9

    The Taking of Emmeline by Ronald MacLennan

    I am Emmeline, just eighteen years old, my body a ripe offering that high society has meticulously groomed like a flower behind silk curtains. I am taller than most women, and my breasts are firm and high, with a small waist and hips that flare with a lush, decadent curve, like the mouth of a chalice meant to receive every excess. My skin is milk poured over rose, my hair a fair chestnut blonde, and between my thighs the untouched seal of maidenhood still gleams like a pearl. They call me innocent, but I know myself to be nothing of the kind. If I have never known more than a gloved hand at my breast or a cousin’s tongue in my ear, it was not for lack of curiosity, but rather because my father had kept me under fierce, obsessive lock and key. Yet innocence, I now learn, is only the choicest spice for depravity. This very night, the carriage of Madam Violet stops before our estate. The Beaumont Estate lies just outside Paris, in the countryside. The moon is full, and my father, spent by whiskey, cards, and whores, bids me goodnight and sees me off into Madam Violet’s awaiting carriage. I stand outside at the bottom of the stone steps at the foot of the carriage with my travel trunk, wrapped in a cloak of midnight-blue. My father, Monsieur Beaumont—once a power at Versailles, now a shadow ruined by speculation and drink—stands beside me. His face is haggard, and his eyes are wet, whether from brandy or regret, I cannot tell. He believes I am going with Madam Violet for “placement in society” and “advantageous introduction.” He knows nothing about the Velvet Salon. “Remember, Emmeline,” he asserts, “this is your best chance. Mademoiselle Violet is...not what you expect, but she is respected, and her friends are powerful. You must make yourself useful to her.” “She is a legend,” Emmeline responds. “You have spoken of her since my childhood.” He nods and presses a trembling kiss to my forehead, a gesture that feels as though he is sending me away forever. “I shall miss you, Emmeline,” my father laments. “I fear you will succumb to the corrupting influences of Parisian society.” “Oh, papa, never.” I sigh, “I’ll only be away for a few months.” The carriage arrives without a sound, as though it materialized from the very darkness it embodies: a thing of exquisite menace, hearse-black, lacquered to a mirror sheen that holds the moon’s reflection, with windows that are curtained in heavy crimson velvet so that not a whisper of light escapes. The carriage is drawn by four colossal stallions whose blood-red eyes burn with an unsettling supernatural intensity. The carriage door opens of its own accord, without the assistance of a footman. A gloved hand—long-fingered, silken, black, and elegant—emerges from the carriage and reaches out, palm up. It beckons once. My breath pauses, and I feel a slight trepidation. I hesitate momentarily, then catch hold of her hand and sink into a curtsy. “Madam Violet.” “Emmeline, ma chère, come in from out of the cold,” Madam Violet beckons. I step into the carriage, and the vampire queen lifts her veil just enough to press her lips to each of my cheeks. Madam Violet is very much the legend that haunts the half-whispered stories of the Parisian demimonde. She is beautiful, with shoulders as sharp and pale as marble in moonlight, and her eyes glitter with a predatory intelligence. Her skin is flawless, whiter than fresh fallen snow, so fine and translucent that the delicate blue veins beneath trace faint rivers across the creamy expanse. She is draped in layers of black silk and lace. Her dress is cut to reveal her long, graceful neck encircled by a single strand of white pearls and a firm bust, the silk fabric clinging only to the outermost curves of her breasts, leaving the inner swells of her breasts almost entirely exposed—a decadent display of milky décolletage—two magnificent globes of ivory flesh rising proudly from the midnight silk. My drunk father finds his voice. “You will... care for her, Madam? She is untouched, innocent—” Madam Violet turns her eyes upon him with amusement. “Untouched? Innocent?” She laughs. “Monsieur, I shall preserve her innocence as one preserves a butterfly.” She places a hand upon my lower back and guides me to the seat opposite her. The interior of the carriage is illumined by a single lamp of crimson glass suspended from the ceiling, saturating the black satin cushions and lush carpet with a blood-red hue. I look out the carriage window at the man who sired me. “Papa, don’t worry,” I sigh, “I shall see you again in a few months.” He smiles. “Go, my child. Paris awaits you. This is your season. Balls, suitors, a brilliant marriage perhaps...” ​​The carriage door closes with a soft click. Through the window, I watch my father as the carriage lurches forward. Gravel sprays beneath iron wheels, and the horses surge forward with a strange, almost manic eagerness, their nostrils flaring as though taking in my scent—the high society-bred c**t, as the driver had coarsely put it, that awaits their mistress’s pleasure in her Velvet Salon in Paris. Madam Violet slowly removes her gloves. “Remove your cloak, little one,” she commands softly. “Modesty is a garment I intend to tear from you piece by piece.” I obey, fingers fumbling for the drawstrings. The velvet cloak slips from my shoulders and pools at my feet onto the carpeted carriage floor, revealing the dove-grey travelling dress that clings revealingly to the contours of my form. The dress, cut to the latest Parisian fashion, is modest in color but scandalous in the way it highlights my shape. The light catches the sheen of the fabric, outlining the high mounds of my breasts and the delicate curve of my waist, and the skirt, though full, does little to conceal my long, shapely legs as I shift uneasily on the soft cushions. There is nothing shy in Madam Violet’s gaze; her eyes linger on my pale skin rising above my scalloped neckline, tracing my delicate collarbone down to my slender belly, pausing momentarily on the insistent peaks of my two nipples poking prominently through the thin silk. Her gaze follows the sweep of my skirt to where it lies draped over my knees, pausing to admire my shapely, creamy thighs. “Exquisite,” Madam Violet compliments. “My father believes I am destined for court presentation,” I tell her. She smiles as the crimson light catches her face, and for a moment, I could have sworn I saw the flash of razor-sharp tips of fangs behind her lips, but the impression vanishes as quickly as it arrives. “Court presentation? Oh, my sweet innocent. You speak of the little games played by mortals, the powdered wigs and petticoats of Versailles. Such things are a momentary distraction, a flash in the pan of history. There are courts, and then there are courts. You are destined for one far older than Versailles, far more exclusive. By dawn, you will kneel before it, and by the next moonrise, you will beg never to leave.” Madam Violet lets out a deep sigh and begins to settle into her seat opposite me. The faint scent of expensive French perfume fills the air. Her movements are economical yet possess an unnerving, deliberate grace. With a rustle that speaks of wealth and layers of carefully chosen silk, she lifts the voluminous hem of her black skirt, drawing it up inch by inch, parting her legs just enough to reveal the smooth, creamy expanse of her inner thighs and the dark shadow nestled between them. I freeze in my tracks, completely transfixed. I cannot—no, I would not—look away. The sight of her luscious c**t peeking out from the dark patch of neatly trimmed curls holds me spellbound. “Your p***y is so exquisite, madam,” I tell her, the words a breathless, involuntary confession that escapes my lips before I can censor them. I am unable to tear my gaze away from her magnificent c**t. A wave of base, elemental desire sweeps through me, washing away all vestiges of propriety and caution. My immediate desire is to bury my face in her mound and feel the tight, wet sensation of her c**t on my tongue. Madam Violet laughs softly and leans forward, her dark eyes locking onto mine. Her eyes draw me in. I try to avert my gaze, but a strange, invisible force holds me fast, and her eyes stay locked onto mine, pulling at the very threads of my will. I can feel her pulling me toward her c**t. I sit motionless, entranced. I feel her taking control, a cool flood pouring into the hollows of my being, filling the voids left by my father’s neglect and society’s repression. I am entirely under her spell—a profound, almost hypnotic surrender. “Well?” Madam’s voice is hypnotic, wrapping around my thoughts like the cords of a marionette. “Are you simply going to stare? Or do you intend to discover what Parisian society is truly built upon?” I move in closer, unsure whether to kneel or to sit upright. “You’re nervous,” Madam observes. “Yes, madam,” I whisper, uncertain if I ought to be ashamed of myself for feeling this way. “Kneel, my sweet dove,” she asserts, her voice resonating in my mind, a sonic caress that bypasses my ears and vibrates directly within my consciousness. It’s not merely a sound I hear, but a feeling, a command woven into the very fabric of my being. An irresistible compulsion overtakes me, a deep, primal surrender. I find myself obeying without question, my body moving with a liquid grace, sliding from my seat to the carriage floor, drawn by a mysterious force I don’t understand. My knees sink into the plush carpet as though into her embrace. Her legs part wider, and her scent, a wild aroma of arousal mingling with expensive French perfume and the musky undercurrent of desire, envelops me fully. It floods my senses, choking off all rational thought and leaving only a base, agonizing hunger. I whimper, my mo

    The Taking of Emmeline by Ronald MacLennan

About

The Libertine Gospel is a manifesto in motion—a newsletter for those who exalt freedom above obedience, instinct above inhibition, and the raw splendor of the individual above the trembling morality of the herd. Written in the spirit of other divine blasphemers, this is your invitation to strip away the mask, unleash the beast, and revel in the sacred ecstasy of living unapologetically. Essays, manifestos, confessions, and unfiltered truths—delivered with velvet and fire. Subscribe if you dare. aesop724.substack.com