Caution: This Fantasy Sex Story contains strong sexual content, including Ma/Fa, Ma/ft, Fa/Fa, ft/ft, Consensual, BiSexual, Incest, Sister, DomSub, Group Sex, Interracial, First, .
Desc: Fantasy Sex Story: Preface - Nick via his tales brings Joe and Lindy to ancient southern Africa, siring Salome. Joe and Helena enjoy their honeymoon, ending it by joining Nick's contingent in Paris. Though I recommend reading the previous Serpent Tales, I have provided a summation of the earlier books.
It's best (and I hope a lot more interesting) to read Snake's Tales from the start, but since it's already been a bit of a journey, and the delay between books has been unfortunately quite long, I thought I'd try to sum up where we've travelled for the uninitiated or those needing a bit of reminding.
Everything begins in San Francisco, where Joe Solomon first meets Snake or Nick. Joe has been chosen as a playwright for a prestigious (and fictitious) early summer workshop at ACT (real but fictionalized). He has a bit of a crush on Lindy, a fellow playwright, but shyness keeps getting in his way. His frustration provokes an evening of bar hopping, and the encounter with Nick occurs after the last bar closes.
Nick appears to be a thin, almost skeletal old man as tall as Joe (six and a half feet) whose presence both frightens and intrigues him. The man lures Joe to an apartment in the Tenderloin where he meets Helena, a voluptuous dark haired and completely seductive beauty of Greek extraction. It turns out she's a prostitute, a call girl, and Nick is her pimp. They negotiate a very good deal for an all-night session and end up having incredible sex. It's important that Helena and Joe share some Greek wine from her mother's vineyard.
In the morning, Joe meets her fellow escorts, Naomi, a gorgeous Jewess with an unpleasantly nasaly voice and a bit of a whiner, and Betty, an exquisite blonde bombshell whose mind is as bright as her presence. Also in the morning, after coaching by Helena, Joe sets up a date with Lindy. In addition, Naomi shows her collection of intense and visceral drawings, and Nick coalesces that and Joe's writing skills into the creation of a series of graphic novels depicting his life. That his life is millennia long, he's described as an eternal wanderer, has become suggested and not quite accepted by Joe.
Joe gets an invitation via text on his cell phone for a party at Nick's hotel suite in Knob Hill just at the end of his date with Lindy. Helena appears in a fancy limo at the location of a jazz bar where the two had seen a show to take him and Lindy to Nick's. Somehow during the ride, the idea that Helena may be more than a paid lover for Joe becomes noticed by all three.
At the party, Joe sees more amazing looking women entertaining various mostly older men sexually. The three end up entering the smaller bedroom of the suite where Betty and Naomi, without much interest, get two men off and kick them out. Lindy becomes instantly focused on Betty even though she's never had lesbian inklings, or pursued them at least, before. Joe enjoys Naomi and Helena beside Lindy and Betty, and in the end, he also enjoys Betty, and more privately, Lindy.
In the morning, post party, Lindy and Joe meet most of the rest of Nick's women. It is also made clear that the wine he has drunk, and Lindy has as well, contains an aphrodisiac, the source of which is Nick's semen (thankfully well disguised in the pungent wine).
Nick's women are referred to as his angels, all descendants of Nick. Usually they are granddaughters or great granddaughters, but a couple, including Helena, are actually his daughter from an incestuous relationship between Nick and another of his progeny. They are, like Nick, eternal. Each of them are conceived during one of his "skins" which is how he describes his various lives looking very different from each other. For instance, his oldest living angel had come from his life as a black African, and she looks much like he had. Naomi and Helena have been conceived in his latest iteration, actually a unique (and significant) event. The "skins" actually occur, like a snake, when Nick shucks off an old skin revealing a new one.
Joe and Lindy meet the rest of his angels by the time Nick begins his tales. They include Rosa, a mix of Spanish and Native American from South America, a brilliant and warm woman. And Miwa, from his Japanese skin, the one previous to his newest skin, a lithe and graceful Japanese woman, whose skills include cat burglary (Her nickname is Cat) and modern dance. The latter skill unites her with Lindy, also a skilled modern dancer and brilliant choreographer, and they become lovers while Lindy uses her (and Joe) for her choreography.
The Irish identical twins Maddy and Maggie are sweet and petite redheads with the attribute of twins of finishing each other's sentences, except even more in tune than usual. And there's Alexandra, a statuesque woman of Slavic origin whose mother's demanding nature caused her to be the other incestuous daughter/angel. She's very close (and diametrically opposite in features) to the Siamese cutie, Chanda, a filmmaker in her homeland.
And last, but definitely not least, the oldest living angel, Salomé appears to be the embodiment of Nefertiti, a regal, wise and incredibly capable woman who defines the beauty of Ethiopian women. In fact, each in their way, all the angels define beauty with a healthy heaping of sexiness.
Four of his angels aren't with Nick anymore. Three died, including his first, Aziza, from Mesopotamia, along with a woman of the Indian subcontinent, and, most memorably, Cleopatra. The fourth chose Nick's eternal nemesis to become her master instead of Nick. She happens to be Helen of Troy.
We encounter her and her master, Simon, during the productions of the plays of Joe and Lindy and the three other playwrights who won the contest to be involved in the playwright workshop. They enter the auditorium and sit as audience in the midst of a quarrel one might witness from an old married couple who know each other's buttons all too well. Of course, Helen is quintessentially beautiful, looking facially and bodily like the famous Venus in the Half Shell, and in fact claims she modeled for it. Simon is just as handsome in a classic blond Aryan sort of way. In hair, body and face he represents that ideal purposely, feeling, in much the same way Hitler felt, that such hair and body and facial features represent the best man can be. The similarity isn't coincidental, as he backed Hitler in his insane attempt at world domination, placing that famous mistress Eva Braun, one of his angels, beside the mad man.
Something's up (and it's not clear quite yet what that might be) with the events going on, i.e. the workshop. Both Helen's and Simon's appearance amidst it are incredibly unusual events. Nick and Simon rarely find themselves near each other let alone in the same room. An occasional skirmish occurs almost always via representatives, either angels or minions, that is, the offspring of Simon and Nick who have a telepathic link to them. The angels have a similar mental link, and one that's much stronger and clearer than the minions have. It's as if the two eternal wanderers are closing ranks, especially considering Helen's presence. She has not been seen by Nick since she chose his enemy to be with.
The concept of minions is an essential one for both eternal wanderers. Those two immortals mate with a diversity of women in order to conceive these people who are like their foot soldiers just as the angels are like their officers as it were. The more minions, the more presence, or in Simon's case, power they have in the world, moving it towards each immortal's agenda.
And speaking of minions and the closing of ranks, Helen is accompanied by four women, minions of her as much as of Simon, who, though with different European heritages, including a Spanish, a French, a Scandinavian and a Scots, and thus with four different hues of hair amongst other differences, look remarkably like her. They are the Double Q or Quadruplet Quartet, mostly string players, but they all have ability to play other instruments as well as sing. Led by Angelique, the French Helen clone (a term Joe calls them), they play mostly contemporary music, often composed by Angelique, a genius. They, especially and more directly Angelique, end up collaborating with Lindy on music for her choreography which, if she and Joe and company aren't busy enough putting together performances of their plays, Lindy creates during rehearsals very early in the morning.
She uses a space brought to her by her angel lover Miwa using one of her past lovers. This brings up a significant ability both the eternal wanderers and their angels have. Barnaby, an important choreographer of modern dance, had known Miwa decades before, so when they meet again, she can't look the way she looks to Joe and Lindy. To them, she and the other angels look to be no older than their early thirties, at the peak of their beauty, but Barnaby needs to see her at least edging towards fifty, and he does. Simon and Nick are most proficient at this altering of perception. For instance, Nick takes a lead role in Joe's play, and needs to look like a vital younger man to the audience, and that's exactly what they see.
This collaboration between essentially Simon's minions and Lindy becomes so successful that it continues past the workshop and the coinciding dances so that Angelique and her half-sisters end up working on music for Joe's and Lindy's plays as well as their fellow playwright, the tall, lean, pale, black haired and Goth looking Natasha's, who directs Lindy's play (Lindy directs Joe's) and directs Joe in it. Nick, via minions, has set up a showcase for Lindy in her hometown of Boston. This also leads Nick, his angels, and Joe and Lindy to meet in Paris to see the Double Q in a hugely important performance for them at the Paris Opera and for Lindy and Angelique to continue their dance collaborations and for the Tales to continue as well, which is where "Africa" happens, but I'm getting ahead of myself. Unfortunately I'm not yet done summarizing.
Barnaby's San Francisco dance studio becomes not just the meeting place of Helen and her clones, i.e. Simon's angel and his minions, with the Nick contingent, but it also ends up where Joe and Helena, who have, by the way, fallen completely in love with each other, and end up getting married by an Elvis impersonator in Las Vegas, meet a second of Simon's angels, and much more of a thoroughbred than Helen. Eva (named after Eva Braun but not her, the woman having been killed at the same time as her insane lover), like Helena with Nick, and just a tad older (they're both in their sixties), the youngest angel of Simon's, exits Simon's limo outside the studio dressed to dance and immediately embraces and kisses Joe. Of course Helena isn't pleased, especially since the woman happens to look like the perfect California Beach Blonde while being completely adorable and spunky and with a bombshell figure matching Betty, in other words almost opposite to the dark haired Greek beauty Helena. But instead of any physical sparring, Helena challenges the woman with words which, in the end, surprisingly, become more negotiations than anything else. They end up sharing Joe and each other and fall in love, the three of them.
With Helena, Lindy (they become friends with benefits, except deeper than that in both their friendship and their lovemaking) and other of Nick's angels, and now Eva, Joe becomes quite the stud. Literally. Helen makes the purpose clear. Using an attribute not unlike Nick's semen (and perhaps with the addition of Simon's semen) which the angels share, and the older they are the more powerful this attribute becomes, and Helen is even older than Salomé, Helen uses her saliva, kissing Joe, and her pussy juice to make Joe more compliant towards her as well as hornier. She uses it to have him fuck her clones, impregnating them. Joe has some extremely powerful sperm. In fact, his sperm nearly equals Nick's in its fecundity, and it actually causes both Helena and Eva to become pregnant as well, something which only Nick has achieved before, impregnating an angel, with dire consequences (the ridding of his Indian angel of her immortality and her subsequent death, and the child dying in the womb). Eva, unaware of this, and Joe somehow compelled, knowing of the consequences having already impregnated Helen, perform the copulation that results in conception, making Eva mortal. Or maybe not. But the compelling and the deception from her master (and father, since, like Helena, her mother, Simon's daughter, had been impregnated by Simon) puts a major pothole in the way of her respect for him, and that probably aids in her falling in love with Joe and Helena.
Another character, Samantha or Sam needs to be described. She is a gorgeous, long and lean, half Chinese/half Caucasian dancer, barely twenty years old, mentored by Barnaby, not only because of her talent, but because he's incredibly attracted to her, and the feeling's mutual. The development of their sexual relationship, and Miwa's sort of handing her off to Barnaby, becomes the subject of a lengthy dance piece choreographed by Lindy.
Despite the usual low visibility of a workshop of young playwrights, and in no small part because of one of the actors in Joe's play being a popular Jewish nebbish comic movie star (who happens to be the lover of the Irish Twins), as well as the usefulness of Nick's minions, the ultimate performances become a resounding and well publicized success. Not only does it guarantee an audience for Lindy's showcase, but Vance, a young, lithe and brilliant African American director and dancer, who befriends Lindy and Joe and dances for Lindy, ends up getting invited to bring the play he directed for his longtime friend to become part of the next season at a prestigious black theater in St Paul.
Speaking of the Jewish movie star's relationship with the twins, the essential purpose of Nick's angels is to become muses for geniuses. They become lovers to the lucky men and women, and promulgate confidence both in and out of bed. It's the relationship Miwa has with Lindy for instance. And, to some extent, the relationship Naomi has with the playwright and director Natasha. That particular relationship also has to do with Nick impregnating Natasha and Naomi helping to keep her in the fold so to speak, and to calm her when Simon, using the kind of biological chemistry seen in the horrors of Nazi experimentation, attempts to rearrange Nick's chromosomes within the fetus to make them his, essentially raping the woman, although he makes her completely unaware of this. Even so, she's disturbed despite not knowing its cause.
A major event happens after the successful performances. While in Las Vegas for Joe's and Helena's wedding, Simon ambitiously attempts to kill all of Nick's angels using more Nazi style chemistry. A bus full of them and Lindy as well Joe's female family representing the mortals, heading to a supposed bachelorette party, fills with deadly gas which would knock out the angels and kill the mortals. But ambivalence saves the day. Angelique becomes aware of it and refuses to put on her mask. And Helen, perhaps revealing ambivalence towards which master she serves, saves her cherished minion and the rest of the angels and mortals, spurring the less susceptible older angels to jump out of the bus holding the vulnerable mortals, saving the day.
Nick counterattacks, destroying the mansion Simon uses as headquarters and laboratory and killing an important angel of Simon's, Dagmar, whose evil presence had been a threat in "This is the Modern World."
Helen's ambivalence is a key issue so far. Is she or isn't she sort of thing. She also, probably unaware, has become a spy for Nick. Her being originally his angel gives him access to her mind, and has for millennia.
Much more recently, Naomi is in the same situation, having Simon's blood in her, like Helen, in a fairly equal amount to Nick's. That she chose Nick from the beginning has become her cross to bear so to speak. While Nick surreptitiously slips into Helen's mind, Simon uses a far more brutal approach, causing her horrible headaches. She describes it as a spider scraping its feet into her brain.
So much to summarize, and I haven't even gotten to the Tales themselves!
I think, in a way because the Tales involve mortals from various past times, from ancient to fairly modern albeit old enough for mortals to have long since perished, I will simply key into important concepts gleaned from these tales. The lives of those mortal characters can no longer affect things either in the contemporary frame or in the other tales.
Most significantly, unlike the contemporary frame, written in first person from Joe's perspective and in past tense, the Tales have an omniscient, third person narrative (no "I"), albeit keeping in mind who tells the tales (mostly Nick, but the angels participate, and reading minions' minds brings them in as well) and they are written in present tense. I use this convention as a way to reflect the experience of receiving these tales. While Nick or one of his angels narrates, Naomi illustrates, and the images magically come to life. It's as if Joe and Lindy participate in what's being said, or are at least very present.
Secondly, one aspect of Nick's character gets discussed in "Africa" which has shown itself mostly in his relationship with Claire in "This is the Modern World." That is, he falls in love and becomes dedicated to a specific woman who lives with him throughout her life, often producing several minions even with him going out in the world impregnating many women. A lack of jealousy obviously becomes essential to these companions. (I suppose a feminist might point out a double standard, but actually most of the women involved with Joe, for instance Eva, or Consuela, the hot blooded or slutty Spanish Helen clone who is quite fond of Joe, still enjoy a range of strange cock. Lindy hasn't found a more appealing penis at the moment, and Helena's just not interested. And as far as Nick's companions, I think he would be the last person to get in the way of them having some fun with another man.)
And finally, the most gruesome aspect of Nick and his angels is their need, every fifty years or so, to eat people. Without these feasts, they lose energy and become lethargic and listless almost like a junky needing a fix, fortunately with a far greater amount of time for such need to be sated. It's almost not cannibalism, since they are really not quite human. That they enjoy a repast of what they consider evil and corrupt characters exclusively might make it less gruesome or disgusting, but probably not. Fortunately (or unfortunately for those who enjoy the shockingly visceral) I don't dwell on those moments in "Africa."
Such a long summation. Though many things have been left out, I don't wish to add more. I hope it helps bring you to understanding the next tale or reminds you what you've read before. If not, like I said, reading the entirety of the Tales would be best.