Main uske sir main haath guma raha tha jab thodi der ke baad mera lund puri tarah se rod ki mafik ho gaiya to maine usko tange uper karne kok bola usn... bola ki dhire dhire dalna apka lund bahut mota aur lumba hai pain karega.maine usko pucha ki pahle kabhi choot chudwai hai to boli han phir maine us kobola theek hai blood to nahi aayega. Ab main usko tango ke beech aker uski tange uper karke uski chaati ke paas ekthi karke apna lund usko choot ke uper rakh diya vo meri taraf dekh kar muskra. The light sound of air condition could be heard and a slight fragrance of perfume attached with the aircon spread all over the room.He glanced at the woman lying on the neatly arranged bed. The first thing he noticed on the woman was her long, thick black hair which was lying aside the white, golden body of that curvy woman. He could not see the face of the woman. The woman with such a body must have a lovely face. Aamil and Aalim would never praise a sub standard woman. He glanced back to. To meine uske khane ki badai karni suru kar di or fhir mein unki personal life ke bare mein poochne lag gaya To wo thoda udaas ho gayi to fhir meine unka mood change karne ke liye joke sunane lag gaya or wo husne lagi or fhir se meine unse poocha ki aap marrige ke baad bina husband ke akele kaise rehte ho . To unhone kaha ki mein kya kar sakti hu majboori he . to mene kaha ki aap ki physical needs to poori hi nahiHoti to aap kaise rehti ho to unhone kaha ki kuch nahi bus control karti hun to. Magritte could have easily drapedhis nightgown over the back of a chair or across a bed as to havedisplayed it hanging in a closet or wardrobe. Therefore, the presence ofthe closet should be read as an important clue--and, perhaps, as the keyitself--to interpreting the meaning of these paintings. The closet isthe context. Its presence, and the nightgown's presence within it, isthe central image of these paintings, and, as such, it is the image fromwhich the other images must derive their.
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