In the month that follows her one and only date with Frau Huber, Kirstjen can’t shake the feeling that she’s being stalked while she’s swinging as her alter-ego Miss Longlegs. As the “bookish wench” Kirstjen, she idly wonders if one of Miss Longlegs’ “customers” is following her.
By Kirstjen’s way of thinking, it’s too bad that Frau Huber makes no more overtures. Frau Huber proved to be a very talented, demented, and depraved “lover.”
Walking through the infamous Bohemian Grove. Kirstjen contemplates such things. Not bespectacled. Not strapping Piranhas and Parts, therefore not cilice-obsessed and not fluid. She’s the “hot” Kirstjen. Pure, unadulterated Barbara I Dream of Jeannie Eden’s Stella Johnson. Inarguably, the quintessential blueprint for the preeminent female face of WWF’s Attitude Era, Miss Debra and her Puppies!
Depraved. Degenerate. A swinger. A shipper. Additionally. A flipper. Flip-flops, for example: between hard pretty face and fugly, between not being cilice-obsessed and being cilice-obsessed, between not fluid and fluid, between dominatrix and submissive, between meat and metal, between female-only and she-male and transgender.
Watching Kirstjen remotely is a full-blown pegger, a morbidly obese woman who craves raping assholes with her spiked dildo. Torpedo bra. No gloves. No shoes. Perls. A Hedgehog straps her nethers and Piranhas strap her thighs—i.e., fully-spiked. Long ragged finger nails and toenails. Haughty. Creepy. Wretched. Scary. Crazy, as a loon. Deranged.
The pegger is filthy, smelly, and infested. Patches of her pasty-white skin are so dirty, they are black. Fetid breath. Teeth so dirty, they look rotten. Her crane is a mess. No manicure or pedicure. Long dirty ragged fingernails and toenails. Thick-readers. Plaintive makeup heavily-applied to face, neck, and cleavage.
Her outfit, a Kaye Maxfield, is little more than filthy rags befitting a baglady. Ripped seams, the sleeves of the suitcoat are torn into strips up to the elbows, and “tendrils” extending from the frayed hemline of the skirt. In a word: Bohemian-Macabre.
She is not a Sewer Troll. But. She identifies so strongly with being a Sewer Troll. That. For all intents and purposes, she might as well be a Sewer Troll.
She is such an obsessive and aggressive submissive that she’s smothering, and thus bordering on enslaving whoever is her sexual object as if she’s a rabid dominatrix. As such. She’s an oppressive submissive. An oppressor.
The pegger has numerous gold nose rings, but no tatts.
From time to time as the pegger watches her craved sex object that is Kirstjen, her blue eyes fluoresce different colors and she licks the thin lips of her large ugly mouth. Having convinced herself that this girl is a worthy addition to her tourist trap and that her sister Carol will have to find another playmate.
All the while, Kirstjen is strolling toward a guard of ancient willow trees, behind which is a row of decaying Victorian mansions. Mansions that look to be long ago abandoned. Yet one of them is the address for her date. A woman, Mildred Elizabeth Huff, storms out of the front door of said address.
Mx. Huff. Severe. Sexually repressed. Stiff-backed. Eighty-something. Stiff Person Syndrome (SPS), in spades. A pasty-white complexion. Cold cruel calculating blue eyes.
A very stern bitch. Very mean. Petty. Vindictive. Envious. Foul tempered. Harsh. Hard face. The saving grace of a huge chest and pancake ass. A dispassionate sadist. A shrew personified. Evil incarnate.
An apex bulldyke. In other words, a very butch, very abusive, very controlling, older lesbian with a masculine appearance. A TAD (typical alpha dyke), who is dressed TADO (typical alpha dyke outfit). Ergo, a “Ted.”
A disgraced and defrocked Catholic nun, who has experimented extensively upon herself.
That wretched plaintive makeup heavily-applied to her face, neck, and cleavage. Blonde crane. Perls. Prudz. A stodgy Kaye Maxfield business suit. No blouse. Flats. Barelegged. Lacy white underwire torpedo bra, and no panties. Thick-readers. Piranhas and Parts, underneath her suit’s chaste skirt.
In appearance, represents the anti-feminine: big-boned, heavy, and squat, with thick legs and very strong calves for a woman. Creates an overall impression of a grotesquely deviant femininity, sexual repression, and the devious overtones of a dominatrix.
Not Bohemian-Macabre. Not ragged. Clean and pristine. Degenerate. Depraved. Consumptive. In a word: Bohemian.
This old biddy is walking stilted, as if she’s a butch who’s strapping Piranhas and Parts, and having an MTG “bleach-blonde, bad-built, butch body” moment. Because. This old biddy is strapping butch and having a BBBBBB moment.
Envious of attractive women; she craves the punishment of pretty women for the “crime” of being pretty, with the preferred punishments being WGS, cilice, flogging, disfigurement, and gender-bending, all of which are self-inflicted (i.e., punishments inflicted by the pretty woman upon the pretty woman).
Creepy and obsessive-compulsive. Fugly. Neither attractive nor very feminine-looking. A Crone who is easily mistaken for a Crog. A Crone for whom consensual sex is indistinguishable from rape most brutal and most foul.
Tellingly. Upon Mx. Huff’s arrival upon the scene, the Sewer Troll wannabe stops remotely watching Kirstjen and loses complete interest in the girl whatsoever for good.
An enraged Mx. Huff walks up to Kirstjen and assaults her. Bitch slapping her repeatedly.
“Imbecile! Typical pretty girl: useless, lazy, and late! You’re ten minutes early which is the same as being late! From now on, you’re to be here at least thirty minutes ahead of time!”
Kirstjen cums. Says nothing. Mx. Huff turns around and heads back toward her mansion.
Kirstjen falls in step behind her fuming abuser.
Mx. Huff’s gruff voice is deep for a woman, borderline masculine. As if she’s a non-binary in latter-transition. A gravelly voice with a thick Prussian accent.
As if this Mildred Huff is a Rosa Klebb alias. In contemporary terms, a cisgender woman who identifies as a transgender man who in turn identifies as a transgender woman. Plus. Misogyny. Misandry. All of which equates to? A “real” woman who identifies as a “fake” man, a “fake” man who in turn identifies as a “fake” woman.
Rosa Klebb is formally known as Colonel Rosa Klebb or simply Colonel Klebb. The fictional bulldyke KGB officer and the main antagonist from the James Bond 1957 novel and 1963 film “From Russia with Love”; aptly portrayed by veteran character actress Lotte Lenya in the movie. The personification of a drab, creepy, unattractive, frumpy cunt.
Rosa Klebb. The name is a pun on the popular Soviet phrase for women’s rights, khleb i rozy (Cyrillic: хлеб и розы), which in turn was a direct Russian translation of the internationally used labor union slogan “bread and roses.”