F*CKED BY YOUR HOT ENGLISH TEACHER

Transcript

Ok, that's all we have time for today. Remember to upload your essays due on Friday, and know your laptop didn't die of herpes while you were taking care of your grandmother's horse. See you all on Monday.

Hey, we need to have a chat. Why don't you come next door to my office? Come in.

We just need to talk about why you failed the last assignment. Is it anything to do with the fact you seem distracted in class? It's almost like you're listening to me talk, but you're staring at me distantly the whole time, right?

Yeah. Ok, well, I'm gonna go through the essay poem with you line by line to show you what you missed. You've got a copy there, right? Yeah, let's go through it.

So, start with the parentheses, the brackets. What's inside them? Read it for me.

A-L-I-E-F-F-O-L-S. Yeah, faster. A-L-I-E-F-F-O-L-S.

Now, read it fast. A-L-I-E-F-F-O-L-S. Ok, so you got it? A-L-I-E-F-F-O-L-S.

Ok, then what's outside the parentheses? L-O-N-L-E-N-E-S. Now read it faster.

L-O-N-L-E-N-E-S. Faster. Just read it.

L-O-N-L-E-N-E-S. It says L-O-N-L-E-N-E-S. So, if you take a look at the whole poem, the phrase A-L-I-E-F-F-O-L-S is inside of the parentheses.

It's separate. Alone. This is what I was talking about when form mirrors content.

You see the way the poem's arranged reflects what it's saying? Are you paying attention? It's like you're just gazing at me listening to my voice and not hearing a word I'm saying.

Let me say it again. The way the word is placed alone in brackets reflects the content of the word itself. Loneliness.

This leaf falls by itself. It's not with other leaves. Ok, now which one, leaf or loneliness, describes the other one? Are you even listening? Ok, now which one, leaf or loneliness, describes the other one? Is the poem more about a leaf or more about loneliness? Are you even thinking or are you just staring at my mouth? As you might already know, in a metaphor there are two parts, the tenor and the vehicle.

Tenor is Latin for connection, right? It refers to the person, place or thing being represented. Well, the vehicle is what's representing the tenor.

So, in this poem, the thing being represented is loneliness and the leaf is the thing representing it. You got it? So, if the poem's about loneliness, why does the leaf suggest it? Because there's only one leaf.

Before this it lived on a branch, in a whole tree of leaves, right? But now it's alone and separate, like you, in this room, without the other students. Do you get it? You're still not listening, are you? Well, if you want me to continue, you're gonna have to tell me how to help you because what are you looking at me like that for?

You prefer other ways of learning than just listening? Like what? Like experiential learning? Fine, you are the leaf.

You are alone. What is a falling leaf as opposed to a leaf on a branch? I'll tell you.

A leaf on a branch is a living leaf. A falling leaf is a dead leaf. So, is loneliness a kind of death? I mean, could you really live in isolation? Presumably, yeah, you wouldn't die, but you wouldn't really be living either, right? But a leaf that's not alone.

A leaf that's with another leaf. That leaf is living. It's alive.

Like you and I right now. We're together. If I reach up and touch your face.

See, you got little goosebumps. When we establish connection, we come alive. So, what I was saying was, are you really, really alive? No, you're not.

We need someone else to make us feel alive, which is exactly what we do to each other, communicating with language or touch. Are you listening? Don't look at me like that.

I don't mean that kind of touch. What the poem does is explain that loneliness is different to just being alone. You can say, I'm happy being alone, but not, I'm happy being lonely.

There's a difference. Communication and touch, we actually need it. If we go too long without it, we begin to die.

I said, don't look at me like that. You know I can't touch you in that way. Yeah, like that.

Stop it. Listen, where do you imagine this poem takes place? Do you imagine, hey, really? If you start touching me, look.

Okay, here's why I'm concerned about you. You're incredibly attractive, and I'm worried you're coasting along on being cute. But if you keep looking at me and touching me like that, you're going to stir up things in me that you shouldn't stir up.

Like right now, I can't even remember what I was saying. Okay, I was asking you, where do you imagine the poem takes place? Is someone in the park, lonely, watching the leaf falling? Or maybe they're in bed, staring out the window.

No, hey, if you want me to touch you, I will. I'll touch you like you've never been touched before. Okay, fuck it.

Here, come sit on my lap. Yeah, facing me. Sit still.

I'll touch you, but I'm not going to stop teaching you how to read this poem. Hit your skirt up. Yeah, undo my shirt buttons.

Listen, everybody knows what it is to be alone, looking at a tree, and everyone's seen a leaf fall, so we all relate to it. But why is the poem mostly laid out in two letters? Can you feel how hot I am? I'm going to touch your breasts now.

Unzip my pants. Yeah, yeah, okay. Why is the poem laid out in sets of two letters? Because it implies a coupling.

It's about partners. The most intimate relationships we can have, a one-on-one, like we're doing now. Pull your panties aside, rub your pussy on me.

Yeah, you're wet. Is your pussy tingling for me? Slide it all over my cock.

But there's another reason for the sets of two. It's so the anomalies stand out. What's the first anomaly? Oh my god, you bad girl.

You want me to fuck that nice wet pussy? Don't be scared. Sit down on my cock.

Just take it slow. Yeah. Let it squeeze in.

Yeah. Feels stretchy. The first anomaly is the word one.

Again, it's something alone. Singular. Yeah, let me fuck so deep in you.

You feel alive now? Grind that cock in and out. It's so deep in your lonely little pussy.

Yeah. Now notice the word one is followed by the first single letter on the line. An L.

Alone. L. L for leaf.

For loneliness. For love. That's good.

I want you to touch your clit for me now. Yeah. Rub that pussy out all over me while I hold you still.

Fuck up into you. There. Can you see the way every letter is carefully arranged on the page? You look at the shape of the leaf as it sits on the ground at the bottom.

Fuck. And if you look back, you can see the leaf falling down the page. Can you see it? Do you feel like that leaf? Like you're about to let go of yourself and fall to the ground? Yeah.

Your legs are trembling. I'm gonna lie you on my desk now. Just like the end of the poem.

Lie down. Get your ass up. Yeah.

Your pussy's mine now. I'm gonna fuck it so good. You take me back in.

All the way. There. You're such a bad girl letting your teacher put his cock right up inside you.

Yeah. That's it. Yeah.

I feel it filling you up. Yeah. Let me get some of that soft wetness coming out of your pussy.

Play with your little clit. Yeah. Like that.

Mmm. You like it? Yeah.

And you play with your pussy too. Oh. That's it.

Mmm. I'm just gonna hold your hips and pump my cock inside you. Yeah.

Ooh. You're a dirty girl. It feels so good pushing into your slit little hole.

Mmm. Yeah. Making my cock feel so good.

Oh. Oh, stroking it all over with your pussy muscles. Oh.

Your teacher is gonna grab you hard, shake, and shudder, and cuddle.