Gene Bilbrew Eneg Art

Dorothy Evens The Score
by Johnny Cheval
illustrated by Gene Bilbrew
Utopian Press
Los Angeles, California
1958

optimized ebook

and

optimized, pictures-only ebook

A square-bound booklet of 92 pages, Dorothy Evens The Score constitutes an antique from 1958. In those days, most publishers of risqué materials practiced self-censorship that eschewed nudity and explicit description of sexual contact.

A femdom theme imbues the story with a truncated animus that resides within usual mid-century constraints. Here, male submission is limited to spanking and foot worship. Before the tale begins, Glenn perpetrated an outrageous wrong against Dorothy's sister. Since then, Dorothy became a comfortable heiress who moved to the city and decided to make things right.

She enjoys being beautiful, applying cosmetics, wearing revealing dresses and high heels, especially as these aspects of her lifestyle tease and frustrate her new captive. She's pleased to accomplish justice and enforce a domestic hierarchy as elements of the punishment scheme she's devised.

As a 20th century, American heterosexual male, Glenn is indignant that a “girl” usurps his autonomy, locks him in stocks, and spanks him with belt and paddle. In his world, spanking is something men do to girls. The sudden pain of his corporal penalties agonizes him, physically and emotionally, which is what Dorothy wants. He expected a warm, soft welcome from the lovely stranger who invited him to her house.

She wants him to write a confession she dictates and sign it. At first he refuses, but the pain she inflicts urges him to relent.

Then, she offers him a choice. She can deliver the confession to his employer, which would ruin him, or he can agree to be her household slave for two months. He picks the latter, which develops into now familiar domination/submission dynamics, seen in femdom stories, movies and photo-fiction of subsequent decades.

In one tableau, she uses him as a bench. In another, he gives her a pedicure. The novelette offers several scenes involving foot and shoe worship during the period of Glenn's servitude.

“I love these high-heel pumps. Don’t you think they’re lovely?” Dorothy asked, punctuating her question by leaning her weight heavily forward for a moment, digging the spike heel even more painfully into Glenn’s back.

“Oww,” Glenn exclaimed involuntarily, and then hastily added, “Yes, they’re very attractive.”
Dorothy removed her foot from Glenn’s back, much to his relief, and walked over to the wall. She returned with a large book, which she placed on the floor in front of Glenn. With elaborate feline grace, Dorothy sat down on the book and stretched her long, full legs out in front of Glenn.

“You’re really very nice, Glenn, and quite good looking,” Dorothy said in a softer, gentler voice than she had heretofore used.

Glenn should have been suspicious, but all his previous experiences with women had left him conceited enough to assume that this was only a normal reaction — a much more normal one than this girl had been showing.

“Well, thank you,” Glenn replied. “You’re a very pretty girl yourself, you know.”

“Would you like to kiss me, Glenn?” Dorothy inquired softly, with lips parted and eyes half closed.

“Why, I wouldn’t mind that a bit,” Glenn lied smilingly and crawled over until his face [was] close to hers. Glenn was caught completely off guard as Dorothy removed her cigarette and suddenly blew a cloud of smoke into his face.

His mouth watering and mind confused, Glenn heard Dorothy talking, once again in her superior tone. “Good. Now let’s decide where you should kiss me. Since you said you admire my black leather pumps so much, perhaps that would be a suitable place for you to kiss me.”

Slowly, smarting from humiliation and crushed ego, Glenn crawled back to the vicinity of Dorothy’s shoes. He looked up and saw Dorothy smiling down at him with obvious amusement. Then she stopped smiling and commanded firmly: “Lift my shoe up to your lips as you would a lady’s hand.”

Feeling utterly ridiculous, Glenn did as he was ordered and pressed his lips against the smooth, shiny black leather.

“Now kiss them all over.”

Dorothy kept him at this task until she was positive that there wasn’t a centimeter of either shoe that he hadn’t pressed his lips against. Finally Dorothy placed one shoe against his shoulder and kicked him away. She stood.

“You seem to be falling into your new position in life quite well. I don’t believe that I will need to tie you up in order to ensure your obedience. But, one bit of trouble and you’ll not only get helplessly tied up; you’ll also take another trip to the stocks.” Glenn winced at this last threat and hastily promised to be obedient.

Johnny Cheval's conscientious prose describes the two characters, their feelings and attire. As Glenn comprehends the tumult of emotions generated by his unexpected captivity, he remembers — in flashbacks — moments from his youth when he and a neighborhood girl played kidnap games, with Glenn in the role of bound captive.

Dorothy's beauty and poise fascinate him, and he eventually submits to her allure and control. As she likes to have him handy, she designs a mechanism that chains him to her bed.

The text was re-set for the ebook iteration. Few changes were made to the original language.

The 14000-word story is illustrated by 10 Gene Bilbrew ink works plus one by another artist. Most pictures align with passages in the text.

Mr. Bilbrew did a brilliant job of delineating the svelte protagonist in scanty undies and spike heels. Pointy nipples tip buoyant breasts. Fluid curves define slim legs and ankles and ornate ponytails. In one picture, slender, gloved fingers wind around both a martini glass and a long cigarette holder. In most images, the female smokes. We've seen some of these pictures in glossy magazines of the 1960s and 1970s.

The booklet may not have been printed using proper offset techniques, and many gradients are grainy. The paper has a rough texture.

Brightness and contrast were adjusted. Shadows were reduced to disclose the graphics of lace, folds of fabrics and gleam of hair. Many specks were retouched. The ebooks improve on the clarity of the original, but some illustrations have undesirable textures.

Pictures were optimized to reduce the need for zooming and scrolling. In each presentation sequence, characters first appear complete, followed by virtual enlargements of figure features and fetish details.

As possible, images were placed near text that describes them. The ebook uses large type to accomplish narrative alignment of pictures and prose.

A second ebook contains only the optimized images on about 30 pages.

All new scans of the original booklet.

This artifact from the archaeology of 20th century erotica blends the talents of at least two skillful craftsmen, yielding a femdom romance with strong fetish elements. As “An Unusual Tale of Feminine Revenge,” it provides a literary context for Mr. Bilbrew's engaging design and character artistry.