A Matter of Convenience
Reader and Levine have some fun at the 24-hour mart they always seem to find each other at.
@rotworld i hope you enjoy my first ever fic lol
Warnings: 18+, semi-public sex, rough sex, degradation, whoever is on shift should probably be fired
The bells tied to the door knob jingle as you push your way into the convenience store. They echo through the shop, full of food, devoid of people. You approach the register, rest your fingers on the countertop, and take a deep breath.
“Is anyone back there? I’d like to buy a lottery ticket,” you call out into the back of the shop.
Your voice sounds too loud and sharp as it bounces off the dingy walls and scuffed linoleum around you. The only response you get is the hum of the AC and the drum of the rain from outside.
Ok. Great. You can be patient.
You bend down, untie and retie your laces. You unzip and rezip your jacket. You count up to ten and then back down to one. You check your watch again.
You turn away to the door, ready to leave, when the bells jingle.
There’s someone standing there in the doorway, water blowing in from outside, splashing onto the tile below.
Speak of the man with eyes like the devil.
Levine stands at the entrance, shaggy black hair plastered to his forehead, soaked and dripping down his face. He’s pinned you there with his gaze, as cold and dark as the storm outside.
“We always seem to find ourself here, huh?” A small grin creeps along his jaw, barely reaching the rest of his face. He pulls out his wallet, yellow-stained fingers twitching around it.
You nod your head in response and turn back to face the counter. You’re still in shock you’ve managed to run into him, here, again. You can almost hear Rex telling you to “never, ever, talk to that fucker again or I’ll break your fucking legs, you hear me?” and Jay musing that “you must be such a glutton for punishment if you decide to see him again. Are you saying you want to be punished, again?”
You shiver at the threat of what might happen if you stay here.
“What’s wrong? Don’t wanna talk to me?”
You also can’t help but be afraid of what might happen if you leave.
“I gotta get home soon, sorry,” you manage to respond.
He moves closer, shoes squelching in the puddles underneath him.
“Why? Gotta get home to Rex and Jay?”
He must’ve seen you jump at the mention of their names.
“No, I just, look, it’s late. Sorry,” you stutter out, turning back towards the register so he can’t see your face can’t betray your thoughts.
“I’d believe you, but we’ve been out much later,” he muses, reaching a hand out to feel the side of your shirt, press into your hips, just above your jeans. “And it’s already pretty late. The store attendant’s probably asleep in the back, you know.”
His back is now pressing into you; his mouth ghosting over the shell of your ear.
“Besides, didn’t you want to see me again?”
You shiver again, before he pushes you down onto the counter, pressing your face into the glass. His fingers, smelling like tobacco leaves, wrap around your throat.
He chuckles. “Well, you can’t really see me now, but that doesn’t matter to a slut like you, huh?”
You can’t help but grind up a bit into the point where’s he got you pinned, your core brushing against the growing hardness in his pants.
“So you agree, huh? You are such a perfect little slut,” he growls, palming your ass with his other hand. He pulls down your pants, just a little, just enough to leave a smack on your bare skin and see the red mark start to form from it.
“The others hit you like that, right? They probably go a lot harder,” he muses, raising his hand again to hit you. You tremble in anticipating. You’ve been in pain like this before, but with Levine, there’s this stillness that almost makes everything worse.
His hand never comes down.
“But I’m not gonna be like the others, even though that’s what you want, you desperate, cock-hungry, stupid little whore.”
His hand instead finds your entrance, fingers rough and calloused as they draw whimpers and moans from your mouth, breath fogging up the glass underneath you. He scissors you open, carless to whoever might walk through the door next.
“You gonna cum from my fingers? Gonna cum right in this filthy gas station?”
You whimper back, his fist squeezed around your throat so hard that’s all you can manage to say.
He takes the hand away from your neck. From the rustling of fabric and the wet noises you hear behind you, you know he’s stroking his cock to the sight of you bent over the countertop, watching you drool all over it as your eyes roll back into your head.
He fingers work faster, rubbing at your sex in heavy motions. You’re so close, you’re gonna-
“Want Rex and Jay to see what a good little cum dumpster you can be for me?”
That hits you harder than Levine’s earlier spanking, goes right to the pit in your stomach and the heat rising in your core. Everything he’s doing to you comes crashing in, leaving you light-headed and panting.
He grunts, pumps his hand up and down a few times, and paints the small of your back white with his cum.
You did what he said you were going to do: you just came all over his hand in the same place you buy cigarettes and cheap bear. And now you’re lying here, out of breath and sticky all over.
He backs away, grabs a rag off the counter and wipes at your back. He pulls your jeans up and places a kiss on the top of your head, the gentleness of it feeling almost worse than the degradation earlier.
“When you’re ready, I’ll take you back to my place. You can wash up there.”
You mumble back, pulling yourself away from the cool glass and onto your feet. You wobble a bit, trying to not slip on the rain-slick floor.
You grab his outstretched hand and follow him outside. You can’t remember what you need to buy. Couldn’t have been that important anyways.
What you do remember, is that that you’re supposed to kick back with Rex and Jay tomorrow. Guess Levine will have to come too.
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post Queen post
Chris Levine (b 1960) Canadian, works in the UK
loughrangallery.co.uk Chris Levine is probably best known for his now iconic image of Her Majesty the Queen, Lightness of Being, an extraordinarily intimate picture of the most famous woman in the world with her eyes closed. He has gone on to repeat the image with other instantly recognisable figures such as Dalai Lama, Kate Moss and Grace Jones….Using such media as LEDs, lasers, holography and natural light, Levine aims to tap into light’s meta-physicality and its properties as something intrinsic to human existence and perception. For Levine, light is an elemental energy in life, meaning his art is an exploration into the very essence of life, which in turn gives his art a spiritual and ethereal quality
the artist’s site chrislevine.com
Polly Borland (b1959) Australian works in the UK, USA
Brigid Delaney (2018) …being a portrait photographer did give Borland access to high-profile people – and in 2002, she took a photo of the Queen, commissioned by the palace for the golden jubilee, which quickly became iconic for its pop, modern aesthetic.
She was given only a few minutes to get the shot.
“It was very stressful,” says Borland, who shot the photo on film. The backdrop was a glittering gold cloth that she had bought from erotic lingerie and sex toy shop. The result is very bright and almost frightening in its garishness, but also quite intimate, as the Queen is shot close-up.
Borland has since commissioned prisoners who were trained in needlework to make a tapestry of the portrait, which is also displayed as part of the NGV retrospective. She acknowledges there is irony of having prisoners incarcerated “at her Majesty’s pleasure”, stitching a picture of the Queen.
The artist’s site pollyborland.com
Andy Warhol (1928-87) USA
Queen Elizabeth II of the United Kingdom (1985) screenprint on paper 1000 × 795mm
tate.org.uk This work is from Warhol’s Reigning Queens 1985 portfolio. Although Tate holds only this print from the series, the original portfolio of sixteen prints was made up of four images of each of the four female monarchs who were ruling in the world at the time of the portfolio’s publication: Queen Elizabeth II, Queen Beatrix of the Netherlands, Queen Margrethe II of Denmark and Queen Ntombi Twala of Swaziland. Warhol also made paintings of each of these subjects. The works were based on official or media photographs of the monarchs. Queen Elizabeth’s portrait is made from a photograph taken in 1977 for her Silver Jubilee. The photographic silkscreen technique used is central to Warhol’s practice, employed in both his prints and paintings.
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