generally you shouldn't write run-on sentences because they get confusing and it doesn't give the reader a break. that doesn't apply to me though my run-on sentences are fun and understandable and they have a rhythm to it that makes you want to keep reading
rules: list 15 bands/artists you love, and name your favorite song by each. no need to rank, just 15 artists you love and what is THE SONG for you by each. also it doesn't have to be your top fifteen bands. just. 15 you like.
this is about to expose me as being BORING as fuck bc this was so hard
taylor swift - right where you left me, fortnight (will not be choosing between these sry)
fall out boy - chicago is so two years ago (as of rn...)
chappell roan - naked in manhattan
olivia rodrigo - ballad of a homeschooled girl
conan gray - maniac, wish you were sober (basic sry but i loved these as a wee lad)
the killers - all these things that i've done
wallows - sidelines, drunk on halloween
the lumineers - cleopatra (SOOO heartbreaking but an incredible song)
let us take a moment and grieve for all the lives lost. so many thousand people have been murdered by the zionist entity in the last fifteen months. palestinians in gaza have lost too much, from friends and family to their homes and livelihood.
this ceasefire is not an end to our solidarity with gaza. we will all be here waiting and praying for palestine to be wholly liberated from the occupation and watch her people be happy and free.
in the meantime, please keep donating to palestinian fundraisers. it is essential to support families planning on rebuilding.
alaa is a mother of two young children. her fundraiser has been verified. i request you to help her by sharing and donating to her gofundme.
Yep. This is terrifying. I’ve caught nursing majors, engineering majors, architecture majors relying on ChatGPT to do their homework. These are people who need to know their field well to ensure people don’t die and they’re letting a glorified algorithm cheat them through school. It’s so dangerous
hey. hi. I work in academia. and there are a lot of student-age folks on this site.
don't do this. don't use genAI. even if your professors give you permission. even if they ask for it or suggest it. if they do anything short of directly requiring it (and I weep, because I've already seen assignments that require it) don't touch that crap. if they do require it, stick it to them. be as maliciously compliant as possible. be a nightmare.
I know it might sound easier right now -- just plug in your assignment and get the answers. you don't care about this class anyway, it's not for your major, you don't see the value of the assignment.
but for your own sake, for the sake of your education and mind, and for the sake of the future world we want to have: learn the stuff. you are not as stupid as the corporate bizzaro kings who want to rule the world think you are, so don't give them reasons to believe it.
and odds are good genAI is gonna give you corrupted info anyway -- more and moreso as the machines cannibalize themselves.
just don't do it. not even "I just do it for XYZ--" no. stop. there is no valid use of generative AI, and even using it for memes or lolz feeds the system and directly feeds the pockets of the people who want to replace you anyway.
Rage reblogging this. Yesterday i got into an argument with one of my college friends who is using chatGPT to do all her work. We're psychology students. The whole group chat laughed my arguments off as if they didn't matter because "she's an artist, of course she's anti-AI" and i had to deal with it. This is a warning. If your therapist graduated in 2023/2024, ask about their opinions on chatGPT. They might lie to you if you ask "did you use it to graduate" directly, but try to make jokes about it and play it cool. If they're into it, DROP OFF. FIND A NEW ONE. Do not trust your brain to someone who didn't bother to use theirs.
in which spencer reid spends the night with fem!reader—a total stranger—because she just feels so familiar. based on the song "my life in art" by Mojave 3.
18+ (implied intimacy)
warnings/tags: based on a song about a stripper who runs away from her abusive boyfriend. tws for mentions of physical abuse. r has bruises from pole dancing. a little ooc bc Spencer hooks up with someone he just met but that's the point and if u know him like I do u know its not completely impossible. mentions of typical cm violence/murder. one brief mention of spencer's addiction. spencer's childhood trauma and abandonment. it's kind of just a heavy one, lmk if i'm missing anything
a/n: I doooo suggest you listen to the song first just to feel the vibe of the piece and also how it is literally about Spencer Reid. and also bc its gorjus. anyways its been a while and this is not my most standard content but pls lmk what u think and if u liked it <3
He shouldn’t have done it.
But when he saw you, sitting in a metal folding chair next to some peeling veneered-desk, his breath caught. Something primal deep in his stomach tugged the way it does when he finds little external fragments of himself, calling out to him—usually nonhuman objects. He’s seen himself in books, still warm from the hands that held them but ultimately forgotten on a bench or in the airport, needles in alleys or in between tiles on his bathroom counter, in shards of glass, in a hundred open wounds and dead animals, abstractly gutted on the side of the street.
When he does see himself in a person, it’s in alarming glimpses. The man in the sleeping bag on the corner who talks to people that aren’t there. The lost child crying on the subway platform, rooted to the spot and still gripping the straps of their little backpacks with responsible fists. It’s never anything he wants to know about himself, but this identification, this taxonomy and recognition of sameness—it’s so strong it stops him in his tracks, every time. He never really relates to the people he’s supposed to. Not Hotch. Not Gideon. Not even Maeve, in the way he’d so naively hoped for. Three people, all incredibly intelligent, at times standoffish. Used to being on the outside. All still possessing things and redemptive qualities he doesn’t. And what Spencer has secretly believed about himself for what has recently become a very long time, is that he is defined by his lack. The shape of him is made of negative space. He feels like whatever is in your lungs when you’ve pushed all the air out.
And then, you.
Physically, you look nothing alike. And he stops and lurches and does a double take like he’s seen his doppelgänger or been startled by his own reflection in a passing window anyway. Maybe it’s the way you hold yourself—hunched, foot tapping, head hung but still scanning the room, ever vigilant as you pick at your nails. You want to be small. You want to fold in yourself so many times you become a black hole. Spencer knows this.
Something calls out from deep inside him, from all around him, that is not quite in his voice, but feels like grasping and reaching.
I know you, I know you.
He doesn’t catch himself in time before he’s walking toward you like he’s been waiting for you.
Of course your head snaps up at the same time as he stops, and your eyes are shiny but not teary—frozen over with a layer of thick, dark ice like you’d carried the cold inside with you. You look caught. He searches for some sort of recognition in your eyes, anything to betray the fact that you have met before, because he never forgets a face but he knows what familiarity feels like and he can’t remember meeting you.
His throat forms around something but the wrong word comes out. Halting, like he’s trying to lasso it and pull it back in.
“Hi.”
You pull your scarf down—a deep Roman purple—to reveal a pretty mouth, lips chapped by the unforgiving freeze outside.
“Hello,” you say, politely, considering his probably strange behavior. He gives you a proprietary scan. Utility coat over a thick grey sweater. Jeans, cuffed at the bottom but still nearly too long, probably belted, although he can’t tell from the posture and the sweater. Brown boots. Your bag is a frayed tapestry of neutrals and patches. Fingerless knit gloves. You’ve given yourself false density, let the clothes swallow you up. Shapeless. Nearly faceless, magnet eyes framed between the scarf and the hat. But you’ve got a name. Everyone has a name. There’s yet to be anything humanity has discovered and not bothered to name.
He forgets to ask. You clear your throat.
“Um, I spoke to someone on the phone—Aaron, I think? We’re supposed to talk.”
Spencer tries to pick jaw up off the floor.
“Yeah, um, I can—I’ll… go get him.”
He turns away and breathes for the first time since he saw you, but he feels you behind him. He’s aware of exactly where you are in relation to the back of his head, he can feel you, like a hot spot, all the way to Hotch’s door. He lets himself in, slipping between as small a gap as he can manage and shutting the door gently behind him. Hotch looks up, not noticeably displeased at having been interrupted in his endless paperwork.
What Spencer learns from his boss is this: you live in DC. You heard about a murder in Kansas—a girl, her hair still a fine, pale cornsilk. Barely not a child. You heard the details, and you called the cops, because you swear to god you know who did it, and they told you there was nothing they could do and gave you the number of someone who might be able to help, and so you followed a bureaucratic trail of phone numbers designed to discourage until you got to the BAU. Hotch says he’s going to interview you, but it’s probably nothing.
“Actually, I’d like to do it if that’s okay.”
Hotch frowns deeper than usual.
“Why?”
Spencer swallows. Hesitates.
“I finished my incident report early.”
Though he clearly has his reservations about Spencer’s sudden interest, Hotch is knee-deep in paperwork. So that’s how Spencer ends up in the round table room with you.
You look too young, too raw to have been married, but you’re rubbing at your ring finger with the adjacent thumb like something is bothering you there. An absence that has become a presence. Negative space. You see things that aren’t there. Spencer knows that, too. Maybe you’re the kind of person who could look at him and see something.
That is his most intimate fantasy. He imagines it with you and feels the same kind of illicit shame and bloodied, starving hunger other people feel when they imagine sex or drugs or ravaging power; the way anyone imagines anything they want and can’t have.
But he can’t put that kind of pressure on you. He can’t hold expectations like that. You’re a stranger.
“Do you always do that?”
He points to your fiddling and gets that sour feeling in his throat he always does when he says something wishes he hadn’t said it. That probably doesn’t show on his face. Most things don’t show on his face. Or maybe they do and nobody has bothered to tell him.
You flex your pretty hand and then make a fist like you’ve been burned, probably to stop the compulsion. When you give a self-deprecating laugh, Spencer feels incredibly guilty for having pointed it out. But he doesn’t know how to talk to you. And at the same time, he almost expects it’ll be like talking to himself. Only nobody will give him odd looks.
“Uh… old habit. I used to spin my wedding ring around when I was nervous.”
Used to. You’re especially too young to have been divorced.
“You’re nervous?”
Your eyes flash as you look up to him. With what, he doesn’t know. Lightning, maybe. Electrical impulses that are a little less well insulated in you than in everyone else.
But maybe he’s projecting.
“Yeah. I feel crazy. But I was with a guy for a while who—and he was from Kansas—who would always, like, talk about… about hurting people. And I thought it was a joke at first, but… he laughed, at other people’s pain. He liked to hurt people. And animals. His dad had a farm, so I thought it was maybe he was just cavalier about life and death, but it was more than that. And he lived… he lived in that town. Where that girl died. He probably knew her. I… I probably knew her.”
Spencer’s heart sinks and he clears his throat like the force could bring it back up the right level again.
You’re not his soulmate. You’re just paranoid. Looking for answers and resolution, like everybody else.
The piece of himself he saw in you was just free radical damage. Instability.
“Did he ever kill anyone before?”
“Wh—not that I know of. But I don’t really think he would’ve told me.”
But you would’ve known. You’re here because you’re lost.
“Did he ever seriously injure anyone?”
You swallow and sit up a little straighter. Heat lightning in your eyes, again. It makes him feel something. He sits up too, despite your indignance, because it’s entrancing.
“Yes.”
“How so?”
“He… he…” you melt as quickly as you inflated and go back to spinning a ring that’s not there. It’s like watching technicolor go to black and white. “He’d beat people up. He cut them with broken beer bottles and… yeah. A lot of other shit. He was just… he was crazy. He wasn’t… okay.”
The way your gaze flickers back and forth like you’re reading pages of a book or perhaps in REM as you recount in vague detail what your ex had done clues Spencer into the fact that you’re extremely traumatized. The way you make sure to emphasize that your clearly abusive ex wasn’t okay clues him into the fact that you care too much. That you’re too quick to excuse people’s bad behavior, or dismiss it, because you know how it feels to be dismissed entirely and you don’t want to make anyone else feel the way you’ve felt.
Or maybe he’s still projecting. Maybe he’s idealized you in these few short minutes since you met and he’s too far gone. Maybe he should’ve let Hotch do this interview after all. In fact, he absolutely should’ve.
But the worst thing by far he did was ask to walk you to your car after all was said and done.
The interview went on for over two hours, and he’d learned things about you he suspects you’ve never told anyone before, and thus has learned about himself, and the building is mostly empty when you finally leave. The work day is over. So he selfishly asks you to wait while he gathers his things—buttons his coat, wraps his scarf, packs his bag—and then he soaks in the silence on the elevator because it’s that terrible, beautiful space between where you first cross the line and when you do something unforgivable. Asking to walk you to your car was crossing the line.
Sleeping with you was unforgivable.
And he didn’t care. Maybe he knew he was going to do this from the moment he saw you. Spencer never does this. The knowing that it was going to happen is quite a distinct flavor of intuitive knowledge and it was always on the back of his tongue.
You’re silver and purple, a streak, a blur, you move too fast to keep up with and even when you’re perfectly still the atoms around you scramble like they’re jonesing. You inspire movement. You aremovement. But he gets to see you slow, and despite having known you only a few hours, he knows this is nothing short of a natural phenomenon. A once in a lifetime sort of shooting star. That’s where the silver comes in.
The purple, though—it’s in strange places. Around your upper arm. Between your thighs. On your knees and shins and hips. The first time he noticed it he couldn’t ignore it, but he couldn’t very well ask what’s hurting you while he was touching you in a way that was decidedly not painful, if he wanted to keep it that way. And he did. He wanted to keep you looking at him through half-lidded eyes like he was something to see.
Still, he can’t notice it and then fuck you without saying something—or maybe he could, and you desperately want him to and you ask for it and maybe most people would, but he won’t—so he brings it up.
“I lead a very active life,” is your whispered excuse, shaped by a smile that is something like mischievous. And then you’re kissing his flushed neck and making your descent and so he can’t ask very many questions.
It’s only in the precarious after that he can fit his questions in, which is dumb and he knows that, because you’re a dizzying contradiction of cagey and flighty and really the slightest thing will send you running. It’s funny how he knows that after a few hours and sex. Sex can tell you so much about a person. Spencer has compiled all the data from his experiences and decided sex is radically more effective a profiling tool than interview.
You’re on his pillow, lying on your stomach, and his hand is in your hair. Falling in love is quite a distinctive taste as well. Or at least, the recognition that if you spend enough time around a person you will, beyond a shadow of a doubt, fall in love with them. It is almost the same thing. It aches because it’s there and the proper thing to do is pretend it’s not.
And his hand is in your hair. And your eyes are closed, and you look like you might fall asleep, and he should be beyond grateful for all of these things. He is.
But that pesky desire to ameliorate, to improve and make better, and fix and heal, is too strong. Probably it’s the only way he thinks anyone will love him, is if he makes himself useful. That’s no revelation to him. The thought is not shocking whatsoever. It’s just true.
So he asks again. You blink your eyes a quarter of the way open.
“Hazard of the job.”
“What job?”
You make a noncommittal noise of reluctance—a discontented puppy’s whine, half-asleep.
“I’m a circus freak.”
He laughs and remembers to keep scratching your scalp. The way you smile, eyes closed, is infectious.
“Yeah? What’s your act?”
“Guess,” you challenge through the remnants of a smile, oozing satisfaction and glowing like a star.
When he pauses to regard you, to seriously consider, studying the curve of your cheek and the color of your lips, you open your eyes again.
“Tightrope walker,” he finally says, earnestly, so soft it could tear down the middle like gauze.
Your answer is a smile into the dark. “How’d you know?”
The corner of his mouth vies higher.
“I sensed a kindred spirit.”
Silence floods the room again, slowly, thickly, like molasses. It’s pleasant. You’re still here, in his bed, and he’s still measuring time with the pendulum of his hand in your hair.
“What do you really do?”
He expects you to be asleep.
“Dancer.”Your lips hardly move as you say it, inflectionless, immediate. If his hand falters, it’s only momentarily. That explains the bruising, and so is a relief, as far as he’s concerned. But perhaps his silence is misconstrued. “Do you want me to go?”
It certainly doesn’t seem like you want to go. Your eyes aren’t even open.
He keeps his voice low and gentle like maybe you really are asleep.
“Why would I want you to go?”
“Don’t… do that.”
“What?”
“Don’t act like you’re not judging me.”
“I’m not judging you. I’m from Vegas. Your job is not a novelty to me.”
This time when your eyes slide open, there is a new, curious light behind them.
“Really?”
He nods, distracted by a freckle just beneath your eye.
“When I was ten I ran into my bus driver wearing two quarters as a shirt. And we weren’t even on the strip. We were in a Texas Roadhouse parking lot.”
You snort with laughter and it’s melodic, like twinkling crystals, like running water. Even as you hide your face behind your hand, he’s transfixed. God, he’s never cared about being funny before. Now he wants to make you laugh over and over again. He wants to keep you softer than you’ve ever been. The laughter fades slowly and he grieves it—but your hand sliding away from your face like the sun coming up from behind a mountain eases the ache.
You reach out as if in a trance and run your thumb gently beneath his eye. He holds his breath as you make contact, butterfly light. Nobody has ever touched him like this before.
“You’re gorgeous,” you murmur. A thoughtless observation. A truth cast to the breeze. Knuckles carefully follow the dip of his cheekbone—a cartographer, learning her way by touch. Marking her territory. He’d let you do it. His eye stings, ready to spring forth a river just so you can have the pleasure of discovering it. “Breathe,” you laugh, softly, and he does.
“Sorry.”
You don’t say a thing. You let your fingers trace borders into his skin and follow them with soft eyes and he wonders what he’s ever done to deserve this kind of magic. He wonders if he’ll ever feel as good as he does right now, when it’s all over. Nobody has ever paid this much attention to him—but you’re intent, focused, like he’s art.
“Tell me about Vegas.”
It takes him a moment to reply.
“Hm?”
He feels bewitched. Warm. Foggy. A thumb brushes over his lips, but it’s only a pass, thank god, because he can hardly stand how you’re touching him already, at the high point of his cheek, beneath his brow. Finally getting enough sometimes feels awfully close to too much. He’s already almost cried once.
“I wanna hear about Vegas. I’ve always wanted to go. Is it hot?”
Spencer will say whatever you want him to say, but he has to focus a little—like he’s speaking through honey.
“In the summer, during the day. In the winter at night it drops to below freezing.”
“Desert-y,” you hum.
“Very.”
“Tell me more.”
There’s a rousing hunger in your voice and it reminds Spencer to want you again. He finds your waist and tugs you closer. Who is he with you?
Is he better?
“There are 175 casinos in the city, but only thirty on the strip. There are 15,000 miles of neon tubing on the strip alone. It’s the brightest place on earth. You can see it from space.”
“Not that.”
Petulant. He loves it.
His lips find the softness of your shoulder. “Then what?”
The only clue that you can feel what he’s doing to you is the twitch of your fingers on his cheek.
“Tell me something… tell me exactly how it feels to stand in the middle of the desert. With nobody else around. Tell me things and details I couldn’t know about unless I’ve been there.”
At the junction of your neck, he pauses. This beautiful girl, and her beautiful brain—you are so disarming. So perfect.
You shiver into him as his fingers brush up the back of your neck, gently pushing away hair so he can learn you everywhere. So he can remember your landscape, just like he’s doing as he closes his eyes and falls into memory.
A gas station, off the side of the road—seemingly in the middle of nowhere. Desert all around. His dad’s ’79 Ford Fiesta—the one he didn’t take with him when he left. The driver’s door is open. Spencer’s dad has been inside for minutes. Spencer is watching from the middle of the road, because he looked out from the backseat of the Fiesta, and saw that dark, unassuming spot, and thought—how would it feel to be the darkness? What would I see if I were nothing at all?
When he gets there, and he stands on the sun bleached pavement, veined with spiderwebs of tar, and he sees this all from a distance—he realizes he feels exactly the same as he always does. So he pivots his head to the left. The road goes on until it disappears into the smudgy horizon. To the right, it does the same. The earth swells, far away, so many miles, so coal black, so impossible. Hardly even real. But there is something out there, he thinks. There is something, even if nobody else has ever been there,and I want to stand in the middle of it and I will learn how it feels to be nothing. I will not observe—I will become apart of the landscape, with the Joshua trees that have been there for a thousand years, and the rocks that haven’t moved in millennia.
So he begins to walk.
The rocks crunch under his feet, and that is the only noise.
He walks for minutes. He walks until he knows the gas station will be small. He walks until he can feel the emptiness on the back of his neck, until it feels like an embrace.
“It’s silent,” he hears himself say to you, in some other universe, decades in the future. “At night, it’s completely silent. You can hear yourself breathe. If you throw a pebble ten feet away, you’ll hear it hit the ground.”
Little Spencer takes a deep breath of inky air.
“It smells like… geosmin.”
“What?”
Perfect. Your voice is perfect.
“Dirt. But it’s not the same as dirt anywhere else. It’s… drier, like it’s smelled the same way for a really long time.”
Spencer’s cheeks burn. He’s doing a terrible job explaining.
But he feels your breath on his cheek—eager. Your hand at his shoulder as you lean closer, enraptured. Reverent, almost.
“What else?”
What else?
Dry brush snags on the hem of the corduroys his mother had picked out for him. They’re a little too short. She’s going to try to take him shopping again tomorrow. It’ll work this time—they’ll get to the store. Mom’s just been having some trouble leaving the house lately.
Rustling leaves skim the tips of his fingers as he reaches out for them, and keeps walking. When was the last time someone touched that shrub?
“There’s vegetation. Creosote, mostly, if you’re in the scrubland. Larrea tridentada. It’s dry—kind of twiggy, with green leaves and yellow flowers in the spring. The smell is bad, like asphalt, but you only notice if you get close.”
He hears his dad calling his name. It fades in and out.
It’s dizzying, hearing his father’s voice. His father saying his name.
It’s been a long time.
“It’s so flat that things don’t echo. But because of the extreme variations in temperature the air pressure sometimes forces the sound waves to the ground and makes it impossible for them to propagate. They’re called the Santa Ana winds. Someone could be standing right next to you and if the wind blows at just the right angle, you won’t be able to hear them. But when it’s still, sound carries far.”
His father is angry. Or is he worried?
Spencer can make out his dad, pacing frantically back and forth across the gas station pad, white button-up a glowing beacon even from this far away beneath the lone yellow street light. He looks so small. So very far away. Ant-like.
Santa Ana comes slow—warmer than the night air around him, to ruffle his hair and rustle the dry leaves and blow soft clouds of fragrant sienna dirt around at his knees. It blows through him. For a moment, it wakes the desert up.
Then it’s passed. It moves further down the desert and leaves Spencer behind. Things settle into silence again. He’s alone again.
Spencer’s stomach flips as he realizes his father can’t see him this far away, this deep into the dark nothing.
As he finally feels the enormity of the distance on all sides.
Suddenly the void behind him is massive. Suddenly it is everything, and it is sucking him deeper. Nobody can see him. He could just disappear into 25,000 square miles of desert. He’s already, what—a thousand feet gone? More? The weight of all the infinite space behind him presses, and he thought it’d feel interesting but it feels like dying and there has never been so much regret or dread curdling in his stomach before. His face crumples, eyes stinging in the dry air, and he takes one step forward, and then another, and then he runs like he’s running for his life. But he doesn’t feel chased—no, that’s the worst part. He is running from an infinite, vacuous, nothing. Dad! He screams, but even this young he knows how sound waves work in the desert and he can tell his dad can’t hear him and he’s running and screaming until his lungs burn, and the scrub lashes at his ankles, and it has been the same for a thousand years and it will stay the same for a thousand more with or without him. Dad, I’m right here!He sobs, the words ripping up his throat with desperation as they go.
Finally, finally, he’s heard, and he’s close enough to see his dad seeing him, he stops pacing and stares dumbfounded at the little boy appearing from the desert, sneakers slapping cracked asphalt. He gets closer and closer until he can see the lines on his father’s face and the color of his eyes and he sobs as he crashes into him. His dad’s hands are vice-tight around his arms, as Spencer cries and can’t breathe and thrashes like a fish out of water.
What? Is all his father can manage, tight and baffled and afraid and the first word of a question he doesn’t even know how to ask. He says it again and again, like a skipping record; what—what? What?
On the drive home, Spencer sits in the backseat, a bottle of Bug Juice in his lap. His ankles sting, whipped and bloodied and punished for wearing too-short pants.
The silence is cloistering and at the same time, completely par for the course. He does not expect his father to speak to him, but he sort of thinks maybe another father would.
Outside, the black spine of distant mountains rolls on forever and stays impossibly far away. He peers out into the nothing, past what the moonlight can illuminate—and now, he doesn’t have to wonder. He knows how it feels. Imagines another little boy made of shadows, as far away from the road as he’d been, and feels sick from all that fruit juice. He won’t ask his dad to pull over—all he wants is to get rid of that feeling on the back of his neck, like he’s dissolving into space. Like he’s the only thing for miles and miles.
But the problem is—the feeling doesn’t go away.
Not in the driveway. Not in the bath. Not in bed, later that night.
Spencer did a bad thing and he wishes he could go back to normal. He wishes he didn’t get that desert feeling when he was surrounded by other people. But it comes back, again and again. At school. When he tentatively asks for new pants and his mom throws a vase at the wall and then sobs on the floor for forty minutes. When a few weeks later, his dad leaves, and doesn’t take the Ford with him—so it sits under the carport, greets him on his way to school every morning, and over the course of years the windshield turns opaque with dust.
He hasn’t stopped feeling that way since.
“You okay?”
A long, soft breath draws him back into his body. Into his bed.
Not creosote. Not geosmin. Not the Santa Ana winds, coming from the deepest parts of the desert and carrying their desolation to him. Shampoo. Warmth. A girl who smells sort of like him, now—a girl whose perfume is all over his neck and chest and pillow.
You’re there. You, a stranger. You, a girl he’s going to fall in love with. You—the only person he ever brought into the desert with him. The only person who ever brought him back.
Point Nemo is not in the middle of the Pacific Ocean. Asphodel is not in the underworld. It’s a little less than half a mile out across from an old gas station on the I-15 in the middle of the Mojave desert.
Spencer nods because he can’t bring himself to speak just yet.
You smile and take the time to find his hand in the dark.
“Felt like I was out there with you. Thanks.”
And he squeezes your hand—because for the first time, it feels like someone is going to come looking for him.
in which the holiday season is achingly difficult to get through, when you are spencer reid, who believes he is no longer allowed to enjoy them.
pairing: spencer reid x fem!reader
genre: hurt/comfort
tags: established relationship. post prison!reid.
word count: 2k
a/n: and for my final act? the parfaitblogs special (post prison reid fic to a searows song). merry christmas from australia because it IS the 25th here!!! this is the end of my christmas advent calendar!! i had soo much fun writing these stories thank you to all that requested ♡
❄︎ advent calendar masterlist
He does not deserve a Christmas.
Perhaps that is the only thing that runs through Spencer Reid's mind the second the Halloween decor filtered out of the stores, reindeer mugs entered them; while candy canes and Santa hats adorned every little item, and Christmas trees lit up every corner of every mall.
No matter what state he traveled to, he couldn't escape the festivities of the holiday season. He's pretty sure he's the only person who wants to.
You waited for him. He feels immensely guilty for just how much waiting you've had to do all year. Waiting for him to go to trial, waiting for him to get out of prison, waiting for him to let you in again.
Waiting, waiting, waiting.
You're waiting again. A Christmas tree that blandly sits empty and undecorated in the corner of your shared apartment; a Christmas roast you aren't sure if you'll even cook takes up too much space in your fridge; gingerbread cookies you promised your friends weeks ago remaining unbaked.
He knew you were upset about it. His Christmas loving girlfriend forced to mute the celebrations of her favourite holiday because he couldn't find it in him to be excited about it.
He didn't know how to fix it, really.
You had tried everything to get him back into the Christmas spirit he's had for the past three years you've spent together. Baking with him, picking out the very Christmas tree that leaves the room smelling like a pine forest together, Christmas shopping for the presents he had no will to buy for his family and friends.
Nothing had worked.
"Spence?"
Sitting awkwardly at his — now — very minimally decorated desk, his head lifts from the papers in front of him, eyebrows frowning towards each other as his eyes land on you.
"Hi," he murmurs, putting the pen in his hand down in an effort to give you his full attention. He was getting better at that, these days.
"I finished dinner," you tell him, fingers fidgeting with one another; a recent habit he had noticed you'd developed in the months between his arrest and release. "If you want to come eat."
He doesn't, but then again, he never does. And despite how awful he feels, he feels even more so for what he's putting you through, and the guilt that chews away at him is enough to will him to do small things — like eating — for you.
"Yeah," he breathes out, and stands up from the desk, following you silently over to the meal sitting at the edge of the kitchen bench you had cooked for the two of you.
Silence overwhelmed you two as you ate, as it usually does. Sitting curled up beside one another on the couch, sharing a blanket and yet still feeling so distant from each other regardless.
"Did you call your mom?" you ask him, and his fork pauses in the plate.
Right. It's Christmas. The time for calling family members and sharing love for them during this supposed to be joyous time.
"Not yet," he shakes his head. "I'll... get to it. Before Christmas is over."
"You have a week," you remind him, though it isn't to be passive aggressive at all. You genuinely wonder if he's forgotten the date of Christmas that has quickly crept up on you both.
"I know."
You stare silently at the coffee table after a short nod to his words, and you wrack your brain for things to say, just to keep him talking.
"Can I give you your gift before Christmas day?"
He lifts his head, and you feel his eyes transfix on you.
"If you want."
You want him to want it too, but you aren't sure if that's a reasonable wish anymore.
"I do," you nod, and quickly finish up your food, before you stand, and leave the room altogether.
He places his plate next to yours on the coffee table — he'd remember to get to cleaning those later — just as you return, a square shaped brown paper gift in your hands, a purple ribbon tied in a bow around it.
"You got me a square?" he asks you, and your heart warms at the teasing tone in his voice. He's trying.
"Open it," you press, instinctively shaking his shoulder with both hands pressed up against it.
"Okay, okay."
He's meticulous in pulling the plain wrapping paper off, and you almost want to open the gift for him.
"Did you make this?" he asks you as he carefully pulls the square apart in front of your eyes, though he does already know the answer before you have a chance to start nodding your head.
A Victorian Puzzle Purse situates delicately in his hands. Hands that pull it apart ever so slowly, taking note of every little drawn and painted detail on the paper, opening it up to a letter that he spent two minutes reading through — confirming that he was not only reading it once through.
"Do you like it?" you ask him, almost hesitantly.
"Victorian Puzzle Purse's were how lovers would communicate for Valentine's day," he says, instead of answering your question directly, as he neatly folds it back up into the intricate origami square it was originally when he pulled it out. "Sorry," he quickly adds, his eyes landing back on you. "That wasn't an answer. I do. I like it a lot."
"I know it isn't much, but I don't want to overwhelm you with gifts this Christmas. I'm honestly not even expecting anything big. We can just order food in and watch movies or something this year, if you'd prefer. You just have to promise me you'll at least let me put mistletoe up outside our bedroom, because it's kind of become tradition and... sorry."
He's staring at you, half dumbfounded, half in awe, as you realise you were rambling instead of sitting in the moment of him enjoying something seasonal, but you can't even find it within yourself to be frustrated at it. For he is letting a small smile grace his lips, and you're leaning forwards with a smile of your own, and for a second or more, he is not the shattered prison man, and you are not his distanced girlfriend.
"You can put mistletoe outside our bedroom," he says, and you're breaking into an even wider grin.
"Really?"
"It's tradition."
You light up enough for there to be no need for a decorated Christmas tree in your apartment anymore, and you're threading your fingers through his hand to drag him up off the couch.
Your gift to him remains on the coffee table as you lead him over to your bedroom door, prompting him to stay still, as you disappear to find the piece of familiar fake greenery.
"Mistletoe!" you present it to him, and he takes it from you habitually, using the pin you also hand him and pinning it above your heads on the doorframe.
"I think we need to buy a new one," he says, hands dropping back by his side. His eyes are trained on you, but your own head is still tilted back, inspecting the faux plant.
"I think we need to buy a real one," you answer conclusively, finally dropping your gaze to him.
"Next year," he confirms. "Tradition complete?"
You shake your head. "The tradition ends with a kiss."
Hesitation follows your words, and you instantly regret them.
It wasn't that you didn't kiss, or weren't intimate in any way. It's simply that it was on occasion now, and almost always motivated by something more important than a silly mistletoe tradition.
"It's okay," you cover your unwelcome disappointment with a smile.
He ignores your reassurance. "It does end in a kiss, you're right."
"But we don't have to," you mumble.
"Yes," his hands encase your waist to do nothing more than to pull you closer to him. "We do."
"Not if you don't want to."
"Did I say that?"
You open your lips to respond, but the words die on your tongue.
"What did I do to make you think I don't want to kiss you, angel?" he's frowning now, and you feel guilt settle in your chest.
"Nothing, really. We just—um—don't kiss... as much. Anymore. Which is fine, by the way, and I can understand it. You're under no moral obligation to kiss me. Obviously."
His frown deepens. "I think we're experiencing a bout of miscommunication."
"What?"
"I thought you didn't want to kiss me," he explains, and suddenly, you're mirroring the confusion on his face.
"Why would I not want to kiss you?" you ask him, incredulously.
His shoulders slump at the question, and you force yourself not to fill the silence that follows.
"Prison," he replies, quietly. "I didn't think you'd really even want me once I got out of prison. You don't initiate anything anymore, either. I just assumed."
"I didn't initiate anything because I was waiting for you to initiate stuff."
"I can see that now."
"I didn't want to rush you," you tell him, as earnestly as possible. "I know prison was a lot, and you still haven't told me everything that happened, but I wanted you to not rush yourself. Or... us, I guess."
He swallows the lump of emotion that lodges in his throat. "I thought you were disappointed in me. Or—well, scared of me."
"No," your heart shatters, and you're sure he can hear it in your voice as your hands instantly cup his cheeks, fingers brushing over his cheekbones. "No, oh my God, Spencer."
"You shouldn't use the lord's name in vain. It's Christmas," he jokes, weakly. The smile you give him is weak, too.
"I was terrified for you. I was so worried about you in prison, and—and what they were doing to you in there. But never of you. Not a single part of me will ever be scared of you, sweet boy."
"I'm scared of me," he whispers, and his voice cracks in a way that has tears welling in your eyes. "I think differently, you know."
"And that automatically means I should be scared of you? Or makes you any less deserving of love?"
His silence is enough of a response.
"I love you," you settle on telling him. "No matter what baggage you came back to me with. You deserve so much love, and I hate that you have been through so much. So much so that you believe yourself undeserving. You are not. You never will be. I will spend the rest of my life proving that to you, if I must. Or as long as you will let me."
"Forever," he replies, and you feel his hands close over your own on his face. "I will let you forever."
"Thank God. It'd be kind of embarrassing if I say all this and then you were to break up with me tomorrow," you say, and his cheeks stretch beneath your hands as he huffs a laugh.
"I won't break up with you."
"I wouldn't let you, anyways."
"Oh really?" his hands slide down to your waist once
more.
"Yeah," you confirm with a small nod, your own hands dropping to his neck, interlacing behind it, as you draw his head closer to yours. "You're stuck with me."
"I have not a word of complaint," he replies, and he's close enough that you feel the words tattoo your lips. "I love you."
And then he's kissing you, and there is an overwhelming amount of neglected feelings you had been missing poured into you, from his soul to yours.
It was a kiss so unlike what you had grown used to in recent months. Fingers dug into your waist as a violent reminder of what you mean to him, and for the first time since May, you believed it.
When he goes to pull away, you barely give him time to get air before you're chasing his lips again, and he tugs you impossibly closer with a laugh that vibrates against your face.
You kiss him until your hands go numb behind his neck, and your legs begin to ache, and your waist is sure to have bruised in the shapes of his fingertips. Chest heaving and eyes full of more adoration than you think one human can have for another, you meet his gaze once more.
in which fem!reader has been gambling with her life and spencer reid is more than a little concerned
flangst, hurt/comfort
warnings/tags: passive suicidal ideation from reader, she keeps risking her life, that really grinds Spencer’s gears, established relationship, existential dread, existential euphoria, lots of stuff about grief and death and self worth, not advocating for this, pretension from the author, blasphemy probably?, reader gets fuzzy from prescribed painkillers, arguing, hospital stuff, mention of sleep paralysis involving spiders, reader gets shot but she’s fineee, I pander to intro to philosophy takers, bau!reader, neurodivergent coded reader, if she’s not exactly like you I’m sorry, bean soup
a/n: one day you’re in a writing slump literally the next you are in your notes app for six hours writing whatever the fuck this is but I think I love it even tho it’s weird and I hope u like it too!! btw this was gonna be called cotard's syndrome but then I never once talk abt cotard's but if u care that might be interesting context for the motif of not feeling human/alive, WC 3K
Spencer hasn’t spoken to you since the doctor left the room five minutes ago.
The air is antiseptic as you take it deep into the hollows of your lungs and trap it there for a moment, trying to optimize oxygen intake without actually having to breathe very often. Hospital smell is as universal as it is suffocating. It reeks of everything but death—flowers, blood, bleach, vomit. A humiliating, desperate scramble to defy the very thing that defines mortality. It’s pathetic. It reminds you of the worst instances of failure and loss and denial in your life. It curdles your blood. Literally rots you from the inside out.
You’ve had ample time to ponder that smell over the last few months because you keep ending up here, and some time ago you decided the institution of the hospital is inherently absurd. It’s stupid to think you could avoid the one absolute condition on your corporeal form: impermanence. It is the only thing that is promised, and people still waste their lives away running from it. It is the ultimate self-fulfilling prophecy.
So around the time you acknowledged that hospitals are simply monuments to the self-importance of man, you gave up on trying too hard to preserve yourself. You’ve seen death too much and too often. You’ve tried staving it off with prayer and the miracles of modern medicine, and it never matters in the end because it’s all magical thinking anyway. All the wallowing and the bargaining and pleading never got you anywhere.
You’ve accepted that from the moment you were born, you were marked for death.
But you’re not a complete nihilist. You’re not even totally resigned to the abject certainty of death—because you’ve found a loophole.
Everyone has as many chances at escaping death as other people are willing to offer them at the cost of their own lives. Not many people are willing to make that trade—someone else’s life for their own—but you’ve decided you are. Because if not you, then who?
It’s not that you don’t see the value in your own life, as Spencer keeps making it sound. It’s just the opposite. You understand that you’ve got an extremely valuable resource, and you don’t just have to sit on it. There are things you can do. Choices you can make. Ways to defy death.
Just… not yours.
Or maybe you’re just in deep denial.
Either way—this is a philosophy your boyfriend intentionally refuses to understand. He gets mad, or some kind of upset, every time you try to explain it. Usually he ends up leaving the room close to tears. You never feel good about it.
Right now he’s presumably trying to give you the silent treatment and not doing a very good job.
“Stop holding your breath. Why are you—stop that.”
Spencer’s frowning, skin sallow and milk-blue under fluorescent lighting. Purple seeps from around his eyes like spilled wine on a white table cloth. Your stomach turns.
“Sorry.”
He doesn’t tell you not to apologize. You don’t expect him to.
“Why are you doing that? Does something hurt?”
Other than your entire bicep being on fire due to the 9 millimeter Luger it recently came into contact with?
“Not really. I just don’t like the smell of hospitals.”
At that, he gets stony again. Like, Medusa stony. You feel a tightening in your chest that has nothing to do with a lack of air. His arms are crossed. A silk lined blazer drapes over your lap, and you wonder if he’s cold in just that white button up. It’s translucent in this light, like onion skin, or maybe something less organic—the folds and wrinkles look like fabric, but lots of things look like something they aren’t. In the Pietá, Jesus lounges dead on his mother’s lap, his cheek pressed to her arm like either of them have warm flesh, and her skirts drape from her knees and fall to the ground in delicate folds just like Spencer’s jacket and looking at pictures of it you swear you could find comfort there too—but if you wanted to make space for yourself next to Jesus you’d have to do it with a chisel and mallet. You’re starting to think that’s what it’s going to take with Spencer, as well.
“So stop walking into active gunfire. You’ll spend a lot less time here.”
Every deep sigh (of which there have been several) calcifies you further. Ironically, you never feel less alive than you do in a hospital.
“I didn’t walk into active g—”
“I’m not debating it with you. It’s not a discussion.”
“So you’re just going to be pissed at me for the rest of forever? I mean, if it’s not a discussion—what are you gonna do? Break up with me?”
You feel yourself dripping poison in the well. Even as you say it. As his head tilts toward you slowly and intently from his spot against the wall, and his warning gaze is cold and unforgiving and weighs 3.35 tons.
“Don’t.”
“Don’t what? Talk?”
“Don’t try and manipulate me by implying that there are no options between permissiveness and dumping you!”
“I’m not manipulating you. And I don’t need your permission to do anything.”
The first part is an incredulous scoff as well as a blatant lie. You are manipulating him. Chisel and all. At least, you were trying to. It clearly doesn’t work very well. His jaw clenches.
“Is this worth it to you? Fighting with me like we’re children solely so you don’t have to take accountability?”
“Accountability for what? I made a choice. I don’t regret it. You’re upset because I did my job.”
A beat.
Silence always makes you feel the gravity of your words.
“Do you believe that?”
His voice softens so much, so quickly, it splinters down the middle.
You’ve never been known for your light touch. For someone who sees eviscerated bodies nearly every day, and prides herself on her evolved understanding of mortality, you often forget other people are not, in fact, impenetrable marble—they are flesh and blood and bone, and you’ve splattered yourself in the evidence of that.
“What?” You murmur. You easily turn timid, when you’re afraid you’ve been too heavy-handed. Spencer’s seen you sob over the birds who hit the windowpane and never reappeared from the shrubbery—their delicate wings, their little beaks—he didn’t mean to, Spencer, and now he’s dead! He’s seen you spend forty minutes catching a spider with a cup and an envelope rather than smush it, even though you have reoccurring episodes of sleep paralysis wherein a giant arachnid is sitting on your chest, hissing and clacking its pincers. He knows you are, at your core, kind and good.
It’s a little scary for someone to know that about you. It’s a little scary when you see your own vulnerability reflected in their eyes and the way they speak to you, the way you see it in him now.
“Do you believe that the choices you make regarding your safety don’t concern me at all?”
“They’re… my choices to make,” you whisper, but you’re less sure than you were a minute ago.
“I’m not talking about that—I’m talking about how it feels like you are trying to kill yourself every time we’re in the field.” His voice shakes. You swallow. “You have been hospitalized for four serious injuries sustained on the job in the past five months. Every time I bring it up, you—you talk about life like it’s optional for you. Like you’re not only willing to give it up but are actively looking to throw yourself in harm’s way every chance you get. You think that doesn’t terrify me?”
There’s a small chip in the paint on the wall next to him roughly the shape of Africa.
“It’s not like that. I’m… I’m just having an unlucky streak.”
He snaps.
“Luck isn’t going to get between you and a bullet. Ever.”
“It’s my job, Spencer.”
“No. It is a risk of the job. Not a defining feature or requirement. But you keep running toward gunfire like you have a quota to meet.”
“Spencer, I’m not doing it at you. I’m not trying to get myself hurt.”
“Well it doesn’t really feel like you’re trying to avoid it, either,” he shoots back immediately, and you feel the anguish radiating from him until it lodges in your own chest, like it was always yours. Maybe it was.
You want to make it better, but you don’t know how, and even if you did, he’s pushing off the wall and crossing the room toward the door.
“Where are you going?” You call, a little too desperately for your liking.
“You need to eat something.”
Which translates roughly to he’s pissed and upset and he needs to leave the room. You’ve done this song and dance before.
However, food and an absence of him are contenders for the absolute last two things you want right now.
“Spencer, please don’t—”
But the door is already whooshing closed.
You stare at the grey and white checkered floor. Light bounces off the waxen reflection—some sort of parallel universe you can’t reach, perhaps. The whole room is desaturated. A mechanical humming threatens to drive you insane. It doesn’t feel like a place for living humans. You’re not convinced you are one.
When he comes back, maybe ten minutes later, nothing’s moved at all. In fact you’re not even sure you’ve been breathing.
The door closes as quietly as it opens.
This time, wordlessly, Spencer comes to you. You see his shoes first—his serious adult shoes. You wish he was wearing his Converse.
Then you see the bottle of apple juice he’s cracking open for you. Blue lid. Same kind you always get.
“You didn’t bring food.”
“You wouldn’t have eaten it.”
Fair enough.
You take the bottle with your good arm and sip shallowly—all that adrenaline and the subsequent interpersonal strife has left you nauseous. The drink is too sweet. It clashes with the tang of metal in your mouth.
Still, you drink enough to satisfy him, and then you’re tossing his jacket aside before balancing the bottle between your thighs so you can screw the lid back on. He doesn’t go back to the couch or his spot on the wall.
Spencer doesn’t pull away when you lean into him, but it does take him a moment to reciprocate. You’re still grateful all the same when he cradles the back of your head to his stomach like you’re made of porcelain.
“I don’t think you understand how upset I am,” he says quietly.
Only Spencer Reid could be furious with you and still hold you like this.
“I’m sorry,” you murmur.
“That’s not good enough. You need to stop risking your life like that.”
He doesn’t get it. Your brows flutter as they try to furrow but even holding that expression saps you. Maybe the pain meds are finally kicking in.
“I just wanna help people.”
“That doesn’t explain to me or justify your urge to do it at the cost of your own life. We all want to help people, angel. The whole team. That’s why we do what we do. But we don’t run into shootouts. We don’t split off and provoke people with guns when we’re unarmed and unprepared.”
“But it worked. She got away.” You feel a spark of fulfillment at the memory of Gloria Sanchez in JJ’s arms just before the ambulance doors had slammed you into your first cage of the night.
“We don’t know if he was going to kill her. He might not’ve fired at all if you didn’t go running toward him. That wasn’t strategic, it was reckless and irresponsible and you know that. I know you do. So something else is going on.”
The pressure in your nose that usually precipitates tears comes as a surprise.
“I just—if that’s how I can save someone, why shouldn’t I, you know? Why do they have less of a right to live than I do just because they’ve been deprived of the choice? If I have a choice, and they don’t, I should choose to… to help them. That’s my job.”
For a long moment, you listen to your own breath, muffled by Spencer’s shirt, and the mechanical humming, and something dripping, and the low, buzzy chatter of nurses far down the hallway.
When Spencer next speaks you get the sense he’s holding a lot back. His voice is taut enough it wavers slightly. Taut enough that if he weren’t speaking so quietly he might be yelling. It’s like pinpricks all over your body—not enough to hurt, but enough to make sure you’re paying attention.
“You can’t help anyone if you’re dead. Do you understand me?”
And yes, in theory, you do. But that doesn’t negate your original point. It only takes one life or death moment for you to utilize the most valuable resource you have. What happens after is no longer your concern.
“On the psych evals you helped develop it asks if you think it’s appropriate to sacrifice the one to save the many. The answer is supposed to be no. If you say yes you get flagged. The FBI frowns upon… lever-pullers. And that’s exactly what I’m doing if I let one person die when I could’ve potentially saved them.”
“Protecting your own life is not pulling the lever. What you’re doing isn’t smart or morally righteous. You’re just throwing yourself across the tracks, too. If you were to fail a psych eval right now it would be because you’re passively suicidal. And you know what? The FBI also tends to frown upon self-immolative delusions of grandeur and girls who like to play sacrificial lamb.”
“’M not a… sacrificial lamb…”
“No,” Spencer agrees quietly, stroking your hair. “You’re not.”
And you can’t react to the fragility in his voice, or the content of his words, and the fact that when he says it he means something different—you can’t do anything about it. You can only catalogue it. You can only know that he loves you, and feel a little guilty about it.
Some time passes. You don’t know how long he remains standing so you can doze against him. He does not smell like the hospital. He’s the antidote for whatever grief they distill from widows and orphans before aerosolizing it through the whole place.
“Baby?” He asks eventually. You know the lilt of it. He’s been thinking.
“Hm?”
He hesitates.
“Can we talk about you maybe taking some time off of work?”
“You heard the boss,” you mumble. “I can’t come in for at least a week.”
“I mean beyond that.”
You intend to respond, but by the time you open your mouth you’ve lost the prompt in all the brain fog.
“You’re so comfy,” you murmur dreamily. “Thank you for being mad at me.”
If he responds, you miss it.
You’re imagining the bed waiting for you at home, once the doctor is done observing you—warm, neatly made. Blankets woven with soft fibers. A mattress that will sink under your weight. You think of Spencer, who’s shaping himself to you, Spencer, who intentionally inhales when you exhale at night to make room for the rise and fall of your chest against his. You think of the imprint of his buttons on your cheek. You are both flesh and blood and bone.
Strange, pill-induced half dreams and visions and memories take over. You’re in that alleyway again. That man fires. You don’t blink or scream or feel.
Just before the bullet makes contact you’re standing in front of the Pietá. It’s massive. Spencer is there, too, holding your hand.
You can’t actually see him, only, you know he’s there. You feel his warmth, his presence, when he leans over to whisper in your ear. The way you know him goes beyond sight.
The Pietá—meaning the pity, in English—is 6’7” and six feet wide. It weighs 6,700 pounds. Michelangelo had to quarry the block of marble himself. He was only 25 when he finished. The Basilica keeps it behind bulletproof glass.
Jesus and Mary behind bullet proof glass.
God. Who’d try to kill Jesus a third time? He’s already dead.
Besides—they’re both made of stone. Bullets would probably just ping right off of them. Or maybe they’d shatter just like you did.
Probably not though. You’re not actually made of marble. You’ve no idea what it feels like to be a statue and get shot at. You sure know how it feels as a human, though—and it feels like shit. You don’t really know why you keep doing it. None of your reasons are good enough for Spencer, and he’s, generally speaking, pretty smart about some things.
Maybe you’re tired of being human.
Maybe you’re tired of sleeping on your arm funny and waking up to a hand in your bed that doesn’t feel like yours and remembering all the hands you’ve held moments before they couldn’t hold yours back. Or tired of those moments where you are being held and it’s so unbelievably perfect and then someone has to let go, or when someone you love hugs you goodbye and you realize that there will always be a final I love you, or simply getting older and watching potential life paths fall away like rotten fruit to the ground. Maybe life is sometimes so good it hurts and you can’t bear it. So you tempt fate. You walk a tightrope because even if you fall and it can’t ever feel good again—at least it can’t hurt either. At least you won’t lose anymore.
And yet.
It does feel good, sometimes. Sort of often, actually. Even when it’s awful.
Dead Jesus and Mary, with their marble skin and their bulletproof glass and their holiness and their virginity and all the other things they have that you don’t. Nobody can hurt them anymore. Not ever.
Maybe that’s something you envy.
But you doubt they’ve ever been so terribly, wonderfully alive as you’ve been, or as comfortable as you are like this, leaning into Spencer’s warmth and his softness, in the hospital, or the Vatican, or your dreams. Your bicep was ruined but it’s healing. You are capable of ruin and rebirth in the same lifetime. In the same day, in the same hour.
You doubt that in 520 years, behind bulletproof glass and unyielding, eternally flawless skin, they’ve ever felt as invincible as you do now.
requests are open! i've never done smut before so i'm going to stay away from that for now. i don't write x mgg. for now this'll be a primarily cm focused blog but if you'd like to request something from my likes list, you're always welcome. ⭐︎
i also already have a spencer x oc fic up on ao3! it's stupid and it sucks but check it out!
if there is ANYBODY out there who is reading this rn. do you like criminal minds and wld u read a fic of that wh0re spencer reid. sorry for posting straight stuff during pride month btw i plan to post a gay blurb ive been working on vry soon. but just reply if you see this
HI a post for the ao3 authors: this is going to sound incredibly stupid but italics are not working for me right now,, is there something specific you need to do to make it show up ?? when i preview my chapter the italics don’t show up 😀 plz help if you can
if there is ANYBODY out there who is reading this rn. do you like criminal minds and wld u read a fic of that wh0re spencer reid. sorry for posting straight stuff during pride month btw i plan to post a gay blurb ive been working on vry soon. but just reply if you see this
