Black and grey roses on a side torso
Realism · Ribs · Black and grey · Photo
The left panel shows a rose bud, a full open rose and leaves along a thin stem, with the stem and leaves shaded in soft grey. The right panel shows a larger, close view of a single open rose with layered petals and several leaves. Both use smooth shading and fine detail in black ink and grey tones on a light skin tone, with the tattoo filling most of each frame.
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A story inspired by this tattoo · fiction
You learn the names of roses the way other people learn the names of streets, one at a time and then all at once. Your grandmother kept a bed of them behind the chapel at Thornleigh, and she would not let you touch the open ones until you had counted the petals on the bud beside them. Eleven, she said, meant the rose was still deciding. Seven meant it had already decided and was only being polite about it.
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In August the gardener's boy came up from the village with a tin of greenfly soap and a grievance about the wasps. He stood at the gate turning his cap in his hands and asked whether the old woman still had cuttings from the white climber. You said she did, and that she would want to be asked properly. So he asked properly, and she gave him a stem wrapped in wet newspaper, and told him to keep it out of the sun and away from the ones who only pretended to want it.
The leaves came first, grey-green in the morning and silver when the wind turned. Then the bud split. By the time the cuttings were rooted, the whole bed had gone soft and heavy, the outer petals curling back like the edges of old letters. Your grandmother stopped counting. She said the rose had finished deciding and had chosen to open anyway, which was the only honest thing a flower could do before it dropped. You still have the newspaper, folded in the drawer with the seed packets, and the pencil marks where she counted.
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