Enlarged with AI from a smaller original
Black crow on upper arm
Blackwork · Upper arm · Black and grey · Photo
A large crow stands in profile on the upper arm, with its head turned to the left and one foot gripping a branch. The bird is filled with solid black ink, with the wing and body marked by layered scale-like feather patterns left as bold negative shapes. The photograph is taken in a dim studio with the arm raised, showing the tattoo against the pale skin and a white top.
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A story inspired by this tattoo · fiction
The crow arrived the week the lamp glass cracked, sitting on the iron rail outside the gallery as if someone had posted it there. I kept a tally of ships in the log that winter, and it kept one too, in its own way. Each dusk it came down from the cliff, turned its head to the west, ink-black against the grey sea, and waited for me to light the wick.
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I called him Mr Dunning, after the chandler who owed me eleven shillings and never once looked me in the eye. The bird took bread from my palm and from no one else's. When the fog came in thick on the third of February and the fog bell seized up in the cold, I climbed the stairs with the paraffin and found him on the lantern housing, wings folded flat and layered like the slates on the cottage roof.
He did not leave when I lit the lamp. He hopped along the rail to the driftwood branch I had nailed up for him and stared into the murk where the Ellison boat was overdue from Blyth. I took it for hunger, or superstition, until I heard oars knocking against the rock below and the beam caught a dark hull steering wide of the Scar.
Mrs Ellison came up the steps soaked to the skin and laughed at me for talking to a bird. I told her the crow had kept better watch than I had. She pushed two mackerel into my coat pocket, and the next dusk he was back on the rail, head turned west, waiting for the light.
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