Enlarged with AI from a smaller original
Black tribal bird on upper back
Blackwork · Back · Black and grey · Photo
A large black tribal design shows a stylised bird or winged creature with spiral motifs in the head and body and sharp, feather-like points along the wings. The ink is solid black with smooth, bold outlines and no shading, and the skin around it is a uniform warm tone. The design fills most of the frame, with the upper back and shoulder blade visible at the edges.
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A story inspired by this tattoo · fiction
The bird came down off the ridge the week the Pollard brothers felled the old beech, and my mother swore it had been waiting for the axe. Nobody in Thornhurst liked to say what it was. We called it the Gatherer, and we left bread on the stile for it at the turn of the year, the way our grandmothers had.
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I was nine when I first saw it properly. It stood on the fence post at the forest's edge, black as a burnt hinge, its wings folded into a hundred sharp feathers that curled back on themselves like fern heads. Its eye was a spiral. I know that sounds like nonsense, but when I stared at it the coil turned slowly, the way a snail's shell does when you lift it from the grass.
Ada Pollard, who had no patience for superstition, marched up the lane with a shotgun she had never fired. She stopped at the gate. The bird lifted its head, and the spirals on its breast opened like a pair of small doors, and she stood there a long while with the barrel sagging. When she came back she didn't say a word about guns. She only asked my mother for the loaf she had meant to sell at market.
Forty years on, I still leave the crust on the stile. The Pollards built their barn from that beech, and the barn still stands. The bird has never once touched the bread. It simply waits until the wind takes it, which is, I have come to think, the whole point.
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