Enlarged with AI from a smaller original
Celtic knotwork circle design
Black and grey · Flash
A circular Celtic knotwork design drawn in white lines on a solid black background. The interlaced bands form a symmetrical four-part pattern with an outer ring and fine inner loops. The image is high contrast black and white with no shading or colour, and the design fills the frame centrally.
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A story inspired by this tattoo · fiction
Nobody claims the cord at Halden Junction. It turns up every few months in a carrier bag with the umbrellas and the single gloves, a disc of plaited twine the size of a dinner plate, woven into four loops that run round and back on themselves until you cannot tell where one begins. I keep it on the windowsill of the lost property office, between a brolly and a child's wellington, and in the afternoons the light from platform four falls through it in pale bars.
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My father worked the signal box here for thirty-one years. He told me a junction was simply a knot where lines crossed and had to be picked apart by hand, one lever at a time. When he was bored he drew knots on the back of spare timetables, always in fours, never quite closing. I found one of those sheets in his drawer after the funeral, and it had the same loops as the cord, the same doubled edge.
So I did what he would have done. I followed the twine with a pin, loop by loop, and at the centre it was tied around a ticket stub for the 17:42 to Carlisle, dated the third of March, 1987. I pinned it to the board by the kettle. A man in a grey coat came in on Tuesday, read it twice, and said his sister had made the cord the winter before she left town. They had never once been on the same train. He thanked me and did not take it.
I hung the cord on the nail above the signal box stove, where my father used to hang his cap. When the bell rings for the 17:42, the loops swing a little and catch the light, and the knot holds exactly as it always did.
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