Enlarged with AI from a smaller original
Fine line branching design on upper arm
Fine line · Upper arm · Black and grey · Photo
A close photograph of a bare upper arm with a delicate design of thin, connected branching lines in black ink. The linework is fine and even, with no shading or fill. A black and white checked sleeve sits at the left edge of the frame against a plain light background.
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A story inspired by this tattoo · fiction
The snow had shut the Hollin Pass road on the Tuesday, and by Friday the only things moving at the Stag and Lantern were the draughts and the frost. I found it first on the window of number four, a pane I had already wiped twice that morning. It started from a single point in the bottom corner, a pale stem that split, split again, and reached towards the edges of the glass as if it were in a hurry to leave before the thaw.
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Mr Okafor had taken the room for a fortnight and paid in cash. He stood in the doorway with his coat still buttoned, watching me crouch by the sill. He was a surveyor, he had told me in the bar, and he spent his working life measuring the ways water found its way downhill. "Every branch takes the lowest ground it can reach," he said. "Seen from high enough, it's always the same shape."
He took a carpenter's pencil from his top pocket and, on the back of a tariff card, copied the frost with a few quick strokes, marking each fork with a small dot where the lines met. He added an arrow at the foot of the drawing and wrote a single word beside it, which I could not read upside down. Then he left the card on the bureau and went out into the white without his gloves.
He did not come back for the room. In March, when the glass ran clear and the lanes reopened, I found the card tucked behind the mirror, the arrow pointing at the window. I kept it. Some mornings I still wipe the pane, and some mornings I let the frost stay, to see which way it means to go.
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