Four black line drawings of cats on a white background, showing two sitting cats, one curled up asleep and one sitting cat seen from the side.

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Four cats in line drawing

Black and grey · Flash

The image shows four cat designs drawn in bold black ink on white: two cats sitting upright, one seated in profile looking up, and one curled up asleep. The linework is simple and sweeping, with thick and thin strokes defining the outlines, and there is no shading. The drawings are arranged in a loose grid with plenty of white space between them.

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A story inspired by this tattoo · fiction

Right, pass that knife over and mind the peel, boy, it's the last of the Tuesday spuds. Four cats we carried out of Bristol, and I'll tell you about them while your hands are busy. Biscuit was the first, a grey-and-white queen who sat up on the cask lid like a bishop and wouldn't come down for less than a salted herring. Mab came second, a thin dark thing who stared at the horizon the way a sailor stares at a debt, always up, always waiting for it to pay. Then there was Ordinary, a tabby tom who slept rolled like a loaf in the warm lee of the bread oven, and who I swear had the best view of anyone aboard.

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When the Marigold went round the Horn, a green sea stove in the galley hatch and the hold went black for three days. Every cat hid somewhere different. Biscuit wedged herself behind the flour sacks, Mab climbed the rigging ladder and glared down at the lot of us, and Ordinary slept straight through the whole business, which is what I call character. The fourth cat, a scrap called Pennywhistle who nobody remembers signing on, took refuge in the captain's boot and was never found until we docked.

We counted them on the fourth morning, and not one was a jot thinner than when we'd left. The captain swore the cats had charted the storm themselves and simply chose the calmest corners. Maybe they did. Now get that potato in the pot before I'm cross, and fetch me the blue plate with the chip in it, the one for the captain's supper.

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