Enlarged with AI from a smaller original
Mountain range tattoo on upper back
Fine line · Back · Black and grey · Photo
A row of jagged mountain peaks is drawn in thin black outline across the upper back, just below the neckline. The tallest peak sits near the centre, and the lower sections of the peaks fade into soft grey shading. The ink is entirely black and grey against warm skin, with a plain indoor background behind the shoulder.
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A story inspired by this tattoo · fiction
You have the ridge on the chart before you have ever walked it. The Admiralty sheet has gone soft at the folds from being unfolded in the wind, and Tomas Reilly, who has kept the lighthouse at Scarra for thirty years, says the sea tells lies but the contour lines never do. You trace the peaks with a pencil, seven of them, and count them twice because the seventh is only a shoulder of rock the mist likes to hide.
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The morning you set out, the cloud sits on the lower slopes like a grey wash someone has not finished. You climb past the sheep walls and the nettle stands, and the peaks above you stop looking like a drawing and start looking like what they are, broken teeth of basalt that the weather has been chewing for longer than there have been names for them. Tomas gave you a tin of barley sugar and told you not to trust the top of anything you cannot see the bottom of.
At the col between the second and third peaks you stop, because the line on the chart has a gap in it you cannot account for. You kneel and brush the scree aside. Under it is a survey pillar, its brass plate gone green, and beside it a name scratched into the stone by someone with no chisel: M. Reilly, and a year that makes him the first to bring a theodolite this way.
You photograph the plate, then sit with your back against the pillar and let the cloud fill the valley until only the tallest peak stands clear above it. That night you redraw the line. It goes exactly where the rock goes, and you do not fill the gap.
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