Tattoos Tell A Story Quotes

Cordelia had thought a tattoo would be rather more like their Marks, but it reminded her of something else instead. It was ink, the way books and poems were made of ink, telling a permanent story.

I don’t think she likes my tattoos, and I’m very different from her husband.” Quinn rolls his eyes. He’s far too smart for his age. “I think your tattoos tell a story, maybe she should learn to read.

It wasn't until Kiffney-Brown, when I met Jason Talbot, that I really thought I might actually have one of those boyfriend kind of stories to tell the next time I got together with my old friends. Jason was smart, good-looking, and seriously on the rebound after his girlfriend at Jackson dumped him for, in his words, 'a juvenile delinquent welder with a tattoo'.

Every tattoo should tell a story of the person inside. Each is open to interpretation to the viewer. No one has to know the real meaning if you don't want them to.

People want me to tell them success stories. I understand this. They are the stories you want to tell, after all. So why does my scalp tighten whenever I am asked this? Surely, part of it comes from my being utterly convinced I’m a fraud. I

I laugh. “That’s my life story!” I tell him. “Made me feel better. So I did it.” “Maybe you should get that tattooed,” he says.

Blomkvist had to tell the story from beginning to end. A couple of times Henrik interrupted with a question or asked him to repeat something. Frode said not a word. When the story was done, Henrik

I like Katelyn, a lot, but sometimes I feel that I can’t be enough for her.” “Why? I think you’re a great dad.” “Quinn, you make being a dad the easiest thing I’ve ever done, but that’s not it. I don’t think she likes my tattoos and I’m very different from her husband.” Quinn rolls his eyes. He’s far too smart for his age. “I think your tattoos tell a story, maybe she should learn to read.

She's telling me that the end of love is a fine phrase to ponder, but a poor choice for a tattoo. Because just as there are Post-its and red condominiums doors, there are also tree branches and coastlines. There are sleeping bags and tents and pinpricks of stars, there are people like her, there is the person I'm becoming.

It's a love story about confessional poets and thwarted playwrights, about sad rock stars and tattoo artists who are fighting with their kids, about messy bisexuals and untidy queers and evangelical Christians who make podcasts about art and girl who write beautiful songs in their bedrooms. About old lovers, new lovers, friends. I think it's a story worth telling.

No story about Las Vegas should begin in Vegas. It is a place one goes, often rashly, and from which one returns often poorer in money and richer in experience. It is a crapshoot—pun intended—if the outcome will match the intention. Las Vegas will not disappoint, becoming a story one can tell in a bar, how one got an unfortunate tattoo, or drunkenly married a new acquaintance at the Little Vegas Chapel in front of an Elvis impersonator.

Herodotus tells a story of Histiaeus, who ruled Miletus in late sixth century BC and who, needing to communicate with Aristagoras, shaved a trusted slave’s head, tattooed the message on the slave’s scalp, and waited for the hair to grow back before sending him to Aristagoras. Aristagoras, in turn, shaved the slave’s head to reveal Histiaeus’s message encouraging him to revolt against the Persians, which, apparently, Aristagoras did. Steganography is the Greek word for the art of hiding messages—as opposed to, for instance, encrypting them. In Greek the word means ‘concealed writing’. Most messages are hidden within other, larger, benign-seeming chunks of text. The existence of the secret message is a secret. We don’t know to go looking. Perhaps telling and not-telling are not what we think they are. Perhaps experience could be placed in narrative for safekeeping, hidden in it, not to be buried, or rendered unknown, but to be preserved so as to be revealed in a different kind of story.

Eh? How 'bout that?" Bill nudged her. "Did I promise to show you love or did I promise to show you love?" "Sure,they seem like they're in love." Luce shrugged. "But-" "But what?Do you have any idea how painful that is? Look at that guy. He makes getting inked look like being caressed by a soft breeze." Luce squirmed on the branch. "Is that the lesson here? Pain equals love?" "You tell me," Bill said. "It may surprise you to hear this,but the ladies aren't exactly banging down Bill's door." "I mean,if I tattooed Daniel's same on my body would that mean I loved him more than I already do?" "It's a symbol,Luce." Bill let out a raspy sigh. "You're being too literal. Think about it this way: Daniel is the first good-looking boy LuLu has ever seen. Until he washed ashore a few months ago, this girl's whole world was her father and a few fat natives." "She's Miranda," Luce said, remembering the love story from The Tempest, which she'd read in her tenth-grade Shakespeare seminar. "How very civilized of you!" Bill pursed his lips with approval. "They are liek Ferdinand and Miranda: The handsome foreigner shipwrecks on her shores-" "So,of course it was love at first sight for LuLu," Luce murmured. This was what she was afraid of: the same thoughtless,automatic love that had bothered her in Helston. "Right," Bill said. "She didn't have a choice but to fall for him.But what's interesting here is Daniel. You see, he didn't have to teach her to craft a woven sail, or gain her father's trust by producing a season's worth of fish to cure,or exhibit C"-Bill pointed at the lovers on the beach-"agree to tattoo his whole body according to her local custom.It would have been enough if Daniel had just shown up.LuLu would have loved him anyway." "He's doing it because-" Luce thought aloud. "Because he wants to earn her love.Because otherwise,he would just be taking advantage of their curse. Because no matter what kind of cycle they're bound to,his love for her is...true.

the way a boy with tattoos can linger… the way i'd trace my fingers so slow down your forearm over every inch of your tattoos, just taking in your skin, letting it tell me all your stories, even the ones you couldn't say… i'm terrified i'll always miss that.

All of your artwork — in your home and work, on the canvas of your skin, and on the clothing you wear — is part of your living vision board. It sends profound energy and information to the Universe that reveals your strengths, your weaknesses, your victories, and your pain. Rather than simply tell a story of your past that will be recreated, you can energetically design your art as a tool for attracting what you want. In doing so, you begin to attract your heartfelt dreams and goals with far greater ease.

I am grappling with fullness and emptiness and the unnameable something that could change everything. I am thinking of spells chosen, not cast, of polarity, of clear mirrors. I wonder at how the body can brace itself and choose surrender all at once. I contemplate the way Ink bleeds through from one page to the next, and how all the stories do this really, the way the lines of my tattoo soften into my skin over time. The way all lines blur in the end. I hold the language and complexity and sovereignty of my yes. I imagine the spaces where sacred and tender and profane and primal meet and dance. The intimacy that exists between us and how it takes me by surprise every single time. I dream of the way a future want can also feel like a memory lived, where the body inexplicably knows what it has not yet experienced. Of the way that the doing and the undoing of me are sometimes the very same thing. Of the hunger of my skin and my holy pleasure and the turning inward and the space where they collide. Of lighting seeking ground. Of the first taste of coffee in the morning and the way my body unfolds into it. Of the infinities of her and how and where I might one day find and taste them. How sometimes, when I dive into the root of what my lonely feels like, it is just that the light is so beautiful here, and I want someone else to feel it with me. Do you feel it? Tell me you do. Please. Tell me you do.

Is that him?” Matt asks from right beside my shoulder. His chin is almost resting on my shirt, and I don’t try to move him away. “You know?” I ask. He nods. “I’ve always known.” “What?” The breath that I was holding escapes me in a rush. “Friday and I used to spend a lot of time alone together in the shop.” He shrugs. “We talked.” “About that?” I can’t believe she told him. “When Pete did her tattoo,” he says. He looks at me sheepishly. “We both knew. We didn’t and still don’t know details, but we knew she had a kid.” “Why the fuck didn’t you tell me?” I’m irked. I can’t help it. He shrugs. “Wasn’t my story to tell.” I wish someone had fucking told me. “You were so busy trying to get into her pants that you didn’t really get to know her. Not the real her.” “That’s not true,” I sputter. “Yes, it is.” “No, it’s not.” “Yes. It. Is.” He glares at me. “You saw the glam girl that everyone else sees.” “There’s so much more to her than just that.” “You were fucking Kelly, so you didn’t really have room for anyone else.” He’s right. I scrub a hand down my face. He’s so right. “Okay,” I say. “He’s cute,” Matt says. He nods toward the audience. “Her son. He looks like her.” “He’s a lot like her. In a lot of ways.” “Is he the reason she stopped talking to you?” Matt asks. “Sort of.” I scratch my head. “You think she’ll talk to you today?” “I’m not going to give her a choice.” He squeezes my shoulder. “Good.” He looks at me for a minute, blinking those blue eyes at me. “Anything worth having is worth fighting for.” I fake a punch to his shoulder. “I’m coming out swinging,” I say.

Why don’t you have a girlfriend, Matt?” I ask. And I really want to know, because it’s unfathomable to me that he’s single. He’s handsome, and he’s so kind. He shakes a finger at me. “There’s a story there,” he says. I settle into the sofa a little deeper and turn so that my feet are pointed toward him, my legs extended. My toes almost touch his thigh. But then he lifts my feet and slides under them, scooting closer to me. “I was in love with a girl. For a long time.” “What happened to her?” I ask. He starts to tickle across my toes, and then his fingertips drag down the top of my foot. It’s a gentle sweep, and it feels so good that I don’t want him to stop. His fingers play absently as he starts to talk. “When I got the diagnosis,” he says, “she couldn’t deal with it.” “Cancer?” I ask. He nods. His fingers drag up and down my shin, and he slides around to stroke the back of my knee. I don’t stop him when his hand slides beneath my skirt, although I do tense up. He smiles when he finds the top of my thigh-highs, and he unclips the little fastener that attaches them to my garters. He repeats the action on the other side, his hands teasing the sensitive skin of my inner thigh as he frees the stocking and rolls it down. He pulls it all the way over my foot, and does the same with the other side. I am suddenly really glad I shaved my legs this morning. I wiggle my toes at him, and he starts to stroke me again. I don’t ever want him to stop. “This okay?” he asks. But he’s not looking at my face. He’s looking at my legs. “Yeah,” I breathe. “Keep talking. You got diagnosed…” “I got diagnosed, and the prognosis wasn’t good. I went through chemo and got a little better. But then I needed a second round. Things didn’t look good, and we were flat broke. I couldn’t work at the tattoo parlor anymore because my immune system was too weak, so I had no money coming in. I was poor and sick, and she didn’t love me enough to walk the path with me.” He shrugs, but I can tell he’s serious. “She cheated with my best friend.” He shrugs again. “And that’s the end of that sad story.” “You still love her?” I ask. I don’t breathe, waiting for his answer. He shakes his head and looks up. “I did love her for a long time. And I haven’t been looking for a relationship. I haven’t dated anyone since her. But I’m not in love with her anymore. I know that now.” “Why now?” I ask. He looks directly into my eyes and says, “Because I met you, and I feel really hopeful that you’ll want to go after something real with me. I know we just met and all, but I was serious about making you fall in love with me.” He laughs. “Then you hit me in the nose tonight, and I knew it was meant to be.” “What?” I have no idea what he’s talking about. “When my brother Logan met Emily, she punched him in the face. And when Pete and Reagan first started dating, she hit him in the nose.” He reaches up and touches his nose gently. “So, when you hit me tonight, I just knew it was meant to be.” He grins. “I hope you feel the same way, because I really want to see where this thing is going to go.” “So the women your brothers fell in love with, they committed bodily harm to them and that’s how you guys knew it was real?” “We kind of have a rule. If a woman punches you in the face, you have to marry her.” He laughs. “I didn’t punch you.” “Same difference,” he says. “That’s my story and I’m sticking to it.

Then perhaps you don’t need it. I think the scar gives you character, even if it does mar those pretty tattoos. Would make for great tavern stories if you didn’t cover it.” Neferre laughed flatly and stuck her hands in her pockets. “There’s nothing great about getting mugged, Ziro.” Ziro laughed, her deep voice jiggling her second chin. “Oh, aye. But no one said you had to tell the truth now, did they?

have scars.” “So do I. Scars are tattoos that tell a story. Your scars, Kitten, only make you more beautiful.

We are shaped, in a way, by our earliest primitive memories and sensations that come through the skin. Later in life, the skin becomes not only the receptor of rich and constant sensory input, it also serves as a kind of organ of communication through which we both experience and express tenderness and pleasure and, alternatively, hurtfulness and pain. And in a thousand different societies—ancient and modern, technological and preliterate—the skin has been manipulated, decorated, scarred, revealed, hidden, tattooed, cut, and branded to communicate standing, prestige, status as a warrior or wife or slave, and attainment of adulthood. Skin communicates. Skin signals. Skin tells a story.

I don’t think she likes my tattoos, and I’m very different from her husband.” Quinn rolls his eyes. He’s far too smart for his age. “I think your tattoos tell a story, maybe she should learn to read.

I think your tattoos tell a story, maybe she should learn to read.

How did you two meet?” she asks. She tilts her head to the side. Something tells me that she already knows the story, but her husband has set aside his Blackberry and is listening now. Emily looks up at me and blinks her pretty brown eyes. “I went into his tattoo shop to get a tattoo.” She grins. “And he put the moves on me.” She nudges me in the side. “Can I tell them what happened next?” I can feel her laughter against my side. “She punched me in the face, Mrs. Madison.” I reach up and absently stroke across my nose. “He tried to put the moves on me, and I was angry.” She shrugs, but she’s still laughing. “I’ll never forget the look on his face.” “One minute I think I’m going to get to spend some time with a pretty girl,” I say. Emily squeezes my hand when I say “spend some time” because we both know I tried to lay her, just like I used to do with every woman I met. “And the next, she breaks my nose.” Emily laughs. She tugs my sleeve until I look down at her. “You never tried that move on anyone else, did you? After that?” “You cured me of that particular move,” I say. I laugh because it’s funny now. It wasn’t nearly as funny then. It fucking hurt. “Was it love at first sight?” her mom asks. I look down into Emily’s eyes. I was intrigued by her the moment I saw that tattoo she wanted. There was so much in that drawing that made me want to get to know her. But she wouldn’t let me. “It was almost instantaneous for me,” I admit. Trip jabs a finger toward his throat like he wants to make himself throw up, but I think I’m the only one who sees it. “It took me a little longer,” she says.

A wandering Taoist who for sake of this story we shall call Golden Sunlight At Deaths Dawn arrived in a town in the state of Wu. He was dressed quite shabbily. He looked a sorry thing. His hair was unkempt and his strange tattoos could hardly be seen for need of a wash. When he looked at people it was as if he could see right through them. Rumours of his mysterious abilities travelled afar. It was said that he could heal the sick, that he could catch ghosts, that he could read minds and that he could kill with just a look. One day he even defeated a master swordsman with just a tea cup held in his hand. The sword made from a long-lost art of metal forging was unbreakable they said, but the cup was slid only once along the blade guiding the sword tip into the ground, then with a slight tap of the cup the blade was shattered. He would teach those who would listen and ignore those who didn’t. One day he was approached by a rich merchant who threw a bag of silver at his feet, ‘Tell me about the art of effortless living,’ he said. Golden Sunlight At Deaths Dawn sat down and opened the bag of silver. He gazed at the money for some time, and with a heavy sigh he replied, ‘Only the dead know of this art.’ ‘Is that it? That is your answer?’ the merchant replied sharply. Not wanting to be outdone he then asked, ‘Do the dead know the highest Truth?’ ‘A blind man fights ghosts in daylight. The dead don’t know of death. The Truth remains silent,’ replied the Taoist as he handed the bag of silver back to the merchant.

In a time like that, who needed a circus? The halo was a circus in itself. Circus was in the streets. It was inside people's heads. Eat fire? Everyone was a fire-eater. Everyone had geek genes and a story to tell. Sentient tattoos made everyone the Illustrated Man. Everyone was high on some flying trapeze issue of their own. It was the flight into the grotesque. The tusked cultivar on Electric Avenue, the twink curled foetally in the twink-tank: whether they knew it or not, they had asked and answered all the questions the universe could support for now. They were their own audience, too.

The rain had not stopped for a week, and the roads that led to the inn were little better than rivers of muck. This, at least, is what Captain Frost said when he tramped indoors, coated in the yellow mud peculiar to that part of the city and hollering for his breakfast. The rest of the guests sighed. Perhaps today, they had thought. Perhaps today, their unnatural captivity would end. But the bellowing man calling for eggs and burnt toast meant that, for another day at least, fifteen people would remain prisoners of the river Skidwrack, and the new rivers that had once been roads, and the rain. No wonder Georgie had thought he might like it. Substitute snow for rain and subtract a few people and the author might’ve been writing about Greenglass House. In the book, however, one of the guests, a man named Phin, suggested that they pass the time by telling stories. “In more civilized places, when travelers find themselves sharing a fire and a bottle of wine, they sometimes choose to share something of themselves, too,” Phin told them. “And then, wonder of wonders—no strangers remain. Only companions, sharing a hearth and a bottle.” The wind and rain rattled the windowpanes as the folks gathered in the parlor looked from one to the next: the young girl in her embroidered silk stole; the twin gentlemen with the tattooed faces; the gaunt woman with her nervous gloved hands constantly moving; the other woman, gaunter still and hidden beneath two layers of voluminous shawls, whose red-brown skin showed in small flashes when her wraps did not quite move along with her. “If you will listen,” Phin said, swirling his glass, “I will tell the first tale. Then perhaps, if you find it worth the trade, you will give me one of yours. Listen.

The challenge of separating fact from fiction in retelling the Oatman saga has not been easy. Debunking the rumors that swirled around her in life and death is a fairly simple matter of fact checking; distinguishing between what she truly experienced in captivity and how Stratton presented it in Captivity of the Oatman Girls, the biography he ghostwrote for her, is more challenging. But by analyzing Stratton’s motivations in telling her story, his knowledge of and attitude toward Indians and his theological and colonial vision of the West, and by examining the passages in Captivity of the Oatman Girls that are provably false, a clear pattern of manipulation emerges, and it is possible to disentangle—to a degree—his story from hers.

From every wound, there′s a scar, and every scar tells a story. A story that says you survived. A scar simply means you were stronger than whatever tried to hurt you. Besides, scars are just tattoos with better stories, as they are God given tattoos.

Is there any way you could find some goat cheese for me? In the past, Natalie would have made a funny comment about how Ashley could convince anyone of anything. She may have even retold that story from the early years of BloBrush, when Ashley had sat in the QVC lobby for hours until she won over the cranky receptionist with the colorful tattoo sleeves, who ended up getting Ash five minutes with the woman who decided which products went on air. Natalie teased her about how cocky she’d been as she’d packed her oversize bag that morning, filling it with granola, bottled water, and magazines. I’m not leaving until I talk to someone, Nat. Nat would say that part in the nasally voice she used to imitate her, the one that always made Ashley laugh. But she didn’t do any of that last night. Instead, she’d stared at Ashley as she slowly chewed her beet salad with pine nuts and pondered how she’d ever thought it was funny that Ashley manipulated people everywhere she went—that it was so ingrained in who she was that even Natalie wasn’t sure she could tell the sincere from the fake anymore.

The story I have to tell is truly a strange one, and were the entirety to be tattooed at the corner of one’s eye, the marvel of its presentation would not exceed that of the events recounted, for it is a warning to those who would be warned and a lesson to those who would learn.

two other guys saunter over to our table. One of them has closed-cropped light brown hair, and his demeanor makes it clear at a glance that he’s thrown back a couple drinks already. He leans his forearms against the side of our table and rests his gaze on me. “Darren,” he introduces himself. “What’s your name?” I’m about to politely tell him that I’m not interested, but before I can say anything, a much lower, colder voice addresses itself to Darren. “Hey, buddy.” The tone of those words is enough to make Darren’s back straight as a rod in an instant. He turns around to find himself face to face with a six-foot-four, tattooed mountain of muscle. Hudson drills him with a glare sharp enough to cut through solid rock. “You’re talking to my girl.

ANASTASIA: “Your tattoos tell a story too. The skull on your back, the black widow on your neck, the bloody axes, the broken heart—all intermixed with the sexy women. You try to paint yourself as some badass, but I see the truth. You’re not just the easygoing live-and-let-live guy. In reality, you’re more like a jaded, brokenhearted little boy who lost his momma way too early and who has a giant, sensitive, although scarred, heart that has been hurt too many times.

People think a tattoo is an act of rebellion or something, but, actually, it’s a form of storytelling. That’s what most customers come in for—not just some random image or word in ink. They come because they have a story to tell.

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