Ink of Ages Fiction Prize
Historical & Mythological Short Fiction
World History Encyclopedia's international historical and mythological short story contest
Historical & Mythological Short Fiction
World History Encyclopedia's international historical and mythological short story contest
I live in the United States and am an 11th-grade student. I enjoy reading, writing, and learning about history, psychology, and criminology. In my free time, I play the kalimba and piano. I am fascinated by the power of words, music, and art to tell stories, inspire change, and help us understand the world and the people around us.
"The Ink-Keeper’s Daughter" is set in 1930s British India, in a small Tamil-speaking town. During this time, many Indians resisted colonial rule by secretly producing and distributing protest literature, such as underground newspapers and flyers. People often wrote with fountain pens and, following Mahatma Gandhi’s encouragement, purchased ink from local grinders as a way to protest British imports.
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My father sold voices in bottles.
Small glass pots of ink, lined up like children under a banyan tree, waiting to be uncorked. He said ink was a kind of memory—once opened, it couldn’t be erased. He taught me to grind it. Every morning before sunrise, I would take the stone bowl and crush soot and gum and rainwater until it turned black and smooth.
“Don’t rush it,” he told me, voice slow and steady, “Even stone must be softened before it leaves a mark.”
He never let me go to school. Not because we couldn’t afford it—my brother went—but because India, he said, had sharp edges for girls. “You’ll learn better here, beta,” he told me once, nodding toward the rows of ink bottles.
I did not argue.
At eight, I learned to steady my hand, to trace his letters until they looked like his own. At ten, I learned silence—the kind that could keep secrets safer than locks. At thirteen, I knew the weight of ink well enough to tell when it was too thin to last on paper, too heavy to flow. By then, I understood my father’s trade was less about bottles and more about the words he placed inside them.
By fifteen, those words began to change.
The first man came at dawn. He didn’t ask for pens or pages. He only slid a folded slip of paper across the bench along with a coin. My father read it, said nothing, and opened a fresh bottle. He dipped his fountain pen once and wrote three lines on the back. I caught only one: viduthalai. Freedom.
Others followed.
But never together—and never for long.
I told myself they were poets, or teachers, or men who had forgotten how to spell. But one morning, a flyer slipped out from under a ledger. The wind caught it and opened it flat on the floor. Picking it up, I recognized the heavy scrawl that belonged to my father. I read it twice: “This country is not theirs to own.”
“Our words are louder than guns.”
“We are not afraid.”
The letters were unmistakable. My father’s brush never trembled.
I folded the paper carefully, slipped it back, but my hands would not stay steady. I had always believed his fingers were stained black from ink. But the more I learned, the more I saw the darkness wasn’t only ink—it was fear, pressed into the cracks of his knuckles like a bruise.
The soldiers came just after monsoon season. Two officers in khaki, boots thick with red mud. One lifted a bottle, uncorked it, and sniffed. Another flipped through notebooks. Then one looked at me.
“You grind the ink?” he asked.
I nodded.
They took my father. He didn’t struggle or shout; he only set his brush on the mat, as if he meant to return for it later.
I watched, unable to speak.
That evening, the tree gave no shadow.
My brother came and took the shop sign down. He blamed me for letting them take Father, then for standing still while they did. “It’s too dangerous, Mallika,” he cried. “We must leave!”
But I remained seated.
I lit the lantern and sat on the mat. The stone bowl was still warm from the morning’s grind.
When the first boy came, he did not look at me. He slid a coin under the mat and left a page torn from a school notebook. I unfolded it—the paper was blank—but on the back, in crooked lead:
He is gone. Do we stop?
The ink was dry. I ground more, slower this time, letting the soot stain my palms. Then I dipped in the brush—his brush—and wrote:
The ink still stains after the hand is gone. We are not done.
They kept coming, one by one. Some wore school uniforms. One was barefoot. Another was crying. They brought scraps of paper, torn pages, crumpled letters. I copied words, hid them, passed them back. Sometimes I added nothing at all, only let them see me grind the ink—slow and deliberate—the way my father had taught me. They left carrying more than paper. They carried proof that the words had not disappeared with him.
The soldiers returned a fortnight later.
This time, I was ready.
They overturned the mat, scattered the ink pots, kicked over the bowl. The older one held a flyer and thrust it toward me.
“Who’s writing these now?” he barked.
I looked at the flyer. The ink had bled slightly from too much gum. The letters curled wrong at the edges—like mine, not his.
“I only sell pens,” I told him.
“If we discover who is responsible for these seditious writings, it shall be treated as treason against the Crown, and we will have them killed!”
“I only sell pens,” I told him.
The younger officer gave a sharp shake of his head, turning towards his companion: “An impoverished child cannot be behind this, less a girl. She has no learning, no standing. We waste our time on such people.”
They left, and I waited until the sound of their boots was gone.
Then I gathered the broken bowl, fit the cracked pieces together, and began grinding again.
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