The Medley

is a twice-a-year literary journal run by the students of Hansraj College, University of Delhi. It is a repository of stories, poems and essays sent to us from around the world since 2018.

The Woman Who Bled Ink

It began the day she stopped using black pens. At first, she thought it was a trick of light, how the letters on the page shimmered faintly red, as if embarrassed by their own honesty. But soon, the colour deepened. Her notebook grew feverish. Her words began to clot.

She didn’t bleed from her body anymore, only through paper. Every sentence was a small incision, every comma a gasp. When she wrote, the world thinned — she could hear the hum of something ancient in her veins, something that refused to die quietly.

At night, her fingertips darkened. The skin there never healed right. She pressed them to her mouth and tasted rust, desire, something holy and unclean. Her diary became a confessional, her body the penance.

People told her to stop. To rest her wrists. To stop letting language eat her alive. But she couldn’t. Every word was a pulse, and without it, she was nothing but silence rotting in real time.

Once, she tried to write about joy. The page stayed white. But the moment she whispered grief, the letters spilled like fresh blood, eager, relieved. As if language had been waiting for permission to hurt.

She began keeping the pages in jars, thinking the glass might contain the ache. But even sealed, the ink shifted, blooming in the dark, like bruises remembering where they came from.

Some nights, she dreamt of a sea made entirely of ink, thick and red. She stood in it up to her throat. Each wave whispered names she had forgotten, each tide pulling her closer to what she feared: being seen completely.

When she woke, her pillowcase was stained. Her throat ached from words she hadn’t spoken. Still, she wrote. Because what else do you do when your body turns into a story?

And when the pain came — that familiar throb of something too large to name — she threw roses into the abyss to thank the monsters who didn’t succeed in swallowing her alive.

Because she had learned to bleed without dying. Because she had turned the wound into scripture. Because red was never just a colour, it was the only language that ever told the truth.

Tithi Karmakar

Tithi Karmakar is a Gender Studies master's student at Ambedkar University Delhi. With a background in philosophy, her writing often explores the intersections of gender, memory, and the body through introspective and sensory narratives. Her work moves fluidly between the personal and the political, often lingering in the quiet, complicated spaces between both. When she isn’t writing, she’s usually rewatching old films or chasing strange metaphors for love.