In Which the Longfin Eels Lament My Lesbian Situationship
She could call them out
more reliably than anyone:
pale wrists offered up to the Avon,
palms outstretched, searching
for their soft skin
in the gloom.
Perhaps the secret
was plum-scented.
I get a taste of it as I lift her hair
away from her neck, caught
in the collar of a cream blouse.
We were dressed for piracy
that night, her eyes wide
and dark like
a Homeric sea.
Or, really, more like the Kraken
we downed to fortify us
before Christmas drinks
with our coworkers.
We barely made it out
of that escape room alive.
Later, a river black as molasses
carves our path along the promenade.
It’s here she suggests
we go back to her parents’
for an absinthe ritual — and her tone says
heavy on the ritual.
I’ve been there only once before:
a real swamp of a place,
all bevelled glass
and creaking weatherboards
that practically beg
for the salt marshes
to reclaim them.
In the city at night it’s easy to imagine
the river as wanting, neon surface glare
hiding something dusky and sinuous,
estuarine limbs that quest
like an amorous sea monster
across the plains.
We meander back
to the boatsheds
to pick up her things;
the air’s sobered up now
in the easterly wind.
Intimations of anything
further shatter blindingly
in the security light.
Some things are predictable
but we tease at them
again and again, anyway:
like pressing a finger into tender skin, blue-black,
or a hand trailing ripples in the milky film,
finding eyes that gleam gold, and,
beneath the boardwalk,
an uncountable number
of teeth.
Elizabeth Ayrey (she/her, Pākehā) was born in Ōtautahi and now writes from Ōtepoti, where she is undertaking a BASc in Marine Science and Indigenous Studies. Her work also appears in journals including Tarot, fingers comma toes, and The MAP. She was a 2021 winner of the NZ Poetry Society’s International Competition.