
Short Fiction
Devoted
Rosy Adams
January sunshine slants through the glass roof, illuminates the steam rising from the pool. It’s busy. The tail-end of school holidays. Teenagers display to each other, and to the fit young lifeguard on his dais. Small children splash and scream, pairs of older women swim up and down, a leisurely breast-stroke, chatting as they go.
Ginny sits on the side, feet dangling in the water. The air is a warm fug of stale breath and chlorine. She longs for the crisp snap of frost outside.
This is her New Year’s resolution: lose weight, get fit, tone up those flabby arms and legs. Starting with swimming, so she can hide her hideous body beneath the water, until she shrinks to the point she can bear to be seen at the gym.
She should be swimming lengths already, but it’s busy. She’ll sit here a while longer, wait for some space.
She’s the only one who notices the woman walk in and stand on the other side of the pool. Fully dressed. Looks like she just stepped off the cover of Vogue. Clearly not staff. Not in this ageing, council-run leisure centre.
All she does is stand there, intent, gazing into the water. Narcissus falling in love with his own reflection.
Narcissa.
Narcisse, perhaps. She’s stylish like a Parisienne.
Get a grip, Ginny. You spend way too much time in your head. That’s what her husband says, although he wouldn’t say it to this woman. He tells beautiful ladies whatever he thinks they want to hear. She should know. She used to be one.
The woman steps out of her heels and slides the tailored fawn jacket from her shoulders. She moves slowly, each movement a meditation, folding the jacket, placing it over the shoes.
Ginny expects the lifeguard’s whistle to sound any moment, but he’s busy watching the teenagers, especially the girls, newly aware and proud of their burgeoning curves, striking poses and side-eyeing the boys.
He should be having a laugh with them but his mum made him get this job. Stay out of trouble, save up for uni in October. He hasn’t told her he’s not going back.
He catches the movement from the corner of his eye. The woman bending down to place the jacket. She straightens, undoes the matching skirt, lets it slither over her hips. The lifeguard feels dizzy. He realises he’s holding his breath, lets it out in a quiet whoop.
She unbuttons her blouse and it seems to him it takes hours, each button a slo-mo scene, a porno build-up. His whistle dangles on a cord around
his neck, forgotten.
She sloughs off shimmery tights, snake-like, revealing perfect hairless skin. Ginny admires the long, smooth length of her legs, not sure if she wants to be her or worship her. Even at her slimmest she didn’t look like that, and it comes to her all of a sudden; it doesn’t matter. Her husband will never see her the way he would this woman. He will always make little jokes about her looks, about her size, about her scatterbrained daydreaming self that will never ever be good enough.
Down to underwear now. Understated cream lace hugging the perfect globes of her breasts and bottom. Ginny can’t believe no-one has noticed. She spares a glance for the lifeguard, sees him watching. Like her.
The lifeguard knows he should get up, blow his whistle at least, but he’s immobilised by a sudden hard-on, painfully intense, and he daren’t stand or draw attention to himself. He closes his eyes, concentrates on his breathing, but the after-image in his head is even more erotic than the real thing. He looks at the other side of the pool, at the fat cow squeezed into a black one-piece, sitting on the side. The swimsuit compresses her flesh, pushes it into rolls and curves, and he imagines her naked, a landscape of hills and valleys. His erection tents his swim shorts and he hunches over to keep it hidden, trying to think of something, anything, that might turn him off.
The woman looks up, straight into Ginny’s eyes. She reaches around and undoes her bra strap. Cream lace falls to the floor with a limp flutter; a bird shot through the wing.
It’s just the two of them, as if she’s standing right in front of Ginny, no expanse of water between.
Ginny can’t look away, doesn’t want to look away, but she can hear the hush rippling outward followed by gasps, whispers, muffled laughter.
The woman hooks her thumbs into the waist band of her knickers and pushes them down, revealing a tapered line of dark blonde. An arrow. She is a goddess, and Ginny is her devotee.
She raises her arms, and her breasts pull high, showing the curve of her ribs. Eyes closed, she leaps, arching like a salmon, through the miasma of stale breath and chlorine, into the water.
The swimmers fall back to the edges of the pool, a collective held breath, waiting for her to surface. When she doesn’t come back up the lifeguard realises he has to act. He dives, strikes downwards, eyes open, scanning, despite the chlorine sting. He can’t see anyone. He surfaces, takes a breath, dives again, and this time he’s sure. She’s not there. He climbs out, thinking she must have swum underwater to the side.
Ginny is sure the woman never came out of the pool, but she can see clear down to the bottom and there’s nothing there. She stands, walks to the other side, and while everyone is distracted by the lifeguard’s attempted rescue, she picks up the discarded pile of clothes and walks out.
When she gets home, she goes straight to the bathroom and locks the door. She shakes out each thing, holding it up against the light, then refolding it with care. She can’t resist burying her face in the blouse, inhaling. A hint of vanilla, a tang of fresh sweat under the arms.
Last, the shoes. Stiletto heels, fine cream leather edged with Swarovski crystals. The bold scarlet soles are slick to touch, and she has a sudden urge to lick them from toe to heel. Disturbed, she puts them on the floor, away from temptation.
But it couldn’t hurt to try them on. She dares to slide a foot into one. It won’t fit, she’s sure of it, but the shoe is snug as Cinderella’s slipper. She puts on the other, stands with a hand on the wall to steady herself. She never wears shoes like this. She moves across the floor, and the effort of balancing gives her walk a slow sway.
She takes them off, hides them in the back of her wardrobe. The clothes go in a drawer beneath a pile of shabby t-shirts.
That night, she lies awake. Her husband snores, one meaty arm thrown across her. She replays the moment, the bow of the body slicing into the water. She edges away from her husband, and when there’s sufficient space between them she licks two fingers and slides them between her legs. She replays the scene, slowing it down, zooming in on every little detail. She strokes and circles until she sees in her head, the woman looking up, meeting her eyes, and her back arches in a shuddering whole-body climax, lips clamped together to hold in her cries, not wanting to share that moment with anyone, particularly not the man lying by her side.
Across town, the lifeguard is twitching and mumbling in his sleep. He is dreaming of the woman, of finding her body, weeks later, pale and bloated. No-one else is there and he has to drag her out of the pool on his own. Her flesh feels spongy and her hair tangles around his wrists. He pulls away, but finds himself in his lifeguard’s chair again, the pool full of people, the woman beginning to take off her clothes. Again, the hard ache of erection, again he dives in, and this time the water is warm and all-enveloping, pulsing, amniotic fluid, and there’s a vast clenching within and without.
He wakes in a tangle of duvet, sweat-damp, rapidly cooling cum all over his belly and thighs.
When he gets to work, the woman in the black one-piece is sitting on the side, like before. She looks up, catches him staring, then goes back to gazing across the pool. He realises she’s watching the place where she stood.
She sits on the side for the full forty-five minute session. Normally, he would have thought she was mental, but he’s doing the same thing.
Sitting.
Watching.
Ginny can’t say why she goes back, why she sits and stares at the place. When she looks up, sees the lifeguard staring, she’s sure he feels it too.
They are the echoes.
Ginny dawdles in the changing rooms, waits until everyone else has left. The woman’s clothes don’t fit, but she has a dress, one she has never dared to wear before. A heavy, shimmery jersey material, red like the soles of the shoes, with diamanté buttons.
Each step is a prayer, a conscious movement, gauging balance and grip on the slippy tiles. She sways out of the changing rooms, peeking into the main pool area. The lifeguard is there, standing on the edge, where she stood. The water is a flat blue sheet. Without the daytime ripple and splash, it’s like a photograph. Ginny walks to her place, opposite the lifeguard.
He looks up.
She steps out of the shoes, keeping her eyes on his. Undoes her dress, slow, button by button. Lets it slide off her shoulders and puddle on the tiles. Nothing underneath.
The lifeguard is wondering why he called her a fat cow, even in the privacy of his own thoughts. She is glorious. The pool lights gild the curve of breast, hip, thigh, and the hair between her legs is a dark swirl, unmapped.
As he watches, she raises her arms and dives into the water. He knows what to do next. He pulls off his clothes, jumps in without a thought. They meet beneath the surface. Lips, hands, skin pressed against skin, breath held until the frantic pumping of their hearts forces them to the surface, water and tears streaming down faces, hair seal-slick.
This is the beginning.
The first devotional.
Rosy Adams
Liminal Press Interview
LP: What was the first image or moment that sparked Devoted for you?
RA: Two things. Originally, this story was set in the main pool of the Roman baths in the city of Bath. The pool is surrounded by limestone columns but it’s open to the sky. The image of the steam rising from the water and the particular quality of light on a sunny day in winter. The setting changed to a swimming pool after I read a brilliant story by David Foster Wallace, ‘Forever Overhead’, but I wanted to keep that image, although now the light slants through a glass roof.
The other thing is the story of Echo and Narcissus. Narcissism is a kind of self-obsession, but in the original story Narcissus didn’t realise he was looking at his own reflection. He saw a beautiful stranger in the water and was so entranced he gazed at his reflection until he died. Echo was a mountain nymph who had been cursed to only repeat the words of others, which is where the word ‘echo’ comes from. She fell in love with Narcissus but could not speak to him. Originally, I wrote in the first person with an unnamed narrator who was intended to be a version of Echo.
LP: Did anything surprise you while writing it?
This has been through a number of rewrites, and the most surprising thing was how it evolved in the final draft. I think in previous drafts I was trying to fit a mould. At first, I was trying to write a very literary short story. Then, I made it explicitly supernatural but that didn’t work. Finally, I rewrote without trying to make it anything in particular. I gave myself permission to be as weird and transgressive as I wanted, and with that the story took flight. Now, I think it’s one of my favourites!
What’s your favourite detail or element in the piece: the one you’d fight to keep?
The ending. The whole story builds up to that ending, and it’s an echo of what happens earlier. It’s not something I had consciously in mind while writing, but it calls back to the story of Echo and Narcissus, my original inspiration.
Did you write specifically towards that ending, or did you discover it as the story progressed?
Although this story has been through multiple rewrites, the ending is new, and it was a complete surprise! I rewrote from the beginning, keeping some elements virtually unchanged - the woman walking in, taking off her clothes, and diving in is almost word-for-word the same. I changed the point of view to third person and I brought in the character of the lifeguard. I wrote beyond the point where earlier versions ended, and from there, each paragraph laid the way for the next until I reached the end.
What does ‘the woman’ represent? Is she real, imagined, symbolic?
I’m fascinated with the idea of the genius loci, the spirit of place. The woman is real, in that everyone can see her - although not everyone notices her at first.
She’s symbolic in the sense that we can see someone and then create meaning based on our own beliefs and experiences. Whoever she is and whatever reasons she has for being there are unknown.
If I was giving someone a writing exercise I would say ‘write the scene from her point of view’. It would be so interesting to read what someone else could come up with! I like the idea that she’s a goddess, the genius loci of the swimming pool, and she has manifested to inspire followers who will worship her, but I also like the idea that she’s just a random woman, and yet she’s provoked such reactions in the two main characters.
We don’t meet her again after that pivotal scene and this leaves an element of mystery over the story. It completely changes the mood of the story. Again, was this always the intention? Did that character evolve in your planning, only for you to edit her?
In the first version of this story there’s a mention of her surfacing, her hair slicked by the water, but she was always meant to be a mysterious figure. We never learn who she is or why she’s there. I changed it so she doesn’t reappear after going under the water, and I think that ambiguity is important. I wanted it to be the sort of story that lingers in your mind, the sort of story that makes you wonder.
What else are you exploring in your work right now?
‘Devoted’ is one of a collection of short stories which isn’t yet published. They are mostly set in our world in the present day, but disrupted by myth and fairy tales. I seem to have written a lot of transformation, both literal and metaphorical, which mirrors my own life in a way.
A combination of various life changes, and peri-menopause, which is equivalent to puberty in how much it derails you. I used to say I’d never do life-writing, writing about myself was the last thing I wanted to do. I wanted to make things up, that was the whole point. But I’ve since realised that we can’t not put ourselves in our writing, and I’m okay with that.
Rosy Adams is a writer and editor from Powys who draws inspiration from myth, fairy tale and the natural world.
She was part of Representing Wales 2022 and Hay Writers at Work 2025.
Rosy is co-founder and editor of (un)common magazine. Her writing has been published in Queer Life, Queer Love (Muswell Press, 2021), (un)common: anthology of new Welsh writing (Lucent Dreaming, 2024), These Pages Sing, Poetry Wales and Folding Rock, amongst others.
She is working on a fantasy novel which will be published by Seren in October 2027 and has a finished collection of short stories for which she hopes to find a publisher soon.

