Eel-evation

Deep weirdness in a slinky state

Today, I learned that eels are fish. This was a disappointment. I knew of fish, I knew of snakes, yet I always assumed eels were some secret third thing. But, nope, they’re just fish. Or are they? A little digging revealed that eels are deeply weird fish, and to my great satisfaction, the secrets I sensed in them run stranger and deeper than their “fish” label suggests.

Since you’ve made it this far without bailing, let me share a few of the most fascinating things I uncovered in my brief dive into eelology.


Let’s dive right in: we don’t really know where eels come from. Which is strange, because they’re everywhere—rivers, lakes, oceans. We only have the faintest sense of where they spawn or how. Their lives remain partly hidden, and that blank space has always invited stories.

Aristotle thought they slithered out of mud, giving the primordial ooze its first big break. Another tale claimed they rose from sea foam, like a grotesque remix of Aphrodite’s birth. Japanese folklore said eels began as earthworms blessed by the summer moon—plausible enough, if you consider being transformed into something both hideous and delicious a blessing. For millennia, our relationship with eels was governed by fables and speculation. Eventually, real science needed to step in.

One spat of scientific interest in eels came at the end of the 19th century. Scientists, lit up by the potential of Darwin’s new theory of evolution, believed they finally had the tools to crack the case: where eels mated, where they were born, where they went to die. They observed. They dissected. And time after time, they kept hitting dead ends.

Here’s the story of one such wall. The year is 1876, in the port of Trieste, Italy—then part of the Austro-Hungarian Empire. In a small lab, surrounded by jars of eels, briny seawater, and plenty of slime, a young zoology student works under orders from his doctoral advisor. His task: to solve the mystery of eels by capturing live specimens from the harbor and dissecting them in search of testes. (The sexual mysteries of eels were anatomical as much as behavioral.) Day after day, he probed and sliced, logging hours at the dissection table. Four months later, he left empty-handed, without so much as a glimpse of a gonad. Upon his departure he wrote: “All I see when I close my eyes is the shimmering dead tissue, which haunts my dreams…”

That student was Sigmund Freud, who later established psychotherapy as a discipline, using dream interpretation to uncover the hidden sexuality of his patients—truths beneath the surface that, like eel gonads, couldn’t be found through straightforward empirical methods. To overstate it: Freud went a little screwy looking for eel balls. (Or maybe he was already screwy enough to go looking for them.) The psychological case study almost writes itself: the same hidden drives that pushed a young researcher to spend four months searching for eel testes might also fuel a lifetime of theories about libido, repression, and desire. The link is tenuous, of course, but it’s fun to imagine the past 150 years of psychotherapy springing from Freud’s failed eel dissection project.

All these years later, no one has ever seen an Anguilla eel do the nasty. But scientists think they’ve at least found the place where it happens: a single location on earth where, strangely enough, no adult eel has ever been spotted. Deep in the Atlantic lies the Sargasso Sea—the only sea without land boundaries, defined instead by four great currents. Eels are born, quite literally, in the Bermuda Triangle.

The mystery cracked a little in 1896, about 20 years after Freud’s attempts, when Italian zoologist Giovanni Battista Grassi found a mature male eel with testes and sperm. He also linked a strange, transparent fish called the Leptocephalus to the eel, noticing they shared the same oddly high number of vertebrae. Long thought to be its own species, the Leptocephalus turned out to be the eel’s larval stage—a dramatic transformation we’d never witnessed, since it happens far below, in the deep ocean.

Here’s what we now know: Eels begin as tiny, glassy specs suspended in the Sargasso’s deep blue. They drift for years, feeding on “marine snow” as currents carry them westward. By the time they reach Europe, they’ve transformed into glass eels—longer, flatter, translucent, with a defined backbone.

Then comes the climb out of the ocean. Glass eels push upstream into estuaries, crawling over rocks and mud to find fresh water for their next metamorphosis. There, they shift again into elvers. The translucent jelly of their body becomes speckled with pigmentation and they develop an insatiable appetite. After a couple of years they bulk up into yellow eels. This adolescent form is the familiar eel seen wriggling in ponds, drawn up from wells, or fished from rivers. Eels can linger in their yellow form for decades, but eventually nature calls them to the ocean again.

Upon their last metamorphosis, eels begin “silvering”: shedding their color for black and chrome. It is now time to head to the ocean to breed. Their eyes get larger to be able to see better in the depths. Their stomach dissolves—won’t be using that. And finally (poor Freud), the eels’ sex organs develop. The eels swim thousands of miles back to the Sargasso, where they release billions of eggs and sperm into the Bermuda Triangle and die. Their young hatch as tiny glass specs adrift in the currents, and the cycle begins again.

So the next time you order unagi and salmon rolls, think about how the paths of their lives mirror one another: salmon spawn in rivers, live in the ocean, then fight their way back upstream to lay eggs, while eels do the reverse—born in the ocean, maturing in rivers, and returning to die in the deep. Upstream versus downstream, legible and knowable versus hidden, lost, and dark. The life of an eel resists any tidy narrative, transforming from one strange and anomalous form to the next, only to vanish back into the depths that made it. But I digress. What comes from nowhere should also end nowhere, so I will stop here.


This post is majorly informed by this video. I watched it a few nights ago in a spat of insomnia and could not get it out of my head. Now, I’m dragging the rest of you along with me. I probably got a couple things wrong. Thank you for reading 1,000 words about eels.

Frank Chimero Designing & writing

Hi, I’m Frank Chimero, a designer from New York. Currently, I’m on sabbatical walking NYC, investigating new creative tooling, and researching Brian Eno’s collaborations with machines.

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Portrait of Frank Chimero

The Shape of Design A short book for new designers about the design mindset

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Writing Selected essays
and lectures

An anvil tied to a balloon
Everything Easy is Hard Again Is it twenty years of experience in tech or five years, repeated four times? 2018
A grid of wood cubes
The Web’s Grain Design by thinking inside the box model 2015
Time lapse image of a galloping horse
What Screens Want Design as choreography instead of composition 2013
A rose growing out of a pile of dirt
Only Openings Some problems must be tended instead of solved. 2014
Two torn pieces of paper matched together
Designing in the Borderlands Designer as translator, integrator, and merchant of ideas 2014

Blog 2009–?

About CV and bio

Hi, I’m Frank Chimero, a designer and writer from New York.

Previously, I was Creative Director and Head of Brand at the payments platform Modern Treasury. Before that, I co-founded and led design at Abstract, a design workflow and knowledge base startup that was later acquired by Adobe.

I also spent fifteen years running a solo design studio and consultancy, designing across product and brand for technology and media companies. Clients include Facebook, Microsoft, Nike, The New York Times, The Atlantic, and many early stage startups. I helped design a few things during that time you’ve probably used, from NPR’s online audio player to Wikipedia’s article pages.

In 2012, I wrote, designed, illustrated, and published The Shape of Design, a little book for new designers about the design mindset and making things for other people. Since the book’s launch, it has become a staple text in design education and found an enthusiastic audience beyond the design community.

I have a big love for museums, beat-up pocket-edition paperbacks, ambient music, antique JRPGs, and Phil Collins. (Nobody’s perfect.)

Experience

  • Sabbatical
  • Creative Director and Head of Brand Modern Treasury
  • Creative Director Fictive Kin
  • Self-employed Studio Frank
  • Co-Founder and Head of Design Abstract (acq. Adobe)
  • Self-employed Studio Frank

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Awards

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  • New Visual Artist Print Magazine

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