• Skip to primary navigation
  • Skip to main content

Blue Marble Review

Literary Journal for Young Writers

  • Home
  • About
    • Masthead
    • Contact
    • Donate
  • Books
  • Issues
    • Covid Stories
  • FAQs
  • Submit

December 2020

Sweet Misgivings

By Brianne O' Gorman

Guarded by trees and heavy foliage, dotted with bulbous lamps, a winding road covered with wandering leaves lead to the streaked pink walls of a hospice. Cahercalla Hospice; the scene to my childhood. Despite the smell of old soup and antiseptic, stifling in its pungency to a child as young as four, it was homely and bright. The corridors were yellow, like the few patients who kept their teeth. The hospice was the heart of my youth; it held within its walls my nana, a great area to play in, and all of the friends I had made.

I don’t remember what she looked like, or her voice, or the feel of her embrace, but I remember the fudge. Rolled into tiny balls by my small hands and stationed upon the bedside locker like soldiers in formation. Nana loved fudge.

Mam and I would visit twice or three times a week. The nurses loved me because I was generally well-behaved and very cute. Sometimes I would sneak them fudge, too, but never rolled. Only Nana received such special treatment. She liked to call me, fondly, her ‘little nurse’. The real nurses would watch over me if mam needed a moment. I never thought my early childhood to be strange. Didn’t all children spend their formative years in a hospice?

I found out that most children did not, in fact, spend the first four years of their lives running along shiny corridors, weaving through the legs of kind orderlies and trading gummy smiles with patients. I found it even stranger when some friends told me that their nanas lived in their own homes, that their nanas didn’t have fake teeth and trouble chewing. Their nanas could walk and talk and smile and sing and dance. My nana used a wheelchair and her speech was slurred, and when she smiled it was toothless but enough to make me giggle. I had never heard her sing. I certainly never saw her dance.

These things bothered me up until they didn’t. My nana was special and I was her special nurse; that was enough.

***

The clearest memory I have of her is quite a simple one. I’m standing next to the railing of the bed, bag of fudge abandoned while I concentrate deeply on creating perfect tiny spheres of sweet goodness. Nana watches me with a smile. My efforts were always praised to the highest and I would glow with pride. Mam observes the scene with glistening eyes I was too young to consider.

One ball of fudge is swallowed, and another. Nana gifts me a present of my own, then. A porcelain Easter egg, small and pastel pink and covered in delicate white frills. I take it reverently, amazed, and watch as a frail hand quivers and removes the lid. Inside sits a rabbit amongst grass, a daisy in its mouth, ears perked happily. I stroke its shell and babble my thanks and carefully climb upon the bed to hug her.

I wish I remember what that felt like.

***

Nana died not long after and I never set foot in Cahercalla Hospice again. I often wonder if I missed it, and if it missed me in return. If it mourned me the way I mourned Nana. I hope so. I missed her deeply but never understood where she went. Or maybe I did, and I simply couldn’t think about it. I can’t recall. I don’t want to.

***

Uncle John was a man whom I knew more from seeing him cycle through town than from any actual conversation. A flash of grey hair, a quick salute, gone in a flash. In truth, the first honest conversation I had with him was when he lay on his deathbed.

Cahercalla hadn’t changed. Same bend in the road, same obnoxious lollipop lamps, and the same gaudy walls. I felt conflicted; childlike joy from years lost warring with the urge to burst into tears and flee. The corridors were too cramped, or I had grown too large. It felt totally different. The essence of Nana was lost in the place I had hoped it would remain. I was mocked by the sign: Mortuary.

Up the steps. Legs of lead. Through the corridors, past patients unfamiliar and wrong. The nurses didn’t smile with any sincerity. I nearly grabbed for my mother’s hand like a scared child. I had never been scared here before. Not even when I split my upper lip on a glass table and it had to be stitched together. The nurses were there to help, and Nana had given me an extra piece of fudge for my bravery – what was there to be afraid of?

The scent of lung cancer permeated the room. The flowers by the window drooped sadly. Were they hiding, too?

My uncle lay in his bed, resigned to the inevitable. He looked weary. If I spent my days surrounded by sunflower-yellow and white trim while relatives visited and got their goodbyes out of the way before the shopping in the boot defrosted, I would look the same. A bag of fudge would have done Uncle John some good, I thought. Maybe I would have even rolled it for him, for old time’s sake. Those little soldiers, standing en garde again. I thought perhaps the flowers would have waved a final goodbye if I had.

***

Uncle John was laid to rest in the same plot as Nana and Granddad. Wind and rain whipped noses till they shone like red beacons and camouflaged the tears cascading from heavy eyes. Dozens of flowers wept their sorrows as they sat by the tombstone.

Here Lies James “Jimmy” Daly and Catherine “Kitty” Daly, they warbled, and their son, John Daly.

On the way home we pulled into a shop. Bags of fudge hung on hooks. They stared as I marched towards check-out, as I shook in damp funeral clothes, as I paid and brought them home. Older. Taller. Hair longer, shoes bigger. Same scar on my lip.

I rolled the fudge. Same texture, same taste.

 

 

Bríanne O’Gorman (she/her) is a twenty-year-old Creative Writing student from Ireland. Previous work is featured in Neuro Logical Magazine.

Beneath

By Junyue Ma

Beneath

 

This piece, Beneath is my first oil painting. I used extreme colors to bring out the contrast between the “surface” and “beneath”. Usually the surface we see is not the truth. We will have to tear open the skin and flesh, look inside the bones, in order to see what the heart really looks like. Even if the heart is already bleeding, people won’t notice as long as your skin is intact.

 

Junyue Ma is a sophomore at Miss Porter’s School from Beijing, China. She started painting when she was a kid, and painting has become the best way to express herself and relax. She loves to share her work with other people so that more people can appreciate the power of painting. She looks forward to sharing more work in Blue Marble Review!

 

 

 

 

Isn’t It Just Like the Sea

By Seo Won Yun

Isn’t it Just Like the Sea

 

This piece, titled “Isn’t It Just Like the Sea,” is another idea sketch for one of my theatre projects on “The Old Man and the Old Moon” by PigPen Theatre Company. The story revolves around an old man whose job it is to fill the moon with liquid light as he goes on an adventure to find his runaway wife. It is a story about finding and re-remembering love and sense of wonder in one’s life, and one that resonates with me much more today as we live in this perpetual state of ennui and isolation. Like most of us right now, the elderly couple in the piece are all alone, drifting through in the dark night sea, not knowing what awaits them. However, through the brushstrokes, shapes, and colors, I hoped to convey a sense of comfort, warmth, and intimacy that exists in spite of the uncertainty.

 

 

Seo Won Yun is a rising senior at Miss Porter’s School in Connecticut. She often draws inspiration from the works of Kurt Vonnegut, mythologies from around the world, and soft rock or folk musicians–namely Lou Reed and The Oh Hellos. Her work has been published on “Girls Right the World”. In her free time, she enjoys making odd menageries, embroidering, making failed attempts at sewing, drawing, and catching up on Modern Family. She hopes to major in Theatre Design and Production in college.

Father and Daughter

By Vyshnavi Viju

 

Father and Daughter

 

The father and the daughter shot is actually my dad and my sister. I have a lot of pictures of them walking hand in hand in forests and parks. It just warms my heart because I think their relationship is just adorable. This one especially held a lot of significance because my sister learned about Abraham Lincoln at school and has been wanting to visit the Lincoln Memorial since. She was really excited and was pulling our dad with her. Along with that, my dad was often traveling outside of the country due to his job during my childhood so I didn’t really get the chance to do a lot of the “dad-daughter” things others did so it’s nice to see my sister get those moments with our dad. 

 

Vyshnavi Viju is a sixteen-year-old girl who enjoys photography and writing. She is a huge fan of traveling to new and exotic places and loves adventure once in a while, even though she would rather read about it if she can. Her favorite part about traveling, besides getting to experience new cultures, is being able to capture the weird, the beautiful, the awkward, and the downright funny moments on her favorite camera.

Little Tourists

By Skylar Stewart

Little Tourists

 

Keep Moving Forward” though these words were originally made famous by the great late Walt Disney, Skylar Stewart a twenty year old from rural Ohio and an Illustration major studying at Ringling College of Art and Design in Florida still believes they ring true. She focuses on aspiring to that quote everyday of her life whether through her artwork or just living through the pandemic. Her art cherishes all the good in the world and emphasizing valuable lessons. Each work usually starts with the good ole’ graphite sketch but she explores different medias no matter how foreign they are to her. Her family, life experiences, and upbringing are her main inspirations for her work. Growing up, it was a family tradition for her to watch movies every night while eating a bowl of ice cream. It is these moments in her youth she truly cherishes and relishes as she traveled with her family to different worlds where anything was possible. It is her dream to instill this idea of family and possibility into every child or the child within us. She would like to be able to say her artwork made a child laugh, a mother cry, or even a grandpa smile.

Quotidian Monuments

By Juna Hume Clark

 

Reflecting Pools
Forgotten Factory

When you see Detroit and Ypsilanti in the news at all, it’s usually for something negative. People who don’t live here only see these cities as the media portrays them—violent, impoverished, and ruined. This narrative is what the world has come to expect from my city. The smaller presences are easily lost when no one takes the time to notice them. I suspect part of why we often walk right past places that embody tenderness in “bad” cities/neighborhoods is because our bias holds us back. We don’t expect beauty from such destinations, so we are blind to it. I felt the need to capture all the places you’ll never see on a screen. The unconventional wonders I see everywhere when I walk around. I want to elevate these spaces to the status of monument. Monuments are usually thought of as state sanctioned statues of “heroes” or war scenes. Stone structures that seem to speak down to you. My monuments reflect the collective mind of the people living here. They embrace juxtaposition where the natural parts of the city meet its industrial side. This overlap creates some of my favorite new monuments. 

 

Juna Hume Clark is a sophomore at Washtenaw International High School in Michigan. She is a passionate artist and activist who has had art and writing published by Black Ink, Root & Star, Pank Books, and Stone Soup. She is currently working with Claudia Rankine on a Young Person’s Citizen.

  • « Go to Previous Page
  • Page 1
  • Interim pages omitted …
  • Page 3
  • Page 4
  • Page 5
  • Page 6
  • Go to Next Page »

Copyright © 2025 · Site by Sumy Designs, LLC