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Blue Marble Review

Literary Journal for Young Writers

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December 2022

Portrait of a Girl Concealing Her Pains

By Salami Alimot Temitope

Portrait of a Girl Concealing Her Pains

 

Salami Alimot Temitope (she/her) NGP X is an emerging Nigerian writer, Phone Photographer, Digital Artist, Essayist. She currently studies English Language in Lagos State University, Nigeria. Her works explores themes on life, grief, loss, and family. Her creative works have appeared, or are forthcoming, in Lolwe, The Drinking Gourd Magazine, Typehouse Literary Magazine, IbadanArt, Native Skin Magazine, Olney Magazine, Hey Young Writer, Icefloe Press, Brittle Paper, Arts Lounge, Terror House Magazine, Nantygreens, Shortlisted in Brigitte Poirson Poetry Contest August/September, Kalahari Review, Pawners Paper, Nymphs, Nnoko Stories Magazine, The Hearth Magazine, Naija Readers’ Buffet and elsewhere. She says _hi_ on Twitter & Instagram @lyma_lami

Gillian

By Elinora Westfall

 

 

Gillian

 

Influenced by David Bowie, Virginia Woolf and Sally Wainwright, Elinora Westfall is an Australian/British lesbian actress and writer of stage, screen, fiction, poetry and radio from the UK.
Her novel, Everland has been selected for the Penguin and Random House WriteNow 2021 Editorial Programme, and her short films have been selected by Pinewood Studios & Lift-Off Sessions, Cannes Film Festival, Raindance Film Festival, Camden Fringe Festival and Edinburgh Fringe Festival, while her theatre shows have been performed in London’s West End and on Broadway, where she won the award for Best Monologue.
Elinora is also working on The Art of Almost, a lesbian comedy-drama radio series as well as writing a television drama series and the sequel to her novel, Everland.

Clothes for All

By Kristen Cho

Clothes for All

Fashion is fascinating. It does not take the 2006 film Devil Wears Prada, for one to be intrigued into the fascinating, yet mysterious world of fashion, and want to make a career in the industry. In communicating and appealing to our own unique style, a fashion designer can take inspiration not only from fashion, but music, literature and art at large. 

Within the space of a square frame, the one thing that I wanted to convey was a dream of my future as a designer. The dream that is not just for me but for everyone who desires to wear their favorite clothes. Clothes are not simply a type of accessory that we put on in order to flaunt or show off the monetary value. Instead, it is a way of expressing and introducing oneself to people around us. For instance, the clothes that one wears portray his/her personality, preferences, and interests. Thus, through my artwork, I wanted to show the process of making the clothes for whoever is watching the artwork. It can be you, someone next to you, or anyone. The concept of “Clothes For All” was to convey the idea that my dream is to literally design personalized clothes for everyone and I hope I can achieve all the dreams of mine in the future, after following the path of a fashion designer.

 

Kristen is an emerging designer artist living in Seoul, born in California. Through her artworks, she explores the social and environmental issues behind the shiny surface of the fashion industry. She often finds joy in embracing things that induce creativity and euphoria into her life and turns them into reality by creating artworks; she creates her work using different mediums, ranging from installation, fabric, painting, and illustration to drawing. Through her work, she seeks to inspire in the audience questions that they have not asked themselves before and conversations that precede actions.

Dieback

By Janice Lin

A whirling of white that revels in immediacy. A streaking of fur—a flashing of teeth.

Then, a stillness: the coyote pauses, tail plumed against manicured lawn. A premature carcass slackens against its jaw.

That ending was a rabbit, once: perched on punctured grass, nosing at a wayward clump of dandelion. It tore down bloom after bloom, yellow suns splintered in its teeth. But one stalk was too stiff: it gnawed and gnawed, cloud of white protruding from its lip. Its last moments strained against its own vector.

This is a trajectory: the rabbit, pulling and pulling on its stalk, but never pulling enough.

But if neither force concedes, inevitably, there is a snap. Tension severed by bared teeth, but not from within: the coyote a foreign convulsion, exchanging one breath for another. The dandelion pierced through, seeds scattered from its mouth.

Now, there is no pulling. They exit in a flurry, haphazard clumps dotting blades of grass. A spray of dandelion seeds settle on its imprint, each tuft blooming red.

 

 

 

 

Janice Lin is a student from the San Francisco Bay Area. Her work is forthcoming or published in Polyphony Lit, the National Poetry Quarterly, and Beaver Magazine, among others. In their free time, they enjoy worldbuilding, theorizing about TV shows, and trying new boba shops with their friends.

In My Own Backyard

By Sabrina Guo

Growing up in Long Island, the love and care I received from my teachers, friends, and neighbors from all walks of life made me feel like an integral part of a diverse community, nurturing an open-minded conscientiousness and deep desire to help those with whom I felt so closely intertwined. During the pandemic, a time when I witnessed countless people suffering, this same love encouraged me to sow seeds of service into all in need. I founded LILAC, Long Island Laboring Against COVID-19, a youth-led COVID-19 relief organization dedicated to uplifting all who have been affected by the pandemic. Even with my efforts to do good in the diverse, forward-thinking place I’ve always called home, I was met with another pandemic, one deeply rooted in the garden of America: Prejudice.

During a LILAC donation of meals and Personal Protective Equipment to Mount Sinai South Nassau, a COVID-19 hospital in Oceanside, Long Island, I was flipped off and verbally assaulted by a couple who were walking by while I was in the middle of an interview with a news station. After months of giving everything I had to support my community, I couldn’t believe what was happening. At that moment, everything around me froze. I felt a surge of fear and adrenaline thundering through my body. Was there more the couple had to say? Would they be back, or was it a one-time thing? Should I leave? While I attempted to carry on with our donation, I was shaken to my very core. It felt as if I spent the rest of the day recovering from a winding blow – breathless, trembling, tense, and faint – all while I was doing my best to tend to those who I considered almost family. However, as shocked as I was in that moment, I rationalized that the pandemic was acting as a catalyst for rising hate crimes against the Asian American and Pacific Islanders (AAPI) community.⁠

Racist immigration policies, such as the National Origins Formula, a system of immigration quotas that restricted immigration from the eastern hemisphere, systematically excluded Asians as recently as 1965 until the Hart–Celler Act repealed the de facto discrimination. Considering all this, it can be concluded that targeted discrimination against Asian Americans is not new. America’s increasingly antagonistic relationship with China and the inflammatory political comments about the “China virus” only served to worsen discrimination against the AAPI community.

As I experienced first-hand, it seems as if nowhere is safe. According to a study conducted by California State University that examined hate crimes in sixteen of America’s largest cities, hate crimes in 2020 decreased overall by 7%, while AAPI hate crimes rose by nearly 150%. Stop AAPI Hate, a nonprofit organization that tracks incidents of hate and discrimination against AAPI populations in the United States, reports 9,081 instances of hate crimes from March 19, 2020, to June 30, 2021, with an increase from 6,603 to 9,081 during just three months between April and June 2021. This is an alarming spike in recent months as tensions rise during the pandemic, especially with conspiracy theories, scapegoating, and more targeting of the AAPI communities. In addition, AAPI hate incidents reported by women make up 63.3% of all reports, an often-unheard-of statistic which brings to light how AAPI women suffer on the intersection of race and gender.⁠ Harassment, threats, violence, microaggressions, and even the anticipation of being mistreated lead to racial trauma akin to PTSD, creating compounding anxiety and hypervigilance, the sum of which leads to immense psychological harm.

Though I don’t know what motivated the couple to harass me, the experience led me down a path of reflection, questioning my place in my community. Was this truly a place where I belonged, a place I could call my home? As a young Asian-American girl, I was only beginning to recognize that Long Island’s long history of inequality ran deep. UCLA’s Civil Rights Project labeled Long Island as “one of the most segregated and fragmented suburban rings in the country.” The juxtaposition of affluent Dix Hills sitting atop working-class Wyandanch, which former New York State Governor Andrew Cuomo called “one of the most economically distressed communities on Long Island,” shows a stark contrast which is quite literally, Black and White. Even elsewhere in Long Island, a judge recently ruled in a federal lawsuit that Garden City had broken the Fair Housing Act by discriminating against minorities. While I loved my community, the subtle nuance of well-meaning hypocrisy, which acknowledges oppression at face value, but makes little actual sacrifices that would change the status quo, showed Long Island had a ways to go if it was to be truly called a home for all.

My experience of racial harassment, and the research which shortly followed, galvanized me to lead the charge with a socially engaged local youth movement to build solidarity with BIPOC communities in Long Island. I realized that, for change to truly happen for the AAPI community, we must not only uproot the weeds of Anti-Asian hate, but actively cultivate groves of solidarity, compassion, and action with other disenfranchised POC and earnest allies, looking back on our collective history to build forward a brighter future. In the vein of activist and writer Grace Lee Boggs, whose Chinese name, 玉平 (Yu Ping), means “Jade Peace,” I strove to unify my community with a peace that transcends color, creed, or class. I utilized LILAC’s platform to fight food insecurity, provided the PPE needs of my disproportionately affected BIPOC neighbors, and I realized it was incumbent on us youth to work towards a more attentive and conscious Long Island. In partnership with political and cultural leaders, LILAC organized a “Love, Unity, and Action” Anti-Asian Hate Rally in Syosset, joined by County Executive Laura Curran, Senators John Liu and Jim Gaughran, Congresswoman Grace Meng, and Director of Nassau County Office of Asian-American Affairs, Farrah Mozawalla, to demand effective legislation to fight hate crimes and violence. I continued to find avenues for making my voice heard–and matter–as a panelist in several discussions and roundtables on race with elected officials like Senator John Brook and Nassau County Legislature Minority Leader Kevan Abrahams. And, in a joint meeting discussing AAPI issues with Senate Majority Leader Chuck Schumer, I advocated for my community and the importance of including female AAPI history in our educational curricula.

Though AAPI hate and violence is a national issue, I decided I could begin by tackling it in my community. In doing so, I saw first-hand how interconnected systems of oppression were, and how they affected all minority groups. Whether we know it or not, everyone in society is assigned multiple identities, with corresponding hierarchies between dominant and non-dominant groups. With race, the majority can bestow benefits to members they deem “normal,” or limit opportunities to members that fall into “other” categories. In the United States, this expresses itself as all non-white people being categorized as “other” and experiencing oppression in the form of limitations, disadvantages, or disapproval, even suffering abuse from individuals, institutions, or culturally. This oppression, a combination of prejudice and institutional power, creates a system that regularly discriminates and disenfranchises the minority. In a concrete way, when one of us is hurt, all of us are, and likewise, by lifting my fellow POC, I was not only working for a better future for them, but for us all.

This mindset was pivotally important in our work, especially in the aftermath of the murder of George Floyd, when LILAC led racial reconciliation initiatives in solidarity with our Black brothers and sisters. During a tender time of mourning and reflection, we held space for and supported Black Lives, promoting unity and action across boundaries. We partnered with BIPOC businesses and nonprofits, connecting the predominantly-POC South Shore with the majority-white North Shore with community events alongside Senator Kevin Thomas, Legislators Kevan Abrahams and Debra Mulé. LILAC’s ThankYou & WeCare Arts Initiative created and donated over 200 framed artworks boosting morale, with special BLM and Anti-Asian hate inspired artworks now displayed in government buildings, nursing homes, and offices, including a fifteen-painting exhibit in the Theodore Roosevelt Executive and Legislative Building. These artworks were created by the community, for the community, and are a testament to what can sprout from actively cultivating a united coalition of young, civically minded, and diverse Long Island.

Even during the darkest of times, in a broiling pandemic, I had a taste of what a beautiful place our community could be. I want to fight for that future for all communities, and I want you there too. The amazing thing is that, despite those insistent voices of hate, people from different races, religions, and regions can truly live and work together, and better yet, they can blossom. The capacity for us to connect and flourish despite our differences, or perhaps even, because of our differences, is not an oddity. In fact, it’s the way nature was created. Though monocultures wilt and quickly catch disease, a garden flourishes when all plants are taken into consideration, and by nurturing a permaculture of regenerative community resilience, planting seeds of hope, I believe that change will bloom, even in my own backyard.

 

 

Sabrina is from New York and is the youngest global winner of the 2021 Poems to Solve the Climate Crisis Challenge. She spoke out against climate injustice and performed her poetry in the 2021 UN Climate Change Conference (COP26). She received the Civic Expression Award and nine national medals from the Scholastic Art & Writing Awards. She’s a commended winner of the Foyle Young Poets of the Year Award, first place winner of the Barbara Mandigo Kelly Peace Poetry Award, recipient of the Poetry Society of Virginia’s Jenkins Prize, and nominee for the 2021 Pushcart Prize in Poetry. She is recognized by the Adroit Prizes in Poetry and Prose and the Bennington College Young Writers Awards. Her work has been published in the Best Teen Writing, Raleigh Review, West Trestle Review, Counterclock, Blue Marble Review, Polyphony Lit, among others.

The Garden is Empty

By Samuel Adeyemi

The garden is empty, unless you consider the garden.
Lilies all around, quelling the thick bushes. The leaves,

a choir of soft spades. The beauty of moths. The beauty
of magnolias; dull pink washing the wind. I came here

to look for you, Lord, in the wild of your creation. God
of green, colourless God. I, Adam. Naked in thirst, ribless

with disbelief. They say faith begins with sight. I say
touch reveals the presence of truth. Yet I squeeze the vines

& you are not there. As if God could pour out of something
that wreathes. Maybe He is in the water pot, I say. I bend,

hand-on-rim, over the vessel of clay. At least, the water is
beautiful, & when it wrinkles, it heals again, like a miracle.

God must be here, I swear. I mean, give me a language
where water isn’t the prettiest word. Mmiri. Ts’q’ali.

God is inside the water. So I look for His face in the clay’s
mouth. God of water, of the terracotta holding the water.

But He is not there. The potter, erased from his creation.
My reflection ripples over. The crows are cawing at my

faith. The worms, under my feet, mock me. I understand
none of it. Is this disillusionment or revelation?

The branches begin to shake—leafs circling before
my face. Perhaps there, amidst the green, is God.

Not in the trees, but all of them?

 

Samuel A. Adeyemi is a writer and editor from Nigeria. A Best of the Net Nominee and Pushcart Nominee, he is the winner of the Nigerian Students Poetry Prize 2021. His manuscript was selected by Kwame Dawes and Chris Abani for the New-Generation African Poets chapbook box set, 2022. His works have appeared in Palette Poetry, Frontier Poetry, 580 Split, Strange Horizons, Agbowo, Isele Magazine, Brittle Paper, Jalada, and elsewhere.

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