War and Freedom at the Table

By Jill Szoo Wilson

I grew up in Los Angeles. I was a little white girl with blue eyes and light brown hair who spoke Midwestern English, including words like “warsh” (wash), “far” (four), and “ope!” (excuse me).

I was born in Missouri and lived there through first grade, so my earliest circle was made up of white people and black people. That was it. Maybe there were Chinese families at the grocery store, church, and in other public spaces, but my child-sized world was small and mostly familiar.

Then we moved to Glendale, California, and everything changed. My entire circle of friends was from the Middle East, Mexico, and the Philippines. Not a white girl in the bunch. Rousing afternoons and weekend days spent riding bikes, playing hide-and-seek, and staging epic rounds of capture the flag usually ended at someone’s house, and every house had its own signature aroma. My Middle Eastern friends’ families were often cooking with warm, earthy cumin. The Mexican homes smelled like chili peppers and tortillas. The Filipino homes carried a garlic-and-ginger mixture I still associate with cozy evenings around tables filled with soups I didn’t recognize and meat that tasted just a little tangy.

At my house, we served spaghetti or some kind of beef dish. The smell my friends remember has been reported to be cookies and pot roast. Missouri was doing its best, and honestly, it held its own.

By around eleven, I was conversationally fluent in Armenian and Spanish, with an honorable mention in Arabic. I remember my best friend’s mom laughing when I tried, very earnestly, to ask in Armenian if my friend could come out and play, and then letting her come anyway. In other homes, I was called “azizam” and “mija,” terms I didn’t understand at first but quickly came to recognize as affection.

Today I want to share a story I heard in the home of a girl with whom I went to school and who joined my Girl Scout troop at my invitation. I’ll call her Susie. That’s not her real name, and it doesn’t matter. Even if I shared it, you probably wouldn’t pronounce it correctly unless you heard it spoken. Susie was born in Kuwait. Her family immigrated about a year before I met her, and they lived down the street from our apartments in a small rented house. Three generations lived under one roof. No one had their own bedroom because there were only two to choose from. Even so, they had a small, carpeted kitchen that likely used to be a front porch, and no matter what time of day I showed up to play, I was offered something to eat. Usually it was fruit. Sometimes it was a kebab with yogurt sauce on the side.

No one in Susie’s family spoke English, so she became their spokesperson. Looking back, I can see how that pulled her into responsibility early. It gave her maturity, and it also gave her a kind of pressure she spent her teenage years trying to outrun. Even so, she was fiercely loyal to her family and proud of the country they came from.

After visiting Susie’s house several times, I met her grandmother. I was shocked, though I tried not to stare and felt bad about the surprise that must have registered on my face. Susie’s grandmother did not have legs from her thighs down. I didn’t ask why. I didn’t want to draw attention to it because I didn’t think it would be polite. Susie told me later, when we were out of earshot, that her grandmother had lost her legs in a bombing in Kuwait during the early 1980s.

At the time, I only understood it through the language Susie used: “the Ayatollah.” Years later, I would learn that Kuwait, though not ruled by a religious leader, was caught in the aftershocks of the 1979 Iranian Revolution and the long Iran–Iraq War that followed. In December 1983, a series of coordinated bombings struck Kuwait, carried out by militants aligned with revolutionary Iran. Civilians were injured. Families were changed. For Susie’s family, the name of the Ayatollah—whether Khomeini or Khamenei, the distinction unclear to me as a child—became shorthand for the violence that rearranged their lives. History sorts out geopolitics. What I saw was a grandmother in a small house in Glendale who moved through her kitchen without legs and still insisted I take a second piece of fruit.

There were other stories, too.

Katrina was my closest friend. I’m changing her name as well. I was such a mainstay at Katrina’s house that I had a favorite pillow, and her dad made sure my favorite Armenian snacks were always on hand. One of which was called Nazook, and looked like a little rolled-up cookie.

Katrina’s family immigrated to the United States about three years before I met her. The neighborhood we lived in had a large Armenian population, and her dad was in his early fifties. He tried to learn English, but it didn’t come easily, so Katrina often interpreted for him. He welcomed me into his home nearly every weekend and tried, in his careful English, to talk with me anyway. One evening, he told Katrina and me stories from home. I remember jokes I didn’t understand and geopolitical truths that wouldn’t come into focus for me until the last decade of my life. What I remember most clearly is his passion: for justice, family, and God.

One night, Katrina’s dad told us about a bar he and his friends used to frequent somewhere in Armenia. I’ll condense the story to get to my point: there was a framed picture of Jesus over the bar. One afternoon, a group of Muslim men came in and told the owner to take the picture down. Tension rose to the point that Katrina’s dad assumed a brawl would break out. Instead, one of the Christian men sitting at a table invited them to sit, and the argument moved from fists to words. They talked openly and intensely about the differences between Jesus and Muhammad. Katrina’s dad said the tension diffused, but a palpable passion rose on both sides of the debate. In the end, the men shook hands and the strangers left. He ended his story with this moral: “All your life, remember to follow Jesus. Never Allah.” I was ten and already a Christian, so I didn’t hear it as an abstract opinion. I heard it as a kind of warning, spoken with the urgency of someone protecting what he loved.

Whatever you think about his views, I remember hearing words and names I had never been aware of before that conversation. Muslim. Allah. Muhammad. Genocide. Maybe even Azerbaijan (he was a thorough storyteller). I remember trying to compare Katrina’s dad’s stories with what I had heard from Susie’s family. I didn’t understand the geopolitics. I was mostly fascinated by the rising intensity in his voice. Years later, I researched the history.

In the 1970s, Armenia was still a republic within the Soviet Union. It was officially atheist, yet deeply and unmistakably Christian in cultural memory. The Armenian Apostolic Church had shaped Armenian identity for nearly seventeen centuries, and faith remained woven into family life even when it could not be openly displayed in public institutions. When my friend’s father told us that story, he was speaking from more than a single incident. He carried the inherited memory of the Armenian Genocide of 1915, when hundreds of thousands of Christian Armenians were killed under the Ottoman Empire, and he had lost members of his own family in the long shadow of those conflicts. For him, the story was not abstract geopolitics. It was a warning shaped by history and grief. When he urged us to follow Jesus all our lives and not Muhammad, he was urging steadfastness in a faith that, for Armenians, had become inseparable from endurance, identity, and survival.

In the weeks before the current U.S.–Israeli strikes on Iranian targets began on February 28, 2026, Iranian women filled the streets with uncovered hair and lifted faces, moving in broad daylight as if their bodies belonged to them again. Men walked beside them, chanting and clapping, holding the line with a relief that looked almost like grief. The Islamic Republic, born in 1979 and enforced through decades of moral policing, surveillance, imprisonment, and economic theft, tightened its grip until ordinary life felt like a cage. These marches rose from lived experience: futures narrowed, dignity rationed, women punished for fabric, young people trained in obedience as survival. When a woman pulled off her hijab and danced, the gesture carried the weight of years endured in silence. When a man shouted beside her, he carried his own ledger of losses.

In the streets of the United States, some protest the way that freedom is defended, while elsewhere its absence still shows up in bodies, in kitchens, in the quiet insistence to feed a child who has come to play.

Freedom is not an abstraction. It smells like cumin and chili peppers and garlic and ginger. It sounds like accented English and laughter layered over grief. It looks like a grandmother without legs navigating through her kitchen and still pressing fruit into a child’s hand.

There are moments when restraint preserves peace, and moments when action preserves people. I am grateful that there are still men and women willing to stand in that line. I am grateful for freedom. I am grateful to live in a place where children like me could grow up listening to stories from Kuwait and Armenia without fearing the knock on the door.

But what do I know?

I still say “bolth.”

Poem: Hall of Dreams

Within me
(one)
are many.

I stand before
a hall of dreams—
experiences arranged
like exhibits:
fair trades,
unbalanced ones,
who I was
and who I could not be.

I sit in the gallery
of my own imagining,
hovering above
movement and stagnation,
searching for pattern.

Logic keeps me safe
while everything mingles.

The projector clicks.

Slow at first.
Then steady—
like a train pulling memory
down its track.

Flicker.
Light.
I am lulled.

I understand the staying
and the leaving,
the cleaving,
the fall.

Shadows drip
between choice
and consequence—
wax from a tongue
that once burned
with lies.

Faces I trusted
tilt in the light.

Spies in their eyes.

Or was it mine
that misread?

I thought I knew.

At least
I trusted.

I replay.

Hover above.

Detached.
Objective.

What questions
should I have asked?

The kiss.

It split me.

Once one—
now two.

I built a case
for future disgrace,
called it truth,
called it depth,
called it destiny.

But you only tilted me—
then let me go.

What I named vast
was narrow.

What I called deep
was small.

The descent—
mine.

I wanted you
to speak truth.
Instead
I heard
what I wanted.

Weak.
Yes.

Deceived—
by myself.

Within me
(one)
are many—

but now
one fewer.

I lay the hall down.
Let the projector darken.

Offer illusion
back to silence.

And keep
what is real.

© Jill Szoo Wilson

Poem: Stay

Peter pressed the issue

About the past

He said it is a bridge

Collapsing behind

With every step

In space or in the mind

The sound of crumbling

Is all that remains.


Anna disagreed

And touched

The back of her head

She said,

“The past is braided

here next to my skull

interwoven threads attached

cascading down.”


The debate rolled around

Like a tumbleweed

Dry and filled

With agitation and

With wind and

Picking up the dust

Of misunderstanding and of

Disconnection.


“But I remember,”

Said Anna, and

“I do too,”

He whispered into

The air heavy with

Distance between

Her admission and his

Isolation.


Invisible walls

Erected between

Murky like swamp water

Disorienting like smoke

Cloudy like breath on glass—

And if he looked with only eyes

He would have turned away

Like fear.


In his imagination

He was strong

Moving along

The path in between

His hesitation and

Her vacillation

Conquering impending

Devastation.


Peter felt bolts

Screw through his feet

Into the floor

Caught between

Tomorrow and

Before

The middle of the moment

Weighted like an anvil.


He felt like a clown

Tears rolling down

Behind a mask of

White painted on

A smile red

Withdrawn

From the truth

Within.


Anna said a simple thing,

“You are afraid

of the future

and I run from

the past

maybe the middle

is all

we have.”


Something true

Like a flash of lightning

Filled the room

Forced

Confusion to scatter

Like bugs or

Like demons

Who dwell in the dark.


They stood in the kaleidoscope

That splashes

Onto eyelids pulled down

After sunlight exposes

Reality

Leaving only

Shapes and pigments

Behind.


Peter did the thing

That frightened him

Most

And Anna met him

There

He stepped into the future

She let go of the past

From the middle she whispered,

“Stay.”

© Jill Szoo Wilson, 2026

Poem: The Thing Itself

Silence is not the same as peace.
Quiet is different than calm.

Even the lake that mirrors
our sun collapsing
into night’s slow unmaking
teems with life—
muscle and current
moving beneath its silvered skin.

Silence is not the same as peace.


Peace is not an exhale of agreement.
It does not depend
on our foreheads touching
or my lungs
drawing in your breath
as if oxygen were opinion.

Peace does not ask
the mouth to soften
while the heart stays braced.

Peace is not an exhale of agreement.


Contentment is not stagnation.
It is wind finding corridors in air,
invisible highways
where birds trade
the panic of wings
for the steadiness of lift.

Contentment is not stagnation.


A voice once warned,
“Silence
like a cancer grows.”

But silence is a vessel.
Clay.
Hollow.

It holds what we pour into it.


Speaking is not the same as expressing.
Words rise like smoke
from cigarettes of perception,
stinging the eyes,
thickening the air,
blurring the space
between meaning
and what was meant.

Speaking is not the same as expressing.


Volume does not mold understanding.
Voices rise.
The need to be right
outpaces the need to listen.

The echo fills the room
until we cannot hear
each other breathe.

Volume does not mold understanding.


Distorting the self does not create unity.
Your red and my blue
collide into purple—
first a storm in water,
then something dense,
new,
pressing outward.

Distorting the self does not create unity.


To understand the thing itself—
whatever thing it be—

we must remain vessels.

Clay—
not hardened
by fear,
not sealed
by pride.

Open enough
to hold what is spoken
and what trembles beneath it.

© Jill Szoo Wilson, 2026

Poem: A Man Lay Dying in a Field

A man lay dying in a field
between blades of grass,
panting
like a dog without water,
searching for air
not to be found.

In the quiet of night
where darkness
falls
and fills the earth,
spilling into
crevices deep and wide,

he wondered at the sky.
The reasons why
seemed now
to matter most—
there was nothing left
to boast.

Emptied of the fight,
his limbs
dreamed of flight.
Wrists turned upward,
soft skin
receiving midnight dew.

Fluttering eyelashes—
butterfly wings
above his blue.
Whispered memories
of when hope was fresh,
a fruit heavy with sweet.

A sound in the sky.
Wings opened wide.
Staring,
but not seeing.
Hearing,
he began to listen.

A breeze,
like mystery,
rolled in—
a wave in the expanse,
surfing stars
in a cosmic dance.

His limbs began to sway,
cradled by beauty
far and near,
above and surrounding.

His heaving stilled.
Focus tore free
from breathlessness
to oxygen
pouring down
like honey.

Water leapt from his heart,
flooded his blue,
nourished
his soul
and the grass.

A release on the ground.
A release in the sky.
Two powers
surging—
electricity
between earth and heaven.

A man lay dying in a field
until
he decided
not
to
die.

Instead, he laughed.
He writhed in pain
and howled at the stains of grass
on his pants.

When laughter ceased,
the loss,
the pain,
the breathless grief
rose like smoke
and fled into the clouds.

Mystery swirled,
a ghost swinging from the moon.
The living man stood,
said goodbye to the end
and hello
to the new.

© Jill Szoo Wilson, 2016

Casual Impact

By Jill Szoo Wilson

One cold, misty evening in January, I was sitting on my couch, scrolling through a website that lists job openings in my area. I was looking for a part-time position to run in tandem with my teaching assignment for the Spring semester. While my teaching load for the following school year included an overload between courses and directing a play, my Spring semester had quietly unraveled. Three classes had dwindled to one due to enrollment. Then that single class was enrolled at half capacity, which meant I would receive half of my pay.

I was still just as eager to begin the semester. The work itself had not diminished. But I needed to supplement what had quietly disappeared.

Anyone who has lived inside contract work in higher education knows its strange duality. The work is beautifully fulfilling and wildly unpredictable. During the first decade after graduate school, I averaged five classes per semester and often directed a show or coached a forensics team. I taught at two major universities, one surrounded by fields and open sky, the other pressed into the pulse of the city. On any given week, I might hear speeches about crop rotation and cattle auctions, then read papers on bioethics or constitutional law. I moved between farm boots and briefcases without leaving the classroom.

That panoply of subjects, people, and cultures has been a jewel box in my life. I did not take it lightly.

Two weeks ago, I chose to leave higher education. Not because it failed me. Not because I lacked joy there. A casual couch scroll opened a door I had not been seeking. A senior writing role at a large nonprofit ministry drifted across my screen. The position was full-time. I was searching for part-time. I still do not know why it appeared before me.

Yet as I read the description, something in my stomach came alive. It felt like excitement braided with fear. The kind of recognition that arrives before logic can intervene. A little too good to be true.

So I applied.

After a rigorous interview process, I received the phone call that shifted the trajectory of my career. As of today, I have completed my first week as a professional writer. I will also be able to weave in my love of performance by coaching actors and eventually directing in-house video and on-screen advertising projects.

Gratitude feels too small a word. But it is the truest one I have.

If you have followed my writing for any length of time, you know that my life detonated in 2020. There have been extraordinary highs and devastating lows since then. I will not rehearse those chapters here. I will say this: 2020 taught me that as long as we can breathe into the palms of our hands, we have choices. And life will change.

Sometimes it explodes. You hear the pieces fly overhead and crash down around you like shards of nuclear glass.

More often, life alters you quietly. It presses into the most meaningful parts of who you are becoming with a force so subtle you almost miss it. Sometimes change comes in the middle of a storm on the high seas, with sharks circling below. Other times it arrives with a sip of chamomile tea and the small square of space your finger occupies on a trackpad.

In the meantime, God. Always God. Orchestrating. Allowing the good, the bad, and the heartbreaking to fashion you into who you are becoming, at both the cellular level and in the broad strokes of His artistry.

Over the past year, I wrote more than I had ever written before. As that season began to close, I realized how much I would miss the act itself. The shaping of sentences. The long wrestle toward clarity. That realization drew me toward this new role. Especially once I saw that I could invert the hierarchy I had lived within for years. Writing would become the vocation. Theatre would become the ministry.

I have learned to keep my eyes awake. Not merely open, but awake to the possibilities of being alive inside a life that refuses to remain fixed. We cling to routines, to jobs, to people, to time itself. We hold them tightly as we dodge and sometimes integrate the slings and arrows that fly across this world. Yet life keeps moving. And so must we.

I will end with this.

Yesterday evening, I was hiking through a wood I know well. As sunset approached, the shadows lengthened and the creatures that run across the forest floor and the birds that alight above grew restless. It was loud. Urgent. Like an airport terminal at dusk. Everyone coming and going, crossing and recrossing the same narrow paths.

I stopped.

My stillness felt amplified against the constant motion around me. Above me stood tall, thriving trees preparing themselves for Spring. At my sides lay trunks that had fallen long ago, softened by time and weather. Growth and decay in the same frame. Arrival and departure breathing the same air.

And in the midst of it, I thought, This is life.

And it is beautiful.

Poem: Unassembled

This painting by Ruprecht von Kaufmann fascinates me. It leaves the impression that the human figure has been disassembled and placed back into the room without its center.

Rolling thunder—

Sounds like rattling bones

In a makeshift

Barrel

Traveling over uneven bricks—

Coursing through the sky

Varied gradations of height

First loosening the moon

With percussive vibration

Then shaking

Newly budding leaves

Velvet green

From yawning trees

Barely awake.


Scattered light—

Looks like fingers

Flicking away all that flies

Stretching across and

Opening wide

Then curling back inside

A fist pulsating

Currents through the air

Bringing light to where

Shadows live

But only one

Moment at a time

Slowly and

Without warning.


Water pouring—

Tastes like a child’s tears

Hot and heavy

Filled with reflections

Of all that surrounds

But void of understanding,

Simple

Pure

Enveloping the landscape

In a pool of

White

A mirror to the sky

With no pondering of why

Only what.


As above the tempest

So below

The raging gusts of natural disaster

If love be called natural,

If the heart enrapt

In upward gales

And stripped from its

Cavity

Be called disaster—

Stripped, that is,

By freshly painted

Nails of red

Tossed and then released

Into the atmosphere.


And then, stillness invades—

Feels like bated breath

Unwilling to climb

Rungs of the rib cage

Or slip past the tongue

Of one whose

Voice must not be known

Hidden in silence—

No more masking

Than that—

Only quiet

Enshrouding some figure

Crawling past and almost

Out of sight.


Inside the stillness he sits

Shoulders slumped and heavy

Something feels different

(Reality varied)

An inventory begins—

He lifts his hand

To count all his parts

First his legs, yes

Then confirming his arms,

All accounted, yet

Discerning something amiss

His eyes move and

Focus inside

Where the hole was dug.


“My heart,” he panicked

“I am sure this is the space

where once it sat.”

Groping further down

Through his mouth

As though, perhaps

It slid

Descending

Sloshing now in acid—

His fingers reaching

He gags and chokes

Hoping to find it

Inside the vomit

But still he is without.


Coalescence deprived

Nothing more to bind

His pieces together

Like glue or like chains

Wrapping around

And pulling down

To anchor—

Now adrift on the sea

Of humanity

Only he

And his leftover parts

No longer a whole

He floats atop the foam

Like a corpse.


There is a thing that happens

In the mind

Between loss

And understanding—

A vacuum

An unhanding

Of reason

Disillusionment invades

It cascades

And splashes into pools

Of paralysis

Then sinks into rebellion

Before it hits the bottom of

Despondent and

Swirls with caustic deviation.


“Parts for sale,”

He spouts like a madman

From sunrise until

Dusk sits like a spy

On the edge of the moon

Waiting for its chance to fall—

“Pieces for sale,

gently used

never abused

no longer needed

the price is low

everything must go

no credit

only cash.”


The people pass

They point but do not laugh

Sympathy cloaks their eyes

They try to disguise the sadness

And yet,

“I see it there,” he scoffs—

“Do not pity

I have no heart

through which

to feel the pain,

sometimes in life this happens

there is no shame.”

He chops—

“Here, have a leg.”


Then, one passes close

Carrying a bag

Filled with hope.

The sitting man

Raises his hand to ask,

“Soon I will be dead

my last drops bled

with no chance

to renew.

My heart, you see,

was taken from me

and I wonder if

hope can be fastened

to one with no pulse?”


His hurried steps

Do not delay

From the corner of his mouth

He sighs to say,

“I have my heart

inside this bag

with some hope besides

but I tell you true

unless it beats,

an endless repeat,

there is nothing

this spark can do

for you.”

The passing man passes.


The sitting man

Beholds one flicker of hope

Flaming on the ground

He imagines hobbling toward

Leaping forward

But instead

He watches it burn—

Yellow to dark

And then

One line of smoke

Stretches, back curled

Like a cat

Being lifted from the center.

© Jill Szoo Wilson

Photo credit: My dear friend and German artist Ruprecht von Kaufmann, Die Sache mit den Sirenen 2014.

Poem: Drenched

Once I was told that Hope

Is the sky filled with sunshine

That it spreads like light,

Floats like a helium filled balloon,

Dances like the tail of a kite.


I wondered at this metaphor

Sprawling amidst the wind

Like a howling current

Vibrating on the wings of

Birds that flap before they soar.


Can Hope be so far

Above my head

Where only flying things

Rise to tread

And I on the ground

Watching

Awaiting release

Of a treasure trove

Unlatched and

Spilling down?


What if Hope is more like rain—

A simile easier to attain—

It does not gently lie atop

The atmosphere but

Is conjured inside storms

Like a witch’s brew

Bubbling through with contents

Thrown into a fiery caldron

Until that time when

The pressure built, releases.


Storm-soaked orbs floating down

Subject to the whims of

Gusts above and around

Hollow of motivation

Innocent as they fall to the ground.

And we, in soggy shoes,

Choose to stay

In the rain

Marinate

Let it penetrate

All the way through—

Some people run for cover

But not us

Not the dreamers

Or the lovers

Or the ones who understand

That the storms

Force the hands

Of Hope and of those

Stubborn in their wills

To see the brightness

Ahead—

Withstanding

Steeping

In watery expectation.


My friend,

If they tell you

Hope is the sun

Smile, nod and

Move along

With squeaky shoes

Leaving tracks

On the ground

To be found by those

Who seek the courage to drown.

© Jill Szoo Wilson, 2026

Poem: Surrender

He found me in the middle of a war

Or maybe I should say

We found one another


The way two sleepy people—

Heads hanging down

Looking at the ground—

Bumps heads and

Mutter softly,

“Excuse me.”


I behind my shield

Holding to the leather strap

With knuckles white

Hands calloused where my grip

Could not afford to wane

Despite the pain

Of taking blows

And whispering low,

“How much longer?”


He to the left of his sword

Filled with ink

Black and dripping

Onto the page

Bleeding through

Pigments of rage and

Unanswered fear

Composing his mantra,

“What purpose here?”


We met on the battlefield

Surprised and confused

To find company

In the midst of assumed

Isolation

Comforted and ashamed

Of the devastation

We wore like scars and tattoos,

“Come no closer.”


Lucky for me

His eyes were exposed

Unprotected and flashing life

Like a flickering neon sign

Hanging in a window

Passed by thousands

Noticed by few

The shades drawn tight but,

“Open.”


Lucky for him

My grip was weakening

Armor slipping

He saw that I was breathing

Still awake but

Dirty from the fight

Ashamed of the darkness

But longing to ignite,

“Alive.”


We lifted our hands

Almost at the same time

Palms facing the other

Skin cracked and dry

Touching to confirm

Poetry written in the sky

In the form of sunshine

Warm and personified,

“I am here.”


I lowered my defense

He drew something new

Between my mind and my breast

We gazed and we grew

I, he, we began to smile

Said too much

Then nothing at all

Fear melting

Trust erecting a bridge to,

“Surrender.”

© Jill Szoo Wilson

Poem: Only a Hand

His hand was only a hand

With veins that rose and fell

Like gently rolling waves

A dip and a swell

Giving life to all within

Beneath the water and his skin.


His brush was only a brush

With bristles short and soft

Like freshly growing grass

Subject to the windy wafts

Of springtime growing new

Filling in the lines he drew.


His eye was only an eye

With so much more behind

Like the shade of green

That bends and winds

Beneath the skin inside her wrist

Deeper still before a kiss.


His art was only art

With confines of space and wood

Like the forest she explored

In the freedom of childhood

Filled with shadows and light

An expanse of elation and fright.

© Jill Szoo Wilson, 2026