There are moments when we
must stop
and look
and tend to
the unexpected and
deeply welcomed,
simply because
we live.
A lemonade stand
at the edge of the road,
cardboard sign wavering
between LEMONADE and LEMONAED.
The coins wait in a jar,
oblong ice accepts its fate
as tiny fingers stir
through mostly water.
Engines reconsider.
Appointments learn patience.
Briefcases bloom with splashes of sugar
any bee would envy.
My cat arrives
with the object he loves most.
Not the clean one.
The true one.
He sets it down carefully,
then looks up,
as if to say:
you’ll want to see this.
And I do.
The afternoon brightens,
pleased with itself.
Thoughts wander off
without wearing their shoes.
My eyes squint
in mixed morning light—
the bulb above the kitchen sink
and ribbons of sunrise through open blinds.
Coffee steams.
I smell it before I see it,
and then I do—
steam lifts
just as light
reaches the window.
Waking,
and God,
and refreshment
keep company
without comment.
—Jill Szoo Wilson, 2025
Category: Poems and Sonnets
Poem: The Us We Can See
I am stationed at a wooden table
the size of a reasonable thought.
It does not wobble.
This feels like a small mercy
after watching my Americano
sway back and forth on the last.
Here, the Americano steams steadily
as if rehearsing confidence,
dark, uncomplicated,
uninterested in my opinions.
I wear fingerless gloves,
a compromise between dignity and survival.
My knuckles remain unconvinced.
Winter returns again and again
through the green-painted door,
carried on the backs of coats,
slipping in at ankle height,
lingering like someone
who has already said goodbye
but remains.
A woman at the counter
counts her change twice,
the last of her pennies
now a relic of a simpler time
when 1-2-3 meant something more.
A man near the window
keeps turning his cup
until the logo faces forward,
forgetting the face
with every sip,
which ends with a new turn.
A familiar dance, a waltz?
Sip-2-3, sip-2-3.
A woman with wiry white hair
removes a bright turquoise hat,
carefully crocheted,
leaving one thread to dangle
from a curl.
The thread hesitates.
So does she.
Heavy oak chairs keep their positions,
pretending not to notice
who chooses them and why,
practiced at holding
what is briefly certain.
A barista with inked forearms
wipes the same spot again,
loyal to a principle I do not know.
The clock on the wall yawns
while declining comment,
stretching its hands
in a familiar reach,
analog-2-3, sameness-2-3,
predictable without irony.
I lift the white mug,
my fingers watching and ready,
and remember how warmth
asks to be held,
while cold does not.
—Jill Szoo Wilson, 2025
Poem: Eight Out of Ten
A robin lands on the arm of the garden chair
as if the universe were not built to frighten her.
She tilts her head. The world tilts with it.
No anthem announces her.
No speech.
No medal.
Only the wind, unbuttoned at the collar,
pretending not to notice.
She steps once, twice—
a feathered stride across the iron rung,
making a path of what is there.
The waking yard yawns and watches,
a mini tightrope walker—
eight out of ten from the pine tree branches.
She pecks at a crumb
left over from someone’s careless breakfast—
(is that my blueberry with a bit of bagel?)
it is hardly a feast.
Yet she claims it with the authority
of a creature who never learned to doubt her place.
A distant car door slams.
The robin pauses.
I can see her thinking
the way a tiny body thinks—
all heartbeat and decision.
Then she stays.
This is how courage works:
not with battle cries,
but with the quiet agreement
to remain exactly where fear expected you to flee.
© Jill Szoo Wilson, 2025
Poem: Love, Or Something Like It
There was a time
When the feeling was high
Like a tide
Rolling up and in
Surfers flying
Sun shining and
Invisible heartbeats
Crooning tunes of
Love
Or something like it.
The edge of desire
Between water and fire
Where burning is natural
Safe and contained
Where extinguishing
Is disregarded like a far-off joke
Laughter and ease
No appeasing
Only releasing
No hand on the trigger.
A season of passion
Final bastion before the mix
Of hearts and hands
Rhythms and bands
Playing songs for two
And candles glowing
Illustrating the knowing
Breaking shadows
Into pieces like crumbs
Along the way.
Shadows slip into
The hourglass—
Goodbye—
Crumbs and sands combine
Lost
And time falling
Sand filling darkness
That cannot be fished
All the way down
Into deepest fathoms of regret.
It is quiet there
Where thoughts dare not
To squirm—
They writhe instead
Slither over, “what the hell”
Wriggle past hatred
Lick the ears of obliterated
Words and
Images all stamped with,
“Doubt.”
There is a way out
But only further down
Past the malice
And through the chalice
Of poison
Red with the blood of
Something once living
Now stiffening
Twitching slowly before
Final death.
A memory of breath
Clouding
First love
Then hatred
Now something
More foreboding—
Indifference
The truest enemy of
That which was
And no longer is.
Indifference is
The air surrounding and
That one time we—
Oh, wait, now I forgot—
It is a stroll in the park
With nothing hiding,
Sitting at a traffic light
Waiting for green
But red is fine, too—
Nothing to forget, nothing to pursue.
There was a time
When hearing your voice
Scattered my focus
Like bees swarming
Drenched in honey
Bringing balance
To the flowers that we gave
And the ones we dropped
Along the way—
A garden full and thriving.
“Hello?”
My God, the timing—
I did not expect
How could I have known
That the ringing of my phone
Would start the race
Like a pistol pointed above,
Toward the space
Where helium-filled expectations
Rest in peace.
I touched my lips
As I do when my heart
Beats
Suddenly
Quickly
Stinging the parts that
Stabilize
When I realize
My hands are the only protection
I have.
“Hello,”
I heard—
Oh,
Hell no—
Hello is not enough
No greeting
Even in the repeating
Could fill the chasm
Between speaking
And hearing.
I wanted to spill
Like a leak in a pipe
Drip into the boards
Between my feet on the floor
Become a puddle
With no response
No chance to offer
More kindling to
Soak
Or to muddle.
I heard his voice
Once more
A bolt of electricity—
I was struck
With a memory
The simplicity of
The time that was high
The surfers, the tide—
A different world
A haunted time.
Then it was quiet
“It” being I
And I being the me
I remembered
I became
After the exit
Of he
And I breathed
Into the phone
Then I hung up—dial tone.
I poured a glass of Merlot
Sat in an unfamiliar glow
Once having waited—
Deeply anticipating his hello—
Now
Denied
Then
Intoxicated with his lies
But no more
And the red warmed my soul.
Once I read
Written on the sky
The opposite of love
Is hate
But you see, my dear,
I fear the stars
Were misinformed—
The opposite of love is
Indifference
I am sure I am right
As muted versions of
You and I
Are blown to dry
And stick
To freshly painted fingernails—
Not painted for you.
© Jill Szoo Wilson, 2025
Poem: Where Our Eyes Have Met
A single painting in an art museum gathers the gaze of countless viewers, linking people who will never stand there together.
This is a poem about that.
A hundred eyes
have paused at this painting—
or maybe a million—
a crowd distributed across decades,
all standing just where I stand now,
though wearing different shoes.
Some looked quickly,
some leaned in,
some tilted their heads
as if the angle held a secret.
None of them knew
they were becoming part of each other’s story.
The gold frame won’t say
how many people have stood here,
or how long,
or what they were hoping for.
Paintings don’t keep lists.
Still, I wonder
if your eyes
have ever touched this canvas
in the exact place mine do now.
If so, the colors would remember.
They are better archivists than we are.
A single brushstroke
might recognize you—
the way the spotlight sharpened on its surface
when you stepped closer,
the way it softens now
because I have.
We might have shared this moment
without sharing the hour.
Two visitors,
unlikely to meet,
connected by a patch of green
that neither of us layered
yet both of us trust.
It’s possible
the painting knows us both—
you by a trace of perfume,
me by the giggle I released too loudly,
you by the tear you wiped away quickly,
and them by a single loose thread
from their bright red scarf.
All the while,
it stays exactly where it is,
patient as a held page,
letting strangers
complete the same sentence
with different eyes.
What an odd, prismatic intimacy—
to be joined
by something that never speaks,
yet answers
each of us
in turn.
© Jill Szoo Wilson, 2025
Poem: Snowfall On a Patio Chair
It started with one flake I mistook for a drop,
without asking my permission,
as snow often does.
By morning, the patio chair—
the one with the pale blue cushions I meant to bring in—
had accepted its fate
with the patience of an object that knows
humans forget things.
The snow took its time.
A thin first layer,
then another,
each one more certain than the last.
If the chair felt imposed upon,
it gave no sign.
From the maple,
a squirrel watched the slow takeover,
pressed flat against the trunk
in an embrace that invited romance, or,
at the very least,
warmth.
It twitched its tail once—
a gesture somewhere between
expectation and indifference—
then sighed a tiny puff of breath.
Meanwhile, at the back of the yard,
the pine tree leaned lower than yesterday.
The branches, loaded with fresh snow,
descended far enough
to touch the needles that had fallen weeks ago.
A quiet reunion.
If trees feel anything at such moments,
I imagine it’s something austere:
nostalgia, perhaps,
maybe even joy.
A grand ceremony,
and no one asked me to attend.
Still, I stood at the window,
unsummoned,
as winter arranged its small corrections:
the forgotten tucked in,
the living held close,
the fallen greeted by their own.
A world going on
perfectly well
without my remembering.
© Jill Szoo Wilson, 2025
Poem: In This Light
All summer the rubber tree misunderstood itself
as a subtropical creature with permanent rights to the patio.
Fall corrected that illusion.
I carried it inside
before the cold could finish the argument.
Now it stands beside the southeast window,
where the morning light arrives like a polite guest—
knocking first,
then slipping across the floorboards
in a thin, honeyed ribbon.
This light was not made for grandeur.
It does not flare, or boast,
or promise anything it cannot keep.
It simply lifts the room an inch or two,
enough that even the rubber tree notices—
its leaves catching the brightness
with the same shy greed
of someone receiving a compliment
they secretly hoped to hear.
I water it slowly,
as if pouring out a small confession.
The soil darkens, swells,
takes what it needs
without apology.
I do not tell the tree
that I admire its stubbornness,
or that something in its resilience
feels tender to me this morning.
Plants are suspicious of sentiment.
They prefer steady hands
and predictable light.
Still, the room shifts—
a quiet choreography
of leaf-shadow and sun-warmth.
And for a moment,
we are both content
to be exactly where the season
has delivered us.
Jill Szoo Wilson, 2025
Unknowable: An Allegory
“Do you think we are unknowable?” she asked.
Caimon looked down at the dirt around his feet and noticed his shoe was untied. “Not completely, no.”
“Do you mean that we are partly unknowable? But partly knowable, too?”
He could feel his pulse in his temples as he bent down to tie his shoe, “I think we can know someone as much as they are willing to be known.”
She wondered about his answer as she leaned over to tighten the Velcro on the side of her own shoe, “Do you want me to know you?” She whispered the first part of the sentence, but the second part leapt too loudly from her mouth.
“I guess I want everyone to know me. But not really.” He could tell, right away, this wasn’t the answer she wanted to hear.
“Well,” she said, with securely fastened feet, “I think I understand.”
Caimon tried to make a joke, but it fell between his feet, “Maybe you do. But not really.”
As his paltry attempt at humor mixed in with the dirt beneath the hem of his pants, Caimon wanted her to walk away. He didn’t like the weight of her stare, and he didn’t want to feel responsible for her anymore. In a moment of desperation, Caimon turned from her—filled with the conviction that he would never look in her direction again—and he said, “Why do you always need to know? What is wrong with not knowing?”
His footsteps were slow and heavy as he could feel her blue eyes fastened to his back with long, thick ropes tied around his organs. Her eyes pulled at him and tried to stop his movement until, between one exhale and the next breath in, he felt her release. The moment of her imprisonment was the moment of his freedom, and in his freedom, he began to run. Not fast and with nowhere to go, but with the swiftness of a man whose shoes were tied and whose longest mistake grew shorter behind him.
Caimon ran with his secrets. The unknowable parts of himself were rattling around between his right ear and his left. They were sloshing back and forth between his rib cages and percolating up into his throat. The words he would never say, the feelings he could never explain, and the courage he conjured in his dreams but left stuck to the sides of his imagination were loosening with each new footstep. He wondered whether it was dangerous to allow the movement. His secrets felt like gumballs in a gumball machine and he had only ever seen one fall at a time: what would happen if the whole lot was disturbed at once?
He laughed under his breath and panted fog into the cold night air, “If only I had a quarter, I could find some courage to chew on.”
He laughed again, but this time he knew it wasn’t funny.
The words of the girl wrote themselves on the trees surrounding him, and he could hear them on the wings of the wind that fell through the leaves. He watched his shoes as they hit the ground—left, right, left, right—and he began to count the steps. Each step was further away and, somehow, closer, too. Further from her: closer to something new.
It wasn’t any one aspect of the girl Caimon needed to flee, but the anchor her whole had become. She needed Caimon, and Caimon didn’t want to be needed. She expected things from him, and he wasn’t sure he had what she was waiting to discover. He didn’t want to disappoint her, to lose her, or find her, and the girl only wanted to be found. Theirs was a connection of two negative magnets, one wanting to change her charge. She wanted to change the nature of herself so she could be pulled into Caimon and he into her, almost as though the choice no longer belonged to them.
“Unknowable,” he read as the words wrote themselves in the reflection of a lake up ahead. Caimon stopped running and never looked back, but sat on the edge of the water.
The air was so cold by then that his breath felt like crystals grabbing the edges of his lips as it was blown from his body. The forest was silent and still: the kind of stillness that lowers itself like a parachute over nature when the moon is moments away from switching places with the sun.
Caimon, tired and cold, reached into the pocket of his coat to find his book of matches. Once he was certain the matches were there, he looked near his feet for pieces of fallen wood. One by one, Caimon reached into the dirt for the wood, methodically like he was looking for pieces of a puzzle that had fallen to the floor. Once he had gathered enough wood to build a fire, he reached into his pocket and pulled out two things: the matches he knew were there and an envelope she had given him earlier, long before he tied his shoe.
Caimon crumpled the envelope—still filled with her letter—in his left hand and placed it on top of the wood. With a match in his right hand, Caimon struck the side of the matchbook and watched the flame immediately appear.
“Quickly,” Caimon thought. “It is quickly that a match is filled with fire.” Just as the flame crept dangerously close toward his fingers, Caimon leaned over and watched as the flame stretched itself from the match to the letter, like a bridge between two lovers. Or two strangers. Once the letter was lit, Caimon stood.
He closed his eyes and felt the heat of the letter begin to grow as it linked arms with the pieces of wood he had gathered from the forest floor. Soon, the fire began to melt the breath that gently rolled from between Caimon’s lips. He lightly bent his fingers into fists, his fingertips touching the inside of his own palm. He felt the skin on his hands and wondered why he hadn’t noticed before how rough that skin had become.
He could see on the inside of his eyelids the orange and red of the fire he had built: the fire made with his rough hands and matches and her letter. He didn’t want to look at it just yet but, instead, he wanted to feel it dance before him like a lover unencumbered by self-consciousness or pride. Caimon drank in the light and let the colors of the illumination paint a masterpiece inside his mind.
Enraptured by the freedom of the flames and the heat of the fire against his shoes and legs and face, Caimon leaned back his head and sighed a message that flew into the sky, “There is nothing wrong with not knowing.”
And without seeing the sun begin to rise, Caimon knew the day was new.
© Jill Szoo Wilson, 2025
Poem: The Path Widens
A meditation on how people grow: slowly, sideways, and almost never on schedule.
In teaching acting, you learn that most progress happens quietly.
Not in the moment a student secures a role, but in the moment she finally makes a choice no one suggested. Nothing dramatic. A shift of breath. A decision about when to look away. A line spoken with intention instead of hope.
Parents ask me when they should know whether theatre is a good path for their child. They mean well. They want a timeline, a benchmark, a sign that reassures them the world can still be predicted. Adults love prediction. It keeps the fear at a reasonable volume.
But acting doesn’t depend on prediction. It depends on attention.
A student gives more than she takes. She listens longer. She works without being asked. These are not qualities that make announcements. They don’t trend. They barely register unless you’ve been watching the way a gardener watches new growth: alert, but never frantic.
Younger students arrive full of borrowed enthusiasm.
A favorite movie. A character they memorized line for line.
At that age, the self has not yet solidified enough to have a motive.
They imitate because imitation is how they understand the world.
It’s not my job to explain their “why.”
It’s my job to give them something sturdy to push against.
I learned this long before I ever taught anyone.
When I was five, my uncle removed the floaty from my back and told me to jump into the pool. He said he would be right there. Adults often say this. Sometimes it’s true. Sometimes it’s more aspirational than factual.
The first time, he stood still.
The second time, he stepped back.
By the end of the afternoon, my floaty lay drying on the concrete like a gasping fish.
That is how learning works at its best.
You move toward someone who trusts you can manage the distance.
Then the distance widens.
A simple object left drying on the concrete carries its own questions.
What does a beached object imagine?
That this is the edge of its usefulness,
or that the next body of water will be waiting somewhere farther on?
Even a stranded object suggests the truth: every stage asks something different of us.
Parents want to know when their child is ready for the “path.”
But the path is not an announcement.
It is a series of small decisions, barely noticeable except in accumulation:
a student opens her script earlier in the week,
rehearses with a friend instead of scrolling a phone,
asks a question that requires thinking instead of guessing.
These things don’t earn applause.
But they build a life.
The work goes on.
The child grows.
The deep end waits, patient and unbothered.
And the path widens without saying why.
© Jill Szoo Wilson, 2025
Poem: The Thousand Deaths of Canton
Canton died on Monday
And then again on Friday
And in between
A thousand other deaths
All in a row—
His breathing shallow,
His passion stretched wide
Like a well dug for water supply
Now a brimming
Hole.
Canton’s misery has a name—
A she as you may have guessed
With brownish hair and
Bluish eyes
Anchored to her soul,
Her voice sounds
Like frogs chanting
In the night,
A melody Canton
Extols.
Her name is Sienna
Like the color artist’s mix
When simple red
Promises nothing of
Complexity
In its parts—
But complexity
Is the only way
To convey the
Whole.
She walked into his life—
No, she swam instead
Like a pirate
Fallen out of a ship
Whose pockets were filled,
Whose lungs nearing empty
Needed Canton’s
Breath to make it
To the shore with no
Patrol.
Canton wrapped his arms
Around her belted waist
He pulled her body
Wet with salted
Memories
To a warm and sunny
Place where
Resuscitating Sienna
Became his starring
Role.
He breathed his life
Into her lungs,
Sienna’s breast inflated
Like a blowfish
Reacting to her fear
Desperately wanting
His protection—
No, that’s not right—
His affection wrapped up in his
Soul.
Canton died when Sienna
Slept—
The world collapsed
With her unconsciousness
As though slumber
Was a distance too far to
Bare,
Not even the moon
Could console his emptied
Control.
He died when she blinked,
He could not withstand the dark
Her eyelids commanded—
Like a conductor
Setting the rhythm of
His pain and
One and two and three and
Four—
The music behind her open eyes, Canton’s
Parole.
Canton and Sienna
Clasped their fingers together
Like two pirates searching for love
Crossing a windy expanse—
They cried and laughed
And died and lived
Along the way
Two shipwrecked halves navigating
Toward one mysterious
Shoal.
© Jill Szoo Wilson, 2025
Jill Szoo Wilson 