Beyond Equivocation: Say What You Mean with Confidence

When I was a sophomore in high school, I had an English teacher I admired greatly. She taught me how to properly structure essays and understand the mechanics of writing. One afternoon, I was called into her classroom to work on an essay she had given a failing grade. I was flummoxed by her judgment in the moment and let her know.

“You have to learn how to do it correctly before you can break the rules of writing. Right now, we are learning the right way.”

A couple of years after I graduated, I went back to visit her. We remembered that moment together, and I thanked her for the discipline she forced me into.

While I’m grateful for that lesson, it isn’t what I remember most.

The treasure I carry from her is this:

“Don’t ever justify yourself in writing. Don’t say ‘I think’ this or ‘I believe’ that. Just say what you mean and move on.”

I’ve written that way ever since.

For me, at fifteen, her advice was revolutionary. Girls are raised to be nice, to soften their language, and to defer to more established voices. Truth is often framed as something to be approved before it can be spoken.

I give this advice to every student who comes to me in the writing center or in class, and I feel a special conviction for it when I’m speaking to young women:

Write the truth. Stand behind it. Don’t justify your own thoughts.

At some point, you learn to recognize the difference between a sentence that is reaching outward and one that already says what you mean, in confidence. You can feel it when it settles, when the words hold their weight and don’t need to be subject to equivocation. That is the place to write from, not as a performance or a plea but as a statement. Something known, something claimed, something set down with the full understanding that you might change your mind tomorrow or next year, but for today, this is exactly what you meant to say.

Poem: A Modest Proposal for the Internet Age

There is a version of you
already walking around out there.

She has good lighting.
He is a series of clean paragraphs.
They speak in sentences that arrive
fully dressed.

No one interrupts them.
No one misquotes them.
No one catches the moment
before the thought lands.

They do not hesitate.
They do not circle back.
They do not say,
“Wait, that’s not what I meant.”

This version of you
does not exist in your kitchen
or your car
or the quiet ten minutes
before sleep.

Still, she is convincing.

She has been liked.
Shared.
Saved for later
by people who will not remember
where they found her.

Meanwhile,

you forget what you were saying
mid-sentence.
You start projects you never return to.
You carry conversations in your body
long after they’ve ended.

You revise yourself
in the shower.
You win arguments
three days late.

There is no algorithm for that.

No one clicks
on the unfinished version.
No one bookmarks
the moment you changed your mind
and did not announce it.

And yet,

this is the only place
anything real has ever happened.

Not in the caption,
but in the pause before it.
Not in the post,
but in the hour you spent
deciding whether to speak at all.

The Internet will continue
to assemble you
from fragments.

A sentence here.
A photograph there.
A tone someone will misunderstand
and carry with them
as if it were complete.

You will be summarized
by people who have never
heard your voice in a room.

You will be known
in ways that are technically accurate
and entirely untrue.

This is not a problem
to be solved.

It is a condition.

So—

wash your cup.
answer the email you’ve been avoiding.
tell the truth
in the next small conversation
that asks it of you.

Let your life become
slightly more aligned
with the person
who appears so effortlessly
on a screen.

Not perfectly.
Not all at once.

Just enough
that if someone were to meet you
without context,
without history,
without the archive—

they would recognize you.

And if they didn’t,
you would not feel the need
to explain.

Now,

go and become the person
you want the Internet to think you are.

© Jill Szoo Wilson, 2026

Iris Lennox

This one did not arrive gently.

The edges remember something—
a pressure,
a folding back,
as if each petal had to argue
for its place in the light.

Nothing about it is smooth.

The ruffles hold.
The color deepens where it was once hidden.
Even the softness has weight to it.

You could say it opened.

But that would miss
what it endured to become open.

There are days
the sky lowers itself without warning,
and everything living is asked
to stay.

No explanation is offered.
No promise of outcome.
Just weather.

Still, something in the root
keeps drawing what it can.

Still, something in the stem
lifts what it has been given.

And when it is finally visible—
the pale, steady unfolding—
no one sees the storms.

Only the shape they left behind.

Only the quiet fact
that it did not close again.

Only the way it stands
as if the breaking of it
was never the end.

@Jill Szoo Wilson, 2026

Free Speech and the Right to Think

By Jill Szoo Wilson

At least once a semester in communication class, I bring up the name of a famous actor or actress from the 1990s, and the students have no idea who I’m talking about. I register my surprise, make a big deal about how they don’t know anything about the world, and then show them a clip from a movie featuring said actor or actress.

This is boots meeting the ground in education.

Last semester, the name that eluded them was Meg Ryan. Fortunately, when I showed them a scene from When Harry Met Sally, two of the students recognized her. It is also important to note that most of them had not seen the movie, and when one of them asked who the short guy in the scene was, I had a second reason to faint in despair.

Let us pause in remembrance of decades past.

Moments like this have become familiar. Each year introduces a slightly different horizon of reference, and a shifting boundary between what is assumed knowledge and what has already passed out of view.

Most of the time, these gaps remain at the level of shared culture. A film, a music reference, or a name that no longer carries immediate recognition. The loss is noticeable, though in all honesty, it rarely feels truly consequential.

This week, the gap carried a different kind of weight.

I mentioned the name Jordan Peterson, and again, the room was silent. No recognition. No point of entry.

To close the gap, I had to do more than show a clip.

Peterson’s work engages questions about the conditions of thought itself, particularly the role of language in shaping what can be known, examined, and understood. Across lectures, interviews, and public debates, he has returned repeatedly to a claim that carries significant implications for how human beings think and speak. People do not first arrive at a fully formed thought and then express it. Instead, we speak in order to find out what we think, and in doing so, begin to understand what we are actually trying to say.

Using this framework, speech is not only a means of delivering a finished idea. It becomes the place where the idea is formed. Most people are not walking around with fully developed positions waiting to be expressed, although social media can create that impression. Most honest people are working their ideas out as they go. They try something in language, hear it, adjust it, run into a contradiction they did not expect, and sometimes arrive somewhere they did not plan to go at all. Peterson himself often spoke this way in lectures, beginning with a premise and working through it in real time. That is a brave act to perform in front of a thousand people on some random Tuesday.

Peterson’s claim situates speech within a longer intellectual tradition. Lev Vygotsky described thought as developing through social interaction, with language serving as the primary tool through which internal reasoning takes shape. Ludwig Wittgenstein located meaning within use, suggesting that the limits of language and the limits of thought remain closely intertwined. Within this framework, speech operates as one of the conditions through which thinking becomes possible.

When considered in this light, the question of free speech acquires a different kind of weight. The issue extends beyond the circulation of opinions or the management of public discourse. It reaches into the conditions that allow thought itself to emerge.

In the classroom, this becomes visible in small, subtle ways. A student hesitates before raising her hand because she’s not sure how something will land. A comment is softened, or abandoned altogether, because it might be taken the wrong way. A question goes unasked because it feels easier to stay quiet than to risk being misunderstood. None of these moments appear particularly dramatic, though each one narrows the space in which thought can be worked out in real time. It removes the moment where a person hears themselves clearly enough to recognize that something does not hold… or that it does.

Whatever thoughts are constrained in the room do not disappear. The student conceals them and at times carries them elsewhere to test in a more sympathetic environment, where agreement is more likely.

When speech does not disappear but simply moves out of view, it changes shape. Without response or resistance from the real-life community, ideas tend to harden. What might have been clarified in the open becomes more certain in private. For example, a student writes something in a discussion board they know will not be challenged, and it stays exactly as it is. The same idea, spoken out loud in a room, would have met a question, a pause, a raised eyebrow, something to press against. Without that, it holds.

Some amount of friction is part of how thinking happens. It gives ideas something to meet, something that reveals both their limits and their strength.

To think with any depth means holding two competing ideas at once without reducing either one into something easier to dismiss. Something that can stand on its own. It means articulating a position you do not agree with well enough that someone who does would recognize it. It means resisting the urge to resolve the tension too early. That kind of thinking is slower. It asks for precision. It asks for attention. And it asks for restraint, the willingness to let both ideas remain intact long enough to actually see them.

That work depends on language. It depends on the ability to say something before it is complete, to hear it, and to revise it.

What takes place in a classroom extends into the wider structure of public life. The same dynamics appear at a larger scale, where the pressures shaping speech influence the development of thought across entire communities. When speech narrows, whether through formal restriction or informal pressure, the range of what can be articulated begins to contract. Thought continues, though along more limited paths. Some ideas remain unspoken. Others circulate without meaningful challenge. Over time, this reshaping of discourse influences what can be examined, questioned, and understood.

Peterson’s insistence on the role of speech in thought formation places him within this broader conversation. His position has generated controversy in part because it resists attempts to separate language from its cognitive and social functions. To speak carries risk. It opens a person to misunderstanding, critique, and revision, and places a developing thought into contact with other minds. That contact is where refinement becomes possible.

The stakes of this position become clearer when viewed through the environments in which thinking occurs. A classroom, a conversation, or a public forum. Each serves as a site in which language mediates the development of ideas. The freedom to speak within these spaces does not guarantee clarity or truth. It establishes the conditions under which both can be pursued.

What began as a question about who students recognize in a classroom unfolded into a larger inquiry about how knowledge is formed. Cultural memory shifts. Names recede. New figures emerge. Beneath these changes, the underlying process remains consistent. Thought develops through articulation, through response, and through the sustained interaction between language and understanding.

Within that process, speech holds a central place. It allows a person to hear what they are saying closely enough to recognize where it holds and where it begins to shift.

In the end, the question of free speech returns to something simple. It has to do with whether there is still room to say something before it is finished, and to let it change in the presence of other people.

Poem: And She Flew

Currents of wind
Grasping blue
From the sky

Mixing colors—
Translucent white
Floating by

In puffs
Like smoke
But water

Cascading
Masquerading
As clouds, drifting down
To rest upon
The ocean’s top

Atop the undercurrents
Pulling dark and light
Together

In a haze
Under the phase
Of the moon

Where fullness
Steers the darkness
From the light.

At night the sense of
Flight
Alights

In dreams and hopes
A knotted rope
Hangs from the stars

And swings
As she sings
Like a bird

Whose song is sung
Carelessly
Without thought

She calls into the night
Filling it
From empty
To bright

And falls into
The space where
Downwind caresses
Upwind lifts

And buoyancy calls her
Higher still.

As hummingbirds swing
Creatures below
Sting

With venom held
Inside teeth
Red with the catching

Stories repeat
Through dust and mold
Dark with lies

Whispered inside
By unseen spies
Who feed on souls

Who fill the roles
Like actors
Paid to play

Unable to reach
The heart
And open—

Unfold
Like art.

The ones below
Whose wings were clipped
Set a scheme

Narrow as a
Tightrope
A balance beam

A trap
Set with bait
And they waited

Inside a box
Designed to promise
The only way

Into hope
From hopelessness—
To pull her down

To steal her crown

A crucible
Of fire
Inside folded walls

Where stories
Cease to be told.

She flapped her wings
Tilted her head
Toward the earth

Wondered
Then wandered
Through the expanse

Where freedom
Takes its chance
On little birds

Such as she

She caught a breeze
Saw her reflection
In the sea

Caught a glimpse
Of her worth

And floated down
To the cardboard flaps
Of the box

The dark ones
Moved
Like worms

The kind of worms
Eaten by birds.

It looked easy enough

Fold the second flap
Then the first
And follow the way

They had planned

To be kept
From the sky
From the breeze

From the warmth of the sun
The turn of the season

From the spring
That would
Enchant her

Like a lover
Enhance her

With colors
Vibrant
Breathing
Beating

With life
To romance her.

“No,” she thought

And then—

“No,” she said

The comfort of that dark
Is stark

The safety of that space
Is small

A quiet that settles
For an hour

Sweet at first
Then turning

She felt it
And knew it

And chose—

She rose

And she flew
And she flew.

© Jill Szoo Wilson, 2026

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: 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: Woman Waking

She lifted her hands toward the sky—

White and heavy with snow-laden clouds—

And stretched all the way through

From the tips of her fingers

To the delicate curves of her ankles:

A sound flew and then fell from her lips.


It was a sigh of awake, a dream of asleep—

Her breath still deep but rising to the surface—

She could see the wrinkles of her pillow

Branded into her face, holding on

Until they too had to fall from her cheeks

And rise, like steam from a cup of coffee.


The birds outside her window sang—

Songs of newness, routines and plans—

And then they were muted by the clamor

Of coffee beans bursting with fragrance

And tones more lively than even the birds

Could muster through beaks that sip only water.


She sat at her table wearing pajamas—

White cotton speckled with flowers of pink—

And she touched the tip of her mug

To lips that had not yet spoken into the day

But made only the sound of awake

And she swallowed the warmth as she thought.


Her thinking became clear and her eyes became bright—

Brightened like snow when the sun begins to shine—

A plan began to spin and to whir

Like the cogs in a machine newly oiled,

The sound of movement—of forward—

And she hopped on the sound like a wave.


Into the day she rode on an idea with wings—

The feathers were big like those of an angel—

Her hair blew backward and also to the sides

Into air that felt the way water feels

When at first the faucet cascades

Before the heat of hot has time to warm.


She was not sure where she was going—

The going was more important than the where—

Beating inside her was a heart

Burning inside was a feeling

Rising inside was a hope that

Waking was only the beginning.

© Jill Szoo Wilson, 2026

Poem: Weathered Flag By the Sea

The Flag rehearsed the Wind all day –
Tugged hard – and would not yield –
The Sea flung questions up the cloth –
Which Fracture half revealed –

Salt worried every former hue –
As Fingers fret a seam –
Till Red forgot its early name –
And Blue misplaced its Dream –

It lunged – then snapped itself upright –
As if recalled to Task –
No Banner begged to be believed –
It only met the Ask –

The Pole enforced no Sympathy –
It held – because it must –
As Structures do – when Weather learns
The Vocabulary – Trust –

At Dusk – the Flag grew argumentative –
And struck the Air – once more –
Then folded up its shouting words –
And leaned against the Shore –

© Jill Szoo Wilson, 2026

Capitalization and punctuation inspired by Emily Dickinson. 🧡

Poem: Minor Character

The pen lazes about,
thinking
it’s a minor character.

It agrees to be borrowed,
chewed, misplaced,
forgotten in a drawer
with expired batteries
and a single paperclip
that has lost its shape.

The pen does not announce itself.

It is not forged.
It is assembled.
Plastic barrel.
Ink persuaded to flow in one direction.

It watches other tools
take the credit.

The shovel, for example,
returning from the field
with dirt to prove it was needed.

The brush,
still wet,
still dramatic.

The pen keeps quiet.

Between finger and thumb
it waits for pressure,
not strength.
Pressure will do.

It does not dig.
That would be too much to claim.
It scratches.
Again.
Again.
A thin disturbance
on the surface of things.

Strangely, the surface remembers.

The pen does not decide
where it will end up.
It is surprised to find itself
quoted,
misunderstood,
folded into pockets with muted shades of lint.

Set aside,
it enters ongoing business,
love stories,
and napkin dreams,
still damp at the edges.

If it resembles a spear,
this is an accident of geometry.
A narrowing.
A choice to point
rather than spread.

At the end of the sentence,
it returns to stillness,
yawning,
innocent as ever.

It will deny everything.

© Jill Szoo Wilson, 2026