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

This story was inspired by German painter Heiko Müller’s piece, The Inner Light http://www.heikomueller.de

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

Poem: Broken People

The broken people

Write

Of themselves

Themselves

To mend

Before the stories

Clinging to sinewy tendons

And blood-covered veins

Break the remainder

Of the broken people.


Like bricks

Pulverized by word-hammers

And spread across

Paper

Weighted so

The paper

Will not be carried away by the wind

The anchor-stories

Are yanked from below

And are gasping and

Building

Something new.


Their minds have slipped

Into the core

Below the place

Where gray matter

Sloshes

And squishes about

And their eyes

Are inside and

See

What is there

And blink Morse code

To the hands

On the outside—

In this way

The stories are told.


The broken people

Choose not to walk

Though

Walking is easy

On feet that are strong

But movement against

Wind might seem like

Progression

But sometimes

Movement of the hands

Moves

Them

Further along

Than feet ever could.


“Do you dream?”

A fellow asked

Who smelled of Vodka

And beef

Whose face

Looked like it dripped with

Paint

Too thick

And crusted on

Forgotten

By the touch of

His painter’s hand.


“I dream,” answered

The broken man

Whose feather pen

Moved faster than before.


“How do you dream,”

He asked then he stumbled,

“With no head to call your own?”

He laughed at his question

Like old women

Laugh at dolls

When dementia

Has taught them

That dolls are flesh.


The broken man

Wrote on

And thought about

A song

He heard in his ears

Long ago

Many years

Before his head fell

Into his core,

“I see the crystal visions

I keep my visions to myself

It's only me

Who wants to wrap

Around your dreams and

[I wonder]

Have you any

Dreams

You'd like to sell?”


The broken people

Tell of themselves

They also tell of you

And when they

Cast

Silvery questions

Into the ocean of

You

It never is in vain—

For they will not

Throw your stories

Back

But

Instead

Transform them into

Something new

And then

You

Move through

Fingertips too.

© Jill Szoo Wilson, 2025

Poem: The Reaching

If ever a UFO landed on your head—

She thinks that's a weird question.

No UFO has!


I wasn’t talking to you.

But to you . . .


Pretend one has.


What do you think it would feel like?

Imagine it.

Go on.

I will wait.


[A sparrow flies by]


I am not asking how heavy it is or

Cold or

Bumpy or

Smooth:

You could not really know such things

At all.

I am asking what you would feel like inside—

She would feel like an idiot!


But if it was really there . . . on your head—

On her head? What is this ridiculous riddle?


Okay not on your head, but over . . .


If you ran out of your home

With no where to go

Your hair was torn and

Bruises and

The smell of whiskey

And cigars

On your face—


If your shoes were untied

And you saw your mother cry

And you didn’t want to stay

One more second

In that place.


If the air was so cold

You could see your breath

Shooting into the night

Like a jet engine beginning a race

So you slowed your pace

And panted and heaved

And your knees buckle under you

With disgrace.


Let us pretend the aloneness

You feel—

It’s just a feeling, she's not alone!


But still . . .


Your aloneness is real

With no one to call

And if you turned back now

You would be thrown against a wall.

So despite your

Aloneness

You crawl

To safety and the blackest woods

You embrace.


If in that space

You held on tight to a

Branch you could reach

Or the neck of a deer

Or the paw of a bear

Until

At last

You saw glowing near

A rounded

Machine with light bulbs you could see

And a sound you could hear

Like a robot giving chase.


What would you think—

She would think she was nuts!


Okay, maybe. But . . .


Would you believe your eyes

Or think your sanity was disguised

In the brain of a woman

Otherwise apt?

If you could touch and

Feel

Would you believe it was real?

And what about smell?

If you could smell the exhaust

Coming from the pipe

And taste the metal on the

Wind of the night

And hear a voice shrieking,

“We come from someplace” . . .


If it landed and

A hand

Came out from within

Would you look at your fingers

And kiss them goodbye

In case after touching they never returned

But still reach them out

And touch the warmth

Of an unknown hand

Unrecognizable

And trust

Even before you could see his face?


You can answer now—

She doesn't want to answer,

She thinks you’ve gone mad!



But there is no madness in the question. It is only a question . . .


“Yes,” she said.

And continued on,

“If I knew I was alone

Even in a crowd

And the sky delivered a mystery

I would.

Reach out.

And be brought in.”


Thank you for your honesty—

Thanks for nothing, you mean!


But thank you for telling the truth.


With a pair of eyes

Belonging only to her

She looked at the man

With the question,

“I would.”


© Jill Szoo Wilson, 2025

Poem: Slowness

There is a secret bond between slowness and memory, between speed and forgetting. A man is walking down the street. At a certain moment, he tries to recall something, but the recollection escapes him. Automatically, he slows down.

Meanwhile, a person who wants to forget a disagreeable incident he has just lived through starts unconsciously to speed up his pace, as if he were trying to distance himself from a thing still too close to him in time.

In existential mathematics that experience takes the form of two basic equations: The degree of slowness is directly proportional to the intensity of memory; the degree of speed is directly proportional to the intensity of forgetting.

Milan Kundera, Slowness

Kundera, man. This guy just knows how to pierce into and extend a metaphor.

The question his thoughts inspire in me today is this: when we travel from the present moment to our memories–or an imagined future–does the speed of life around us change? How do we move from our imaginations to our current surroundings? Slowly or with speed?

Slowness
By Jill Szoo Wilson

A breeze blows through my window
proclaims,
"I wants to write,"
as it lifts the pages of my notepad–
the crinkling sound of paper–
no–
the sound of pages running across a sidewalk
though no footsteps follow behind.

Free, the pages tumble
twist into a roll–
double back salto tucked with a triple twist–
a pigeon holds up a sign,
"7 out of 10."

It had to be the pigeon.
No one else was paying attention.


The fluttering of the notebook page
pulls me back into the moment–
how many sounds have I forgotten to hear?

Do I hear the past
more loudly than today?
How many hours echo through a chamber of disparate chatter
?

A dog is barking,
a squirrel's claws are tapping the inside of my ceramic pot,
I'm humming a song that was sung to me once,
the pigeon is bored–
he flys away.

©Jill Szoo Wilson, 2023