Page 272

By Jack Joseph Smith

To Of The Line You know what fuck you and all the horses you road in on means But we know we are not thinking about a race track Actually we are thinking about the beginning and ending of all time Sorry, geting back to it,, cause I know a cowboy says that too It ain't easy running off the wind,, I mean at that place where the wind is the only thing that makes a differance is WHERE it takes No matter what they say; I've seem fhe Moor make Jesus om the land,, but I have never seem the Sun make Jesus on the sea Wider than time through all it places,, after awhile it is not a lover,. surely the sea is the devil himself

Original Scan

AI Interpretation

GPT

'To Of The Line' moves from cowboy profanity into beginnings, endings, wind, Jesus, and the sea as a force wider and darker than ordinary love.

The page's roughness is part of its argument: folk insult, religious image, and handwritten pressure all push the speaker toward the sea as something nearly demonic and beyond human attachment.

Claude

A second 'To Of The Line' (source spelling) page that reuses the cowboy curse as a structural hook - 'fuck you and all the horses / you road in on' - then immediately disowns the literal frame: 'we are not thinking about / a race track,' but 'the beginning / and ending of all time.' The wind becomes a measure of difference - 'running off the wind' to 'where the wind is the only / thing that makes a differance' - and the religious turn is its sharpest: 'I've seem fhe Moor / make Jesus om the land,, but I have never seem / the Sun make Jesus on the sea' (source spellings retained). The sea ends as no lover but a dark absolute, 'Wider than time through all it places,' 'surely / the sea is the devil himself.' This reading stays provisional: the page is mixed-quality, and ambiguous right-margin handwriting (e.g. 'On Leaves') was noted but not placed into the body.