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By Jack Joseph Smith

No matter what is said concerning cershindo we know it is all about the beginning and the ending; take a bath if you get a chance, good by, my displeasure won't last We know evil is two and two, ostensible We do not cross its lines, however if ya' put itup, most do No one is alowd to go to work, let alone walk down the street unless thay have a bit at least of fashest in their convetsatior over I have walked on meadows, and I have walkee across the sea, but I never thought I was Jesus I have seen some medows beneath my feet HAS EVER GROWN And I have sden some thousand miles skirt them too across the sea, and I never gave a thought to Jesus when I was doing it MEADOWS THE EARTH I have walked across the most beautiful

Original Scan

AI Interpretation

GPT

The speaker sets beginnings and endings against a fascist public atmosphere, insisting on ordinary human scale while refusing both evil's logic and any messianic self-image.

The poem moves from domestic instruction to political disgust without changing tone, which makes the critique feel lived rather than rhetorical. Its sharpest line is the claim that everyday speech already carries a bit of fashest, turning the whole street into a contaminated space. The later meadow and Jesus lines reject a heroic self-image, while the handwritten additions enlarge the earth imagery instead of turning the speaker into a savior.

Claude

Domestic instruction ('take a bath if you get a chance') slides without a tonal break into political dread, where no one may walk the street unless they carry 'a bit at least of fashest in their convetsatior.' Against that contamination the speaker plants his refusal of grandeur: he has 'walked on meadows' and 'across the sea' but 'never thought I was Jesus,' the handwritten 'HAS EVER GROWN' and 'MEADOWS THE EARTH' enlarging the earth without crowning the walker. The 'mixed' OCR band notes some artifact, but the reviewed handwriting placements hold.