Page 30

By Jack Joseph Smith

Liza I got about one hundred books in my head If I was to teach them I would have to read them over as we go But they are in my head; not academic, they are a part of my life I want to come and say things To the children most is in my mind Cause it will all be true The bad all the way along I am building up and I am going to be with you I love you And it is so slow Even my Jesus is giving me a push Just a note Be careful on the road And tell the kids to step back from the It is a reference to being there One should feel like an idiot if they express themself without seeing the greptist wanderer Some kind of act at the end of Bearded Mammal

Original Scan

AI Interpretation

GPT

This second "Liza" keeps the inward library but shifts toward message, warning, slowness, and a marginal meditation on reference, self-expression, and the greptist wanderer.

The voice is more fragmentary here, yet its aim is clearer: to turn interior knowledge into an address for others. Love enters directly, and the typed poem feels like a note being composed in real time, full of affection and interruption. The marginal handwriting expands the earlier idea of reference into a rough spiritual warning about seeing, expression, and some bearded mammal figure at the edge of the page.

Claude

A second 'Liza' keeps the inward library - 'about one hundred books in my head,' 'not academic, / they are a part of my life' - but turns toward message and tenderness: 'I want to come and say things / To the children,' 'I love you,' even 'my Jesus / is giving me a push.' It closes as a real-time note ('Be careful on the road / And tell the kids to step back') trailing into marginal meditation: 'One should / feel like an / idiot if they / express themself / without seeing / the greptist / wanderer,' down to a 'Bearded / Mammal' at the page's edge.