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By Jack Joseph Smith

It isn't suddenly that the oceans are filled with gun ships And that fortifacations got filled with impodent killers It is just that we all get to watch it now, it is so entertaining, breathless, you might say When she dreame d into the dust, before the Son of God, men developed her immagination into stone into castles,. then they put her on top while they took all her sisters All the way through silent as a clearnet If I saw her on the street, most likely she would turn my head; if I saw her in the middle of nowhere, I am sure ahe would say not to bother; she comes from the beginning to where we are, and she is not done yet

Original Scan

AI Interpretation

GPT

Gun ships, fortifacations, spectacle, and an enduring feminine figure are set against one another until history looks like entertainment built on theft that still cannot finish her.

The poem is scathing about the modern pleasure of watching violence, insisting that what looks breathless and new is only newly visible. Against that, she appears as something older than war's display, carried from dust and sacred story through repeated acts of elevation and stripping. The final claim that she is not done yet gives the whole piece its counterforce.

Claude

This untitled piece indicts spectacle: oceans of 'gun ships' and 'fortifacations' full of 'impodent killers' are damning not because they are new but because 'we all get to watch it now, / it is so entertaining, breathless.' Against that televised violence it sets an ancient feminine figure who 'dreame d into the dust, before the / Son of God', whose 'immagination' men built into 'castles' so they could set her 'on / top while they took all her sisters.' The close turns intimate and prophetic - she would 'turn my head' on the street - and insists 'she comes from the beginning / to where we are, and she is not done yet.'