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The page sketches a woman as dangerous, animal-quick, and strangely blessed, then pivots through handwritten revision toward singing as part of her blessed identity.

The revision marks matter here: the crossed-out movement from beginning to present is replaced by a sharper gesture toward spending on singing. The woman remains fierce and spiritually charged, but the page now reads less like a historical sweep and more like a compact portrait of dangerous grace, voice, and being.

A compact portrait of the woman as both threat and grace: 'There is a hell. a heven in her way', her 'eyes are darting, a crow, a bob cat' - quick and predatory. She is fixed in her nature ('dosen't change much / Or find reason to') and the handwritten revision redirects that stillness toward voice, 'TO spend on singing.' The flat final lines - 'She is blessed / That's who she is' - settle the portrait into pure assertion of identity rather than argument.