Page 24
By Jack Joseph Smith
By Jack Joseph Smith
Original Scan
AI Interpretation
'A POEM TO A PAINTER' with BEFORE / IT ALL / HAPPENED sections: descent into horror and surgical vision, then tavern memory, then a blessing among lost men in the alley.
The page frames painting and poetry as parallel acts of witness. Its three-part structure matters: preparation, immersion, then aftermath. The 'worn out hobo's tie' simile keeps the page tied to the collection's hobo persona even while the poem addresses another artist.
'A POEM TO A PAINTER', built in three labeled movements - 'BEFORE:', 'IT ALL:', 'HAPPENED:' - tracking a surgical descent where 'they had captured a / brain and on scalpel sharp surgical stone cut it raw', a tavern reverie with 'tears running... down my-lines like fading colors of a worn out hobo's tie', and a final blessing of 'Men among lost men blessing man's soul in the wild / of the black alley'.
The three subheads ('BEFORE', 'IT ALL', 'HAPPENED') stage the poem as preparation, immersion, and aftermath, and read together they spell a rough sentence about an event that overtook the speaker. The first block is the most violent, casting vision itself as a vivisection on 'the screaming edge / of my hanging lungs' until 'the last / reded eye went into me'. The middle softens into elegy and self-doubt - whether he could keep walking past 'all the gravestones' and still 'write after' - with the 'worn out hobo's tie' simile binding this address-to-a-painter back into the collection's hobo persona. The close turns consecratory: art lets the speaker 'deepen my own still passing beneath', insisting poet and painter share one threshold of witness over the unburied dead. Source spellings 'reded', 'my-lines', and 'replys' are kept as written.