Page 40

By Jack Joseph Smith

A Late Sixties Santa Monica Soul Child Christmas Time Across the Valley the Santa Ana wind sweep cleared the smog and it seemed to rain for forty days and forty nights California Soothsayers crouched in corners telling future's falling wisdom The modern day city king came back from Japan with stories and the merchants put him on television with a gold suit Soul child walks head low waiting for the storm to blow If there is hot coffie or tea on a table set for a shopper's return You can be sure to learn there is none for soul child who sees Yet there in the market place Mall the dream child dreams not through the marble facade While out there among the crowd the shag of soul child siezes sight upon the charade . All that moves and equals is known by the soul child From breaking dawn until breaking dawn for he takes milk from your doorstep As the uptown dressed man stepped toward the bus for home he was approached by a soul child His face as a father gave to her ungladly for her appearance answered his domestic questions Now they step across the threshold passing shadows to shelter they go slow The evening sea fog feeling slings in through their minds and sparse security finally is in a touch of cupped hands There a cracked brown building is dim resting at least relinquished from the wind In here where leather hung-strung beats make music bleed and not an objective stranger makes witness by this deed Are the needed souls of Soul Child for the night...

Original Scan

AI Interpretation

GPT

In a fragmentary Christmas-city vision, Soul Child moves through smog-cleared California, consumer spectacle, and makeshift shelter as a figure of need and witness.

Santa Ana wind, soothsayers, television, a gold suit, mall marble, doorstep milk, sea fog, and a cracked brown building create a public world where commerce and prophecy crowd the same streets. Soul child is both witness and need: the figure sees the charade, takes milk, and still depends on shelter, touch, and other people's uncertain recognition. The closing question turns the page outward, asking whether Soul Child's needed souls are for the night itself, not just for one rescued person.

Claude

'A Late Sixties Santa Monica Soul Child Christmas Time': Santa Ana winds clear the smog as 'the modern day city king came back from Japan' to be put 'on television with a gold suit', while 'Soul child walks head low / waiting for the storm to blow', sees 'upon the charade', 'takes milk from your doorstep', and is finally taken in for the night by an 'uptown dressed man'.

The poem makes the soul child the only reliable eye in a city where the mall's 'marble facade' has replaced landscape and prophecy shares the sidewalk with commerce - 'California Soothsayers crouched in corners', the gold-suited king on television. The doubled time of 'From breaking dawn until breaking dawn' holds the child watching both the day and its decay, and the doorstep-milk detail keeps the figure stubbornly literal rather than purely symbolic, a real hungry presence. The encounter that follows is rendered with uneasy tenderness, the man giving 'ungladly' yet taking the child across a 'threshold' to a 'cracked brown building' where 'leather hung-strung beats make music bleed' and 'not an objective stranger makes witness'. The trailing 'Are the needed souls of Soul Child for the night...' turns the whole vision outward as an open question about need and use. Source spellings 'coffie' and 'siezes' and the spaced period in 'charade .' are kept as written.