Page 61

By Jack Joseph Smith

It was the motion; image is: Then puting again. Returning back. A child mindful of school lessons. Waiting to hear. With green foot there is no line. Baldwin "Go Tell It On The Mountain". To understand a purpose is to see no purpose. The artist he bets at purposeful- ness - but not always so. Conscience becomes useless; history is like marble and round. Shuddling with circle. Consider why this is so. Your fears wash but one face through many. See them. And in the imaginary love stories the magnification allows them to feel themselves in the presence of sympathetic heroes. But beyond the fence - just behind it - come the voices whose hands contain what fear would not touch but one complain of. Odd man out? The drunk nods is hogged and sleeps smiling.

Original Scan

AI Interpretation

GPT

A handwritten note links motion, image, school lessons, Baldwin's "Go Tell It On The Mountain," purpose, conscience, history, circle imagery, fears, love stories, sympathetic heroes, voices beyond a fence, and a closing complaint about what fear would not touch.

The page keeps turning on mediation: motion becomes image, purpose becomes no purpose, history becomes round, and love stories magnify people into heroes while other voices remain just beyond the boundary.

Claude

A dense note moves from motion and school lessons to Baldwin, purpose, conscience, history, circles, fear, love stories, sympathetic heroes, voices behind a fence, and a complaint around fear and touch.

The fragment is philosophical but image-driven. Its argument resists purpose even as it studies how narrative, fear, and heroic identification organize perception.