Page 162

By Jack Joseph Smith

SiS | chiltiren: theatre's mement’ she ren.her forefinger - areund ‘the edges ef her mouth, but suddenly she Was jolted out of heripose, for Her: image to her= self had come out filled with sexi! She laughed; and bended her mind back to being alenes Acress- the landscape she saundéered; her aoe: moving fast= er, her mind refusing in a pelite way-to lace it's reflections to sarcasm, He was walking areund Will: Roger's State Park net far aways He feltias if he were truely walk ing upem something as he went across::the lawn) He admired 'the estatey and believed that it's de- dicatien still: breathed, though he lmew *that one had te be whatever they felt; This little real> ization helped him ignore tourism as only-a part : ef the ceremenys' He experienced'an ache im his: heart. fer the nightclut stages' He-saw “the women laughing, and the men going to the bathroom for good; Nothing was cimpossiblesferrhis dreamsste maintain, when responsililliity had nothing te-de with moneys' He was.a cléan:bum giving directions. : te -Oiiaha, and Danville, and Datanj' He made the ladies :laugh with hia friendly crackst! "Helle, Thi Animaly’ Iirepresent the lighter: side ef Liiaj’ : replacing allithe exterminated’ chipmenks. Have:

Original Scan

Page 162

AI Interpretation

GPT

The page moves from Jaugeline's suddenly charged self-awareness into Animal's roaming dream of performance, tourism, and comic self-invention.

Both figures are caught between image and solitude. Jaugeline pulls back from an unexpectedly exposed version of herself, while Animal keeps turning public space into a stage where charm, fantasy, and drift can still feel like vocation.


Claude

Jaugeline's self-awareness charges the page while Animal's mind roams into performance-fantasy. The two interior states run parallel rather than colliding.