Page 168

By Jack Joseph Smith

clamor her face had forced it's way into some feel- ing, but then he had watched her pale back into prac- ticality. Now he focused back her appearence as a ques; that he had come to call on technology;, and not on theatre; He had come to call where courting was con- sidered an instrument;, and not a sensation; He had followed his guide through short second scenes of chambered desks; and young balding men caught up to their necks with white on white starch, and red green and yellow Pepsi ad texture ties. As they came to the final door; his guide took him gently by the sleeve. The Mr. in Jiven Joe carefully remembered now the thick carved wooden door he had entered after the quiet twist of his guides hand on the brass knob; From the metallic heart of I.B.M., General Electric, and Xerox he had pass- ed precisely from the motivation of his throat into the sealed elegance of the modern executives survival from witness; The seven or eleven men at a long mahogany glossed table had stood up from their chairs; and leaning from their midsections had shook his hand with introduced grins. His reflections were how they had all been diff- erent representations to him; The business man, the in- tellectual; the physiologist; and the master of cere- mony's, of course; The aids had been watchers; who's position it was not to converse;

Original Scan

Page 168

AI Interpretation

GPT

Jiven Joe remembers crossing from theatrical desire into a sealed executive world where technology, ceremony, and corporate witness replace sensation.

The page stages the office as a ritual threshold. Brass, carved wood, mahogany, and introduced grins make business feel ceremonial and sealed off, while Jiven Joe's memory keeps insisting that the room's power depends on watching rather than conversing.


Claude

Jiven Joe realizes he 'had come to call on technology, and not on theatre', where 'courting was considered an instrument, and not a sensation'. He is guided past 'chambered desks' and 'young balding men' in 'white on white starch' and 'Pepsi ad texture ties', through a 'thick carved wooden door' from 'the metallic heart of I.B.M., General Electric, and Xerox' into 'the sealed elegance of the modern executives survival from witness'. The 'seven or eleven men' rise with 'introduced grins', each 'different representations' - businessman, intellectual, physiologist, 'master of ceremony's' - while the aides stay 'watchers; who's position it was not to converse'. The corporate threshold is staged like theater. This reading remains provisional because the page transcript is OCR-uncertain and handwriting still needs closer review.