Page 171

By Jack Joseph Smith

Whrifz the othep Pros hs Asi ed PBS OK t peesti« as Awd ctiale there ofa fpore ws The business man had turned‘ back to him with a? serious smile and holding eyess Money was a joke - to him like calling his business a skim trade, . ‘ but he saw it as ‘being the réasen even for his laughter; .so: he was ‘practiced im his subconscious te: see moneyvseriously anytime we 3f semething / by 4 t dining appreached ¢ risky situation, "“Leoks what's your reali name?" "Irishs" "Jee Irish?" ; "That's right" “What did you do last?™ The wg zee Adolt coapsrt ears y BD ET eee "the stages Childrens play's, and O'Neil kind na 4 of ‘stuff with street kids" : Lops vss StpsEes Kid § "Before that?" if , straxge ap happy I j "Prigors" ya /. . i ‘ ‘ Referer Aa val GE CAME A od; recton "Tt'g “in the resumes"? From the man who resembled’ Harvards "Night club | singer?" "Rights" "Before that?" ; "The wars" "What happened in Prigion?" Mt "A disciplined study ef imprevision," “How much money did ‘people pay te hear yeu sing?" :

Original Scan

Page 171

AI Interpretation

GPT

An actor-singer with prison and war behind him is questioned by a businessman who treats biography as a financial risk profile.

The page makes interrogation sound like cultural sorting. Every answer has to pass through money, résumé, and social legibility before it can count as experience.

Claude

A businessman treats an actor-singer's biography as a credit report, asking questions that refuse to register his prison and war years as qualifications. The page makes class audition explicit.