Page 174

By Jack Joseph Smith

/9O . as of children, dogs, and ducks, He walked’ to the-cen-- ter of his hobo courtyard; and ‘then crossed over te step and place his right’ fect on a large white -paint= ed reck just befere -hia pond of duckss The windews: around were empty of faces: er ‘Pigurese, = He spoke alound briefly: in a calm déep resenances “Great acters lived their art first, so that when they put their talents:into the workings of drama ’ they were sure of their projection, If the-business: - ef these agents is to cenvince peeple ‘that it is 7 . werth it to pay for images, then why da: they net. undérstand “thatinie atubbern intelect from a beginn= ing en: the street. would bring people into believing . 7 that fame-was an identifing part of their owm dream?" The intellectual had flattered him about his hair, : while -the physiologist had asked him what) he theught . of ‘having his teeth filed’ and capeds The master of cerenony's, or the P,R, man had’told ‘him ef the ‘star= let he weuld do a scene with as his first set’ before a soreer test, Standing alone at the white-reck for: : the white ducks in the pend sometimes with slime, that too, the phrases and it's, made him laugh into ; ; B& passing thoughts of scores ef places, different. in é there levels, but alike in there-motivey where~he . had gone te approach Hellyweed machine men about the

Original Scan

Page 174

AI Interpretation

GPT

Standing among ducks and yard-stone props, Jiven Joe argues that the true actor has already lived the role before Hollywood tries to package it.

The irony is that he gives this speech to an empty courtyard. That solitude deepens the page: he is simultaneously ridiculous, moving, and convincing, because his case for authenticity is addressed to no one but still urgently needs to be spoken.

Claude

Among ducks and yard-stone props, Jiven Joe argues the true actor has already lived the part. The page uses backyard comedy to make a real aesthetic claim.