Page 194

By Jack Joseph Smith

Jauqeline watched Animal in glances from the children and Jiven Joe. She saw a position tak- en in the long bone of his nose. That was com- forting. But the brow had been wished wild. (More than mine to troubled joys I come) Grinding teeth. "Who care's?" Maybe the image of prehistoric had got together this name of An- imal. What kind of Animal? (An Appaloosa horse of the North Pacific to ride under the tree to- pped sun amist the filtered shades of Ingmar Bergman light) She shreeked a fast laugh. The movie of the taverns streeked too through her mind, and she was back to him. (Lips full the top same shape of the heart A red on black carded King was dealt out to Spades I let him pass unmolested But this time the queen's in my shoes Which incidently I don't have) The children were beginning to pass out the door. The music and grace of the children was quiet and removed from Jauqeline. Joe was a directing a soft- ness through his music to them. Hawaiian, Calypso, and classic self as a feeling. He was smiling all over his body. The children would have a nice nights sleep.

Original Scan

AI Interpretation

GPT

Jauqeline watches Animal while the children leave, and her inner fragments show how difficult it remains for her to separate tenderness, fantasy, and danger.

The page keeps shifting between observation and inward lyric. Joe's music softens the atmosphere, but Jauqeline's thoughts still come in jagged, private forms, which keeps the whole evening emotionally unstable.

Claude

Jauqeline reads Animal's face in pieces - 'a position taken in the long bone of his nose' is 'comforting,' but 'the brow had been wished wild' - and her mind spins his name into a private myth: 'What kind of Animal? An Appaloosa horse of the North Pacific' under 'the filtered shades of Ingmar Bergman light,' at which 'She shreeked a fast laugh.' Her bracketed lyric fragments deal a 'red on black carded King' to Spades and joke 'this time the queen's in my shoes / Which incidently I don't have,' so desire keeps arriving as cards, movies, and jokes rather than statements. As the children 'pass out the door,' Joe directs 'a softness' - 'Hawaiian, Calypso, and classic self as a feeling' - 'smiling all over his body,' the calm exterior framing how unsettled Jauqeline's interior stays.