Page 65

By Jack Joseph Smith

distinction of motion. He was attached in the way of breeze to beauty; perfected beyond the mark that marks witness of the human splendor. Not tired, but drained to his exhausted highness, he felt for a moment the grip during deliverence supposed at the final gate. No more was he inclosed or sealed, but in glide was acknowledged his moving through the sp- ace of opened vision. The pressure was feelings, the trust had become flight. For so long it seemed he had not seen shadow, and with it strangely he lost the notice of death. That continuous extention of length during shadow, made of matter and resembled growth,, a deep green? At first almost a false film slide of lavender, slowly soft it came in a lazy wide withupon seas inconnect to the many gods landscaped Eden's of River and moving meadows The wind caressed him. He was suspended outside the need for exactness, the sounds of wind gave a sense of time. Unexpectedly the winds would change his directions. They would move him in slant, or carry him further toward pictures he had just seen. Sometimes the winds would slip him out of blue, to silver. The time of silver with no movement, yet not descended from the complete form. One body of silver un-

Original Scan

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AI Interpretation

GPT

The vision shifts from deliverance into shadow, wind, and silver, with Animal carried by motion rather than controlling it.

Release becomes a state of movement. Shadow returns as matter and growth, then wind gives time, redirects Animal, and moves him between blue and silver; the time of silver is motionless yet not descended from complete form, keeping the closing body suspended in transition.

Claude

Motion becomes near-religious release: exhausted and freed from enclosure, Animal feels pressure resolve into flight and trust. His usual awareness of shadow and death gives way to green and lavender matter drifting over imagined Edens of river and meadow while wind sets the rhythm of time and direction.