Page 96

By Jack Joseph Smith

<= OO 3s Tle pores . “father, whe are seated at eppisite ends, She walks: te the-areh enteraneesrexit of the dining reow and ; smiles, Her teeth are white, and’ exactly longs \ "Tram going out to leave you mon te your plans: ! and’ sehenes,” om the walle were paintings placed, They eaphored past paint grasping for the matter ef sculpture, In his -ewn eyes Blankmame reesgnized’ his creative atte ! enpt te push the retina through the myth, Hie father ‘«/ BS o/, Leigh ALL, _ Wer Dlawkyane i : distant today, maybe always, but ks: endured 1 & MEN the-repeated resurrection without: realization of hiz / fathers hande in his werk Blenkname-was leeking through the expensive redness ef glass end liquid to the doily lace; which seemed’ net te belong te a table and pisces, but te a-mourne eco. ing wouens: face, Héee@etikver” had been speaking im a vagueness, suggestive to the only real’ quality avail \ able te them, Blankname had been away” for ar leng tine Vaeob and tussietver had te work up through ti abstraction Ass WERE , Wk BAMHE et a-returned son vA ¢ gee yay I tell you a-story;" kbsuftattmes wae going om ®curtainly.* *altheugh yeu may: knew the stery, I like it very much, and it is aliays worth avlessom," Outside, in the heavens the cleuds relaxed inte a a ,

Original Scan

Page 96

AI Interpretation

GPT

The page sets up a father-son exchange where art, inheritance, and distance are all present before the story even begins.

Everything here feels filtered through surfaces: glass, paintings, lace, curtains, recollection. Blankname sees his father's presence and absence in the same room, which makes the promised story less like entertainment than another attempt at shaping memory into authority.

Claude

Father and son meet with art, inheritance, and distance visible before the scene has even begun talking. The page is a setup, and it trusts silence more than speech.