Page 164

By Jack Joseph Smith

163 Yess . The only reason you like symphony, is because you can afford to3’ Know one-else you: know’ynderstands: symphony, You see asshole, you can afford to like what you don!'+ have -to explaing.You can't like jazz because you don't know anything about | it and other people dos But you can like rock and roll, because the songs have become a part of your memory, and everybody elsess That leaves nothing to explaing. Yeah Dandy, but’ I like the feeling in the rock and roll musics FFeeling is im the ‘memory, and so are the stars, Once we were beyond, before we thought about its Byt who gives a shit about that; Sebtementality dosen't exist in touchings: When: your liart om rises; it-rises for nows I + becomes the master with no conseences; because reality shatters dreames If you want to dance*on your own ster, ther get laid and make some moneys Right Murt3 ma go for a good piece of ase Hé hes Misery is my preferences We went along and I saidg This quite a fancy car Dandys steel Aman tries-to take my head away from me by running into a pole going ninéty miles an hour} i86-Isgivechyselif? up 40 the mconcious-for two:weeksy and then sue him, Just like you sued me ass: holes Tim spending the money now, and when you get yours, I'11 expect the sames’ ; Hig brothers dead, .I said, Thew were-both crazy; My man wakke with a limp, because of that poles His brother and how many others died’ on that réad to fest Virginies Two othersg, I said}

Original Scan

Page 164

AI Interpretation

GPT

Michael keeps riding in the expensive Cadillac while talking with O'Dandy about misery, compensation money, unconsciousness, the limp survivor of the pole crash, and the two other deaths still trailing behind that road to West Virginia.

The contradiction is the point here: luxury, injury money, and roadside death are all sharing the same moving interior. The page closes with the crash no longer as a boast or anecdote but as a stubborn fact that money cannot smooth over.


Claude

O'Dandy's symphony argument — you can afford to like what you do not have to explain — builds the class-consciousness thesis, flips into the pole-crashed brother story, and drops into the resentment that they are sorry the brothers died but are still jagg-offs.