Page 5

By Jack Joseph Smith

Cindy, Beautifully tragic Leaving, Flowers of Rotodendron At the door of her Exit, A man following, Wabbling in the Late afternoon, Mellow though in his drunkeness and Loss of possibly three days sleep, They Kiss by A car at the curb of A brick laid street, The Landscape And homes are of ivy And A more redish brick, They are the American English upper middle class, Her smile while Leaving in the car is of grace- ful Loving, which means she is wise, A woman of the world, who's instinct has not only thought About but had to deal with the Abstract Back in the home the man Drunk but fascinating in that he has the Ability to make people smile At his madness, he is standing Above in the delicate Livingroom of his parents home looking At himself in the mirror The frame of the glass

Original Scan

AI Interpretation

GPT

This page frames Cindy's departure as romantic, tragic, and class-coded, then returns to a drunk but fascinating man watching himself in a family mirror.

With `Beautifully tragic`, ivy, brick, and the `American English upper middle / class` all clearer, the prose reads as a social study of gesture and setting. The corrected lower passage matters because the man is not simply cut down; he is still charismatic in his madness, standing in the parents' living room before the mirror.

Claude

Prose-poem cinema of a parting: 'Cindy, Beautifully tragic Leaving', a drunk man 'Wabbling' after her, a kiss 'by / A car at the curb of A brick laid street' among ivy and 'redish / brick' that mark them as 'the American English upper middle / class.' Her smile is 'grace- / ful Loving' and worldly-wise, while he returns to stand 'Above in the / delicate Livingroom of his parents home looking / At himself in the mirror.' The page is 'mixed'-band and breaks off mid-sentence at 'The frame of the glass'; spellings 'drunkeness' and 'redish' are kept as written, and the mirror-and-class motif is set in motion.