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By Jack Joseph Smith

1. Sightseer Beginning. We were born. Stiff paper airplane hats went about turning out the lights. Our white sheets were startched enough to creak. The nuns had button up startched wings for breasts too. But we knew the rub of their tight stitch went through cloth. A more gathering embrace had Hollywood movie queens giving donations for our long lost upkeep. While through his unrelinquishing lack of a grin, our swirling an orphange unconscious had the directive man in view as a warden with that turned his throat into the a collar. He was the one who came in wearing worry over his ANNOUNCING THAT IT WAS to BLACK for Light. face. Consequently his adherents could conceive of our hospital being the center of a shocked Southern California Soddenly caught in a relagated fantasia of dread, spliced from with technics cuts in taste know only to the device of film prejectiong itself, then the reality of an Hawaiian war. But the deep transision into this world our brains were forced to make twice yet allowed a controled amusement as the collarman acted like a laymen when the actually tited magazine faces strolled along the inlaid tile through the rolling of the camera's underfoot. This man was not of the eternal duelity of our crossing shadows. But he was made conclusive that his business was of a higher cast then that of the namesake nuns who were still tying up the very center of their nights with newly decended saints. It seemed that the nuns were as numb as statues without blue paint, yet it was emphatic that their noses would always be streight. A SHARP SECTION GLANCE of why WE HERE.

Original Scan

Page 16

AI Interpretation

GPT

Sightseer begins with children under nuns' care, stiff sheets, Hollywood donations and a collar-wearing authority figure. The narrator compares him to a warden while linking the institution with film, cameras and an Hawaiian war.

The narrator watches the collarman behave like a layman around magazine faces and contrasts his higher cast with the nuns. The revised annotations do not establish a complete explanation of the institution's relation to spectacle or war.


Claude

Titled 'Sightseer', the prose begins 'Beginning. We were born.' and describes nuns, starched sheets and a 'collarman' in a children's institution near Hollywood.

The narrator mixes institutional childhood with film and war imagery, as in 'the device of film' and 'an Hawaiian war'. Handwritten interlinear and margin phrases are kept as separate rows.