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By Jack Joseph Smith

Mad salvage-man of the junk yard plains, distroyer of economic images, huge iron money man with one mind and no overhead, he is the wild candelabra Church thief, he is the gleamed eyed brass watcher loving closed factories in his vision of shambles; The coastal range canyons, and the cumulus cloud vast river valley flats, where the torrents of the depossessed have devilvered their lives from the realistate darkness/into the soul of rain; Here where the wolf children howl, and the frolic of the windmoon moves one; the loveman sleeps with his sons wives: Anti-Christ stained glass salesman, purchaser of Church's for the installation of the pornographic printing press, Marryer of holy women, maker of his own deals through the direct wording of fantic laughter; Dangerous chain-saw cutter. Faller of giants. Dynamic split directions of trunk may slashingly chase down and smash the atom of a man's groin into unreturnable universes. Mystical vegtable grower. Lover of the river. Modern day calm Cain returned believer. Crop to market man now smiles at each incident of survival; while he spreads his land of Bibical space open to the refugee picker; Blood letting rug wildlife slaughterman. Clean knife cutter. Coming through pink flesh between skin and bone; as-if it were his own; Spread Bear hide hung bound across the blue air. Bent-back face-head where wind moves curled fur - Dares ancient memory to the first sculpture of man; while a city witness must scratch a deliberate cheek, as if it were swallowed up by the burried tunnel of sound in the dark hairy dead ear of the bear;

Original Scan

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AI Interpretation

GPT

The speaker sketches a salvage worker, coastal landscapes, a salesman associated with churches, a tree cutter, a grower and a slaughterman. The final passage imagines a bear hide, a witness and sound in the bear's ear.

The speaker moves among occupations, landscapes and religious images. Physical danger accompanies work in the portraits. Handwritten arrows and an unreadable addition limit the exact connections between some rows; the claims remain literary rather than verified personal accounts.


Claude

Typed portraits in seven blocks: the 'Mad salvage-man of the junk yard plains', the 'depossessed' of the river valleys, an 'Anti-Christ stained glass salesman', a 'Dangerous chain-saw cutter', a 'Mystical vegtable grower' who opens 'his land of Bibical space / open to the refugee picker', and a 'Blood letting rug wildlife slaughterman', ending in 'the dark hairy dead ear of the bear;'

The catalogue gives each rural figure an epic epithet, mixing reverence and menace; the handwritten notes near valley/flats stay omitted.