Page 162

By Jack Joseph Smith

children theatre's moment she ran her forefinger around the edges of her mouth, but suddenly she was jolted out of her pose, for her image to her- self had come out filled with sex. She laughed, and bended her mind back to being alone. Across the landscape she saundered; her eyes moving fast- er; her mind refusing in a polite way to lace it's reflections to sarcasm. He was walking around Will Roger's State Park not far away. He felt as if he were truely walk- ing upon something as he went across the lawn. He admired the estate, and believed that it's de- dication still breathed; though he knew that one had to be whatever they felt. This little real- ization helped him ignore tourism as only a part of the ceremony. He experienced an ache in his heart for the nightclub stage. He saw the women laughing, and the men going to the bathroom for good. Nothing was impossible for his dreams to maintain, when responsibility had nothing to do with money. He was a clean bum giving directions to Omaha, and Danville, and Dayton. He made the ladies laugh with his friendly cracks. "Hello, I'm Animal! I represent the lighter side of L.A., replacing all the exterminated chipmonks. Have

Original Scan

Page 162

AI Interpretation

GPT

The page moves from Jaugeline's sexually charged self-awareness into Animal's roaming dream of performance, tourism, and comic self-invention.

Both figures are caught between image and solitude. Jaugeline pulls back from an unexpectedly exposed version of herself, while Animal turns public space into a stage where charm, fantasy, and drift can still feel like vocation.


Claude

Jaugeline's self-awareness charges the page while Animal's mind roams into performance-fantasy. The two interior states run parallel rather than colliding.