Page 79

By Jack Joseph Smith

You can't blame Satin for conceiling an idea, yet because there is no courage involved in the following, they do Acceptance This mind comes to speak of archatecture as a wepaon Winden your containment then close fast to show steaple and light and give greavence And greatness and death A point of flight The way of light is a missle, put places in place then change for light All Structures by NAME are groundEd After All distroy them while leting thE imagination find another existance, control that, so with birds that is big with UNISION LEARNED WELL in their CHANTING finally you can watch the enemy building dreams now open to getting their heart ripped out. This wonderfulful archtEcture at the shadows, places of no return, this end game, this shattered glass, this bent I beam, this wooden way of massive fire, this widows peak, this crow's nest, these waving fields of body and blood, these blessings buried by fingers torn and twisted against thought, this catch up with a bean plant in the fall, these cattle hoves for mines, yanking and twitching their necks, so lucky enough to fulfil their Karma over garnades suggesting the reality of the phrase they have misunderstood for you, about fighting over spilled milk And the pig hockers blood not from a bollit, but from binding while the corse dosen't disgust IT is to familiar to be final, cause we have All heard that word before

Original Scan

AI Interpretation

GPT

A handwritten address about blame and courage precedes Acceptance, where the speaker treats architecture as a weapon. The speaker proposes destroying structures while giving imagination another existence, then describes bodies, blood, mines, and a familiar word for an ending.

The speaker joins control of buildings to control of an enemy's dreams. Shattered glass and a bent I beam lead to wounds and the blood of animals. The margin passage about birds learning their chanting offers another account of shared form; its placement remains provisional. At the close, the speaker describes violence as too familiar to feel final.

Claude

A handwritten prologue, 'You can't blame Satin for conceiling / an idea', precedes the typed 'Acceptance', where 'This mind comes to speak of archatecture as a wepaon'. It urges 'All Structures by NAME are groundEd After All distroy them while leting / thE imagination find another existance', piles up images of 'this shattered glass, this bent I beam', and ends in handwriting: 'And the pig hockers blood' and 'cause we have All heard that word before'.

The page imagines destruction of buildings and lives as a deliberate design, then turns weary: 'IT is to familiar to be final,'. A margin block about birds 'LEARNED WELL / in their / CHANTING' offers a contrasting harmony. Many words come from overlapping revisions, so the order of the margin block and some single words remain provisional.