The sections I worked on for Spring Break.

I finished Chapter 24 and thought I was on my merry way, when I went back Friday morning to putter in the Walbran Chapter, to update some hyperlinks on log export to China, and ended up reading, and adding links, and decided I'd better hyper-link Josephus' references to provide sufficient back ground to the Salome section, which was small. But because this was after I read the play and because I had a level of back ground, this totally blew up. And by blew up, I mean ...nevermind.

This ends up feeding into the current Chapter 24 where I'd finished analyzing "All That You Can't Leave Behind" -where there is considerable difficulty in how can I approach "In A Little While" and have it be honest. I found a serious sourcing error in what I'd heard the song was about (both his wife and daughter[s]). The whole section must be done from scratch basically, and this forces me into the depth of honesty, and creates a total shift in attitude in doing so. Except honesty in light of the song's subject can't exist. Except as it already does, with total dismissal, meaning I may write it but I can't even see putting it into the book. It is precisely when I'm "done", I encounter "Goldeneye" in youtube almost by complete accident, which permits it to stay. The song has a different tact entirely sung by him, not in the feminine as by Tina Turner, but both masculine/feminine.This section continues blowing up to become P. 743-750. See on one song that's disturbing enough, but just wait, I really outdid myself...

Before that, the Salome section absolutely explodes, to become P. 297 -P. 317. (Rearview Mirror Chapter 17.) This is of course, the Oedipal section. In the course of this it turns out "Goldeneye" is integral to both sections, discovered early March 31st quite by accident; it is essential and integral to both sections as they are currently blowing up. Then PJ Harvey and "A Perfect Day Elise" (and "No Girl So Sweet") even manage to saunter in. Oh yes and, I realized that Terence Trent D'Arby totally tied into this. The very next artist I had listed in the very next paragraph after "Salome", thanks to four tracks on "Vibrator".

Arriving at the full depth inside "In A Little While" leads to what was thought to be a full delineation of what was going with the B-sides. LITTLE DID I KNOW. So, I went back and read what I gave Bono on that. Date micromanagement is exploding. Go back to it again for no reason. Read "Deep In the Heart" and the realization of "13" goes off like a bomb in my conciousness in the wee hours of March 31st (really I think this was the 1st), thanks to the pivotal relation recognized for the first time to do with "Love Comes Tumbling". This just keeps blowing up the following morning. "Walk to the Water" explodes onto the scene in the morning. The B-sides end up being  interspliced elsewhere to make up for ommission, lack of emphasis. They are now the core of everything.

The Salome/Herodias section was Friday. Work was combined between the sections on Saturday. Sunday morning wrapped up with "Deep In the Heart" and "Walk to the Water". All told, that is what exploded over the last two and a half days. I'm not positive, but I don't think I'd ever heard either one of them.