"In addition she’d employed both Bowie’s mirror (“Thursday’s Child” 3:31) and the Glass analogy, indicating that what she was attempting to do with The S.P. with respects to himself was precisely what the girl in the mirror had performed with respects to Bowie, employing The Stone Roses reference from “Tears” that appealed to the song’s object to do [her] best to smash [the singer’s] image on the wall. The mirror, exactly how she saw it, would now be at play right in front of Bono’s eyes in real time, answering where she stood in the now, because she had also told him point blank in the very first missive that she believed she was going to marry someone else.
Quite paradoxically this would have effectively worked as much more solid proof to Bono that such connects could indeed exist with respects to her, far more than what she’d indicated as transpiring between her and himself, because he was provided with the vantage to witness it occurring firsthand with respects to someone else, after the facts had been disclosed individually to him about herself, and would witness it transpiring at practically the same level of intimacy, certainly of detail, and certainly at the level of intimacy and import she’d intimated to him, indicated even in the very title itself with its implication of God in relation to “Machina” (the feminine locus of the “machines of God” radio broadcast reflection, after she’d handed him a God Proof claiming that this was what was happening with respects to herself). And oh yes just to cap it off, Billy performed this action in the mirror as Glass, not a reflection but something you see through, because actually it wasn’t a mirror any longer it was Glass, and Glass was how she stepped through. By having the course of the feedback reflection transpire with respects to him, the feedback loop for the first time was portrayed, whereby instead of being confined to it, she was able to demonstrate it existed interactively; the mirror she was inside momentarily disappeared when it became a two-way mirror someone else could potentially see through…And of course she’d quoted this lyric in recognizing its present import, in The S.P., for she had an intuition of how Billy would fulfill it (seeing as he’d already made mention).
'I'm this little freak of reality. I can step through the reflection.
I'm the reality that managed to form itself inside the mirror.'
(Enter the immortal “Zero” quote, his assertion of being the face of the song’s object, in [her] dreams of glass. There was one problem though. She’d accidentally obscured the full import of this analogy with the mistaken assumption that Billy was using the term “Glass” in reference to her. This was, after all, before it had come out.)"