"New Day"
Work was still rating as horrid. Saw clip of Bono and Wyclef Jean and knew he was still inserting his lyrics about “her” again. “You’ve seen things you never should have seen”. –Well that’s one way of putting it. Ah, “Spanish Rose”. He’d used that before (the rose “only” four times: “Deep in the Heart”, “Where Did It All Go Wrong”, “Who’s Gonna Ride Your Wild Horses” and “I’m Not Your Baby” [-future tense? – “One Step Closer” (to knowing)]. Conflating them was creating a binding in his work; it could be inferred what he was addressing now in song was all these songs combined; he was in a sense defining his object, and telling “her” what he wanted her to do now. She knew reasons for all of them, had connections with each, so even the mere selection of a couplet combined and sunk in with the power of five (six actually). Two were absolutely pivotal in all that had transpired, with the other two rounding other elements (“stony rose” on “Where Did It All Go Wrong” connoting break up), and the first recognition he’d had that he was linking into something finite and perhaps human (“so you’re not white, your pink and rosy” on “I’m Not Your Baby” (also connoting break-up), which was a very deliberate devolution from “Who’s Gonna Ride Your Wild Horses”, with the oh so key allusion to the river, the very first moment her thoughts on the matter merged, there lay the allusion to “Heaven’s white rose”) –and was a third song connoting break up). This roster by all things apparent did not have Ali as its existing object, but existed in artistic reference in terms of Bono’s reference on “New Day” to “Spanish rose” -> which was a direct inference of the song so dedicated, “Spanish Eyes”. By the age given, “Spanish Rose” on “New Day” was a deliberate reference to his daughter Jordan, but she didn’t know that. She absorbed it in terms of the body of reference the words had in the past.
Midnight, she's on the street
She can't sleep, she's afraid to dream
Ten years old, my Spanish rose
You see things you never should have seen
Midnight, she's on the street
She can't sleep, she's afraid to dream
Ten years old, my Spanish rose
You see things you never should have seen
In terms of past references to previous rose references the song happened to pull up, all existed purely in the sphere of imagined inspiration, not based on tangibles in his life, (except for one of them, which being released in tandem with “Spanish Eyes”, should naturally be inferred to be about Ali (“Deep in the Heart”)). The laugh for her was that in Eire, people mostly tended to guess she was Spanish, only sometimes secondarily Irish, being Black Irish. “Baby’s scared to dream”, when threats in the present had made even articulating any of her thoughts as possible absolutely terrifying, to the point that she placed stricture on her mind itself.
Even in a moment of treacle, Bono could still manage to make her cry. “Pulling the moon up on a rope” – ha-ha. (Obviously it wasn’t the radio version that she heard; there is only one verse in this lyric posting in this song; she wrote down the line because in what she’d witnessed, Bono had sung two verses.) In effect by binding these terms to a context in the present (which had to do with revealing the moon”, a very laden context with what she’d already hoisted the moon as to him exclusively, so this was perhaps invoking her to declare it at large), Bono was again providing an artistic contextual reference that meant something entirely different thanks to the Now, and that Now happened to be fulfilled by what she’d already presented to him personally in terms of revealing to him about his apparent devolution of the moon as a symbol, from the Divine to earthly, that had begun to follow. It was a tiny linkage in the present that latched into the transcendent artistic context she saw (in terms of his term usage in the past), one she could explain in terms of herself in a linear progression over time as ultimately fulfilling the context of every one of these songs. Maybe; it was far too great a stretch to be worth positing. But it did all happen to fit; she would end up explaining every one of these songs to him. It was amusing too, listening to how he’d secured his position in the video, behind the scenes consummate showman. “I’m not available” three times.
She was far too scared to dream at the moment in the sense of being too afraid to continue the connection to him inside her mind. By approaching him tangibly she was quite deliberately shutting down the interior aspect of their potentially existing connectivity, refusing to accept it unless he himself recognized it and was prepared to vouch for it. She would not pour her emotions out to him emptily or needlessly, not unless she was certain the connection did exist. She would not fall into the pit of something imaginary. She was also terrified to go any further unless she was able to confirm mutuality of the Divine Injunction first, in order to protect from the damnation her father had declared unleashed just by attempting to go and find out at all. Without establishing that basis for it, he would not have her mind at all regardless.