Mary had a little lamb
her face was white as snow
and everywhere that Mary went
I was sure to go
now Mary’s got a little problem
'cause Mary’s not a stupid girl
Mary’s in some real deep shit
and this is how her garden grows
Unbeknownst to her the previous Halloween this song had been changed dramatically; the changes above were the least of it. He’d merged “Mary” with “Candy Cane” connecting to “Where Boys Fear to Tread”, incorporating two of the most weighted potentially linking songs she felt there had been on that album. His attitude toward “her” (or inspiration about her) had shifted a complete 180˚; while she was still in “real deep shit”, she was no longer trapped in a tunnel she could not escape because she could not forget.
and it began to snow inside her
she took a razor and she cut it out
into the eyes of the jackal
In other words she’d found a way to counter her deepest spiritual nemesis. Then there was this out of left field:
I feel as though i am clever
I’m waiting on a four-leaf clover
Jesus has his ray gun pointed to never
and he tells me I’m so clever
This was sort of a pointed word play since that had been preceded by,
I might like you better if we slept together
but there's something in your eyes that says maybe
and that's never say never
Again he’d inadvertently used her nickname, in the context of Jesus’ Ray gun, so thanks to the wordplay, the song worked to address her.
It concluded “Mary dreams of a rear view mirror
Mary dreams of a rear view mirror
the face of her mother starts to appear
Mary dreams of a rear view mirror
Mary’s not a stupid girl
she's got the snow inside
Mary’s not a stupid girl
she took out the snow inside”
She’d certainly been seeing things in the rear view mirror; after she’d ended it, it had all become the past. (She wouldn’t discover this version until circa 2001.) Billy had shifted the song “X.Y.U.” (the song that had originally been titled with her middle name) to approaching sexually (again “accidentally” naming her, this time in a way that made her the direct object). He’d done so in the same month she’d been awakened in that context. And it so happened that the prior time he’d used “Ray” was where he’d been the song’s subject, indirectly implying “Ray” as object by the title as whom he wanted. -However inadvertent that all was.
He’d also altered this song in precisely the month when she’d begun externalizing by recording it all, and decided to act upon on this entire realm she held in her mind, for the first time. She was letting the snow out in the face of a pretty serious jackal. Her actions demonstrated him to be powerless though she faced the gravest threats he could make. (The jibe that she was “just lazy” struck her as having something to do with having been “asleep” for the past three years, an obvious grin/shrug.) If you think in terms of “Caravan” extending into the sum of Maria, the phrase “she let the snow out” actually has an avenue to sense, in fact in the existing context of the feedback loop as it has been laid out, the sum of the song actually makes perfect sense (even having a predictive context from the Feminine vantage thanks to Björk (which Jane Siberry had preceded), which Corgan then signified as having transpired in a conflagration of these elements that externalized the interior transformation in terms of poetic imagery).