"past upon present, public upon privacy, distance upon friendship, [and] disintegration upon love" transform and are complicated over time. Timothy Hampton, Professor of Comparative Literature and French at the University of California, Berkeley, has described the structure of the lyrics as a set of sonnets, with seven stanzas each of 14 lines, each with a volta after line eight. Dylan continually re-worked the lyrics and arrangement even after the album was released. During his 1978 World Tour, the line starting "She opened up a book of poems" became "She opened up the Bible and started quotin' it to me", becoming one of the first public indicators of Dylan's conversion to Christianity. The version released on Real Live, as performed throughout his 1984 Europe tour, has a radically different structure and lyrics to earlier versions, with a more cynical view of romance. Dylan said in 1985 that he was more satisfied with the implementation of multiple viewpoints in the song than he had been with the original. Dylan has often stated that the song took "ten years to live and two years to write". In a 1985 interview with Bill Flanagan, Dylan said that although many people thought that the album Blood on the Tracks was autobiographical, "It didn't pertain to me. It was just a concept of putting in images that defy time – yesterday, today and tomorrow. I wanted to make them all connect in some kind of a strange way." In his 2004 memoir Chronicles: Volume One, Dylan claimed that Blood on the Tracks was "an entire album based on Chekhov short stories. Critics thought it was autobiographical – that was fine." Critical reception Billboard regarded "Tangled Up in Blue" as Dylan's most powerful and most commercial single in a long time, saying that Dylan's voice and the "strong acoustic background" instrumentals were reminiscent of Dylan's early songs. Cash Box said that it is a "great tune...with lyrics pouring forth in profusion and with Bob's voice in excellent shape." Jon Landau in Rolling Stone praised Dylan's lyrics and delivery of the song, but was unimpressed by the accompanying musicians and the production of the album, while Jonathan Cott, in the same issue of the magazine, called the track "brilliant and haunted." Cott likened the effect of the album's lyrics to those of the Italian 13th century poem referred to in the song, quoting from the song: Some commentators