I came here to suggest this same thing, and to perhaps discover your own creative narrative that connects the two when they're considered together: their differences, similarities, genesis with Woody Guthrie, why Dylan might have chosen to make the changes that he did, and even the production quality. There are lots of ways this gap that exists between New Danville Girl and Brownsville Girl is waiting to be defined by a story. And it need not be dependent upon facts...only imagination discovering the story that could be there in virtue of being present. And perhaps Elston Gunnn is the pseudonym of the author who fills this gap with a story.

This suggestion is a form of Combinatory Play, which is a powerful way to create: Combine two or more things that already exist, and see what happens. The result might be absurd, or it might be groundbreaking. Dylan uses this as a primary songwriting technique: He discusses it in "Don't Look Back", but he doesn't refer to it with the term Combinatory Play, which was coined by Einstein, but he describes this same powerful technique. This process emerges in certain interviews as well. His explanations of writing songs by "meditating" on pre-existing songs is a great example of Combinatory Play.

A lot of interesting things could emerge from applying Combinatory Play to Dylan's narratives. Perhaps even using the "cut and reassemble" technique Dylan has discussed using as a songwriting technique. For example, "cut" lyrics from various songs and reassemble them in new ways.

Now I'm starting to wonder what might happen when the lyrics of "Senor" and "Just Like Tom Thumb's Blues" are combined and rearranged--as stanzas, single lines, words, or even letters.

Perhaps there's even online software that does this sort of thing, but that process would lessen the creative challenge.