Obviously this is going to be a five-star review. From me? Given my love of Twin Peaks this can hardly be a surprise for anyone.
Though I’m inclined to go soft on anything vaguely Lynch-adjacent, there’s no need with Norelli’s excellent entry in the 33 1/3 series of works: it’s a solid entry, which offers thematic, technical and widescreen views of the sonic doings in that small town in the Pacific Northwest, where there’s always music in the air.
So, it’s finally finished. Twin Peaks: The Return has concluded, and there’s a shit-tonne of hot takes around. I’m going to write a little about it, too, because the original show has been so important to me over the years. In that, I suppose, I’m not unusual. It’s a show for nerds, populated by misfits.
I remember watching the original run when it aired on New Zealand television, where I lived at the time. I remember being intoxicated by the thing, the indeterminate time period, the music, the darkness. And I remember being terrified, late at night, by a screaming Laura, by a grinning BOB, by an owl flying towards me.
So, the new season of Twin Peaks is upon us, unfolding darkly. It’s as good a time as any to dive into Mark Frost’s remarkably produced tome, which offers a little in the way of backstory before we spool up for whatever he and Lynch have planned for the sleepy burg and its inhabitants.
The first thing to note is that this isn’t a novel per se. It’s billed as that, though it presents a collection of documents: a dossier. This should be unsurprising if you’re familiar with other tie-in works: both The Secret Diary of Laura Palmer and Dale Cooper: My Life, My Tapes (the latter written by Frost) were fictional but presented in the manner of documents – a teenager’s diary and a fastidious man’s audio transcriptions. And yes, it may appear slightly gimmicky, but there’s so much effort put into maintaining the idea that one can’t help but go along with it. (more…)