Twin Peaks: The Return (2017), part 6, final: Destiny or Deus ex machina?

Rev., May 21, 2018.

Note: This is the sixth and final part of a six-part analysis of the dream structure of Twin Peaks: The Return (2017).

We now have brought “Dale Cooper” but actually Mr. C all the way back to Twin Peaks.

aatw 59and then they all greet him, joyously, as Dale Cooper, but, of course, he is a counterfeit

aatw 60there are few loose ends that might get in the way of the finale not working out so James and his English friend, who earlier, in a long interview, confessed to also having been visited or had an encounter with these forces, which left him with a powerful fist for punching, we have to get them out, then Chad has got to be put under control, and so it goes

aatw 61then, weirdly, it is almost as if everyone has to assemble in the office, to welcome back Cooper

aaatw 119but, then, the real Dale Cooper shows up, that is, formerly Dougie Jones half, and the room goes black, like in the woods when he was shot by Ray, Mr C is knocked back

aatw 63once again the supernatural Watchers or Homeless Men or Gas Station men come to tend to him and take him off

aatw 64and, then, once again, as before, in the woods, the Evil Bob bubble comes out of him, that entity of his alter ego, and floats menacingly in the office

aatw 65and then it would appear that the random English bloke has the fist to get this thing, so there is a fight

aatw 66and it shakes everything up

aatw 67it catches fire, then descends, apparently, depleted, into the floor, perhaps the Jowdah defeated

aatw 68at this point, everybody, including the Mitchums and Candy and, everyone, are like wtf

aatw 69but then Cooper removes the green ring, another green ring, I guess, from Mr C

aatw 70and Mr. C at last fades away into the carpet

aatw 71and the stone or gem that represents his “soul” or his motor drops down to the floor in the Red Curtained Chamber

aatw 72and that’s that, Dale Cooper is back, he explains that Briggs told him that Sheriff Truman would have the key, though I do not exactly see how that worked out, except by way of Hawk

aatw 73everything should be done (oh, I forgot to mention that it was Lucy who got to take the shot that prevented Mr C from killing the sheriff)

aatw 74Candie and the girls even serve sandwiches and drinks, it’s a party

aatw 76Cooper says farewell to some of those who helped him get back, including the lady without eyes

aatw 77she then dissolves, her face becomes as the room in the Red Curtained Chamber, poof, gone

aatw 78I suppose she, or someone, turns into this, meaning she was the nymphlike expression of the voice in the oracular tree?

aatw 79then, somehow, what appears to be the REAL Diane, not the counterfeit tulpa, is there, for a reunion

aatw 80all is good–in a Shakespearian play, this would be the end. All’s well that ends well. It has been a long return, the whole of the Return dealt with the return of Dale Cooper from 25 years of unjustified exile for having worked hard to solve a case he did not solve, and this involved an elaborate cosmology where his fate was ruled over by the zones outlying this world where robots and tulpas and doppelgangers are made to interfere with human life, sent here to corrupt mankind either by Judy, or by Bob (according to one interpretation), and in order to get back the half of him stuck on earth in the form of Mr C had to be compromised so they sent him back but because Mr C was already there his path was deflected into Dougie Jones so now we have to segway into those two bifurcated courses of his halves slowly coming together by a series of good fortune and hard criminality and finally when the coordinates are learned and the time 2:53 is used to get the information Mr C is brought in, and then brought down, and Dougie Jones survives to at last be undone, for then Cooper to reemerge through him to come up to Twin Peaks to clean up that last loose end and rid the world of Mr C so he can be entirely and completely himself in this world once again, even though, like a prisoner unjustly imprisoned a generation ago, he has lost a lot of time. One would not be faulted for thinking, that’s that, we’re done, to rest easy on those laurels.

But, there is a problem, and, I concede, I was so set on this previous reading of how things went up to just then that I was rather nonplussed when it…kept going. For the first bad sign was that all those scenes of reuniting and resolution were seen through a screen of a close up of DC’s face, what this means in movies is that it is all in his mind, or even memory

aatw 81it suggests, the doubleness of the above shot, that something is still not entirely put together. It also suggests that these scenes might be happening, but they are not doing it for DC, even when Candie comes to him, she has an odd look of something not being right, looking at him (remember, she is a bit of a chorus soothsayer)

aatw 82and, then, even worse, the fact that, like his first entry back into this realm by way of the floating castle, as told him by the blind nymph, and like the sheriff and Bobby and crew having to meet up with the nymph at 253 in the woods on a certain day, and as Mr C also found out the importance of 2:53, and even Cole figured it out, it is, again, at this moment, 2:53

aatw 83and, so, rather surprisingly, and a surprise to all involved, who now leave the stage of the series for good, he announces that he and Diane still have work to do. Really? What work could that be?

Well, they have to go off to a certain room in the Twin Peaks hotel, DC’s room, though that room now seems to be in a basement corridor, which is strange, maybe this is where the vibration heard by the boss and secretary was emitted from (and still notice this is all happening with a face over of DC)

aatw 84he opens the door, but it is NOT the room in the hotel

aatw 85the one armed man has come down into this realm, or into a crawlspace of this realm, a room off a basement, but now, he, not the sooty men, lead him up THOSE STAIRS, which we saw in Cole’s vision in Episode 11, and in Mr C’s visit to that phantom gas station transference to the entoptic dream state, and now we are back, and, where is it?

aatw 86this approach is much more vertiginous, and shaken

aatw 87and meeting up again with the bell-like container with the voice, so an oracle, of sorts, he is told that he can find judy, or jow dah, back at February 23, 1989

aatw 88and so he is sent back, right back into the original series

aatw 89now, at this point, the series runs back the entire scene when Laura runs off in the woods, into the Black Lodge down there, where she dies, no, this is not the series, this is in Fire Walk With Me, and I do not think DC was in that, in this scene, this is not the original actress (Sheryl Lee) portrayed as young, but simply a clip from the old show

aatw 90but then she screams when she sees DC

aatw 91we go right back to the origin of the whole mythos, the body of Laura Palmer in its plastic wrapping on the shore

aatw 92we relive the today of its finding, we even get Joan Chen back

aatw 93and the fisherman heads out, to find the body

aatw 94at this point, I was thinking, of course, DC might have come back together, but he could not let rest an unsolved case, nor could he have peace if he did not go back in time and erase the event which caused all the trouble and chaos in the world of Twin Peaks since, the original sin, as it were, of that mythological universe. This also is an old trope, to erase the original crime, deeply retrogressive, it does, in fact, seem like that is where this is going, but, I wonder, did it? We now get a somewhat less positive appraisal of all the time that was been “wasted” grieving this girl, as the mother, back in her house, in present time, one imagines, takes a knife at last to the picture of the saint she has idolized because killed all these years, an act of iconoclasm which I think she thinks will release her from the spell of it all (one good reading on it says that sitting around for years she had begun to harbor alibi theories whereby Laura seduced Leland, rather than being raped by Leland, or the more extreme idea that if Laura had never been born, she and Leland would still be together, and she not so lonely, both good points—and both, by the way, rationalizations of a dissociating sort which the same reader reads as evil, the influence of judy, splitting people off from loving)

aatw 95but then there is a broad sentient scream that wafts through the woods

aatw 96and now, in the final episode, we seem to have more reckoning to do, Mr. C is now getting his treatment up in the Red Curtained Chamber

aatw 97and he gives up his “soul”

aatw 98but then, wait a tick, so is DC as Dougie up there?

aatw 99and somehow, maybe the scriptwriters thought it was too cruel to let DC abandon his family as Dougie entirely so they took what was given up by Mr. C and put it back into Dougie and sent him back to earth in the form of a better Dougie to complete the circle, it was a twist rather too tight for me, I think I might have preferred this door left closed

aatw 100then the part of DC former Dougie still up in the Red Curtained room, this gets confusing, like I said, still has to get some instructions from the one-armed man

aatw 101and more insight from the tree, somehow the one armed man says he is the tree, and this is the story of the little girl who lived down the lane, or something like that

aatw 102then Laura shows up to whisper a few more things, tell him he’s still on earth

aatw 103she then once again screams off

aatw 104then when he wanders back through the curtain maze he as it were meets up in reverse with the first encounter with the curtains that Hawk had in the woods and this brings him back into the woods

aatw 105where he meets up with Diane again (or one of the Dianes)

aatw 106and now it seems they have a mission, to drive 430 miles to a spot

aatw 107and this entails them staying in a motel and they even make love

aatw 108but Diane’s troubles, it seems, will never end, as when she should be smiling, at orgasm, the tristus comes too soon

aatw 109and she grabs his face, which is a very odd way to express orgasmic excitement

aatw 110even to efface him, wondering, perhaps, who exactly he is

aatw 111and next morning he wakes up alone, with a Dear John note at the side of his bed, she is gone, but the note is from Linda to Richard

aatw 113now, I confess, I know Richard and Linda have been mentioned a few times, but not that much, in fact, they have played a rather minor part, and I do not understand where this has all gone at this point. Why would this not be Dale Cooper and be a guy named Richard? I don’t know. In any case, he continues on his mission, which is to find in this Texas town a woman, whom he thinks is Laura Palmer, but has another name, and after an incident at a coffee shop, and some information, he finds her, she happens to have a murdered body in the house, so is like, sure, if you want me to be her, I’ll be her, let’s go, to get out of town, so ANOTHER long cross country drive, from Texas to Twin Peaks

aatw 114and so they show up at Laura Palmer’s house, I guess, Richard is thinking, let’s reunite her with her family, but at the door is a stranger, and they do not know any LP, and when he asks who lived here before them, that is not the name either, so, he is deeply confused

aatw 115and has one last stumble, asking, What year is this?

aatw 116and she screams, so she IS Laura, because we have heard the screen-wiping screen before

aaatw 120there are a few ways to read these final passages. Maybe the DC who emerged from Dougie Jones was not the complete one either, and he made a mistake in the working out of the sequence of events he required to get back to being whole. Maybe the point of that would be that once as a person you are taken apart by the world, you can’t be put back together again. Another idea would be that it being 253 he has to pass over into still another world, in this universe, a part of the world we have not seen, and that part is not Twin Peaks America, but the America at large lying outside the twinfire world of Twin Peaks, that is, present America, where no one is who they once were, and all lives have moved on, and so on, and in that Richard and Linda are just two generic names like John and Jane Doe to speak to the smallness of life and average people who settle for being who they end up with and no one is the destiny of the meant to be it is all incidental and circumstantial and that’s that (all of this relating the dissociative impulse of Judy to my critique of exploitation and rationalization). Or one might flip that and maybe Lynch has swung it round back in time to a time BEFORE the events of the series occurred. Maybe the woman at the door of LP’s house is the person who lived in the house BEFORE when the Palmers moved in, or even before that, the house is the kind of house that I saw in my neigborhood when I lived in a similar house in the 1960s, the events of Twin Peaks did not happen til 1990, the heyday of the world of those houses was suburbia of the 1960s, they set down the template, and the lifestyle, and generations since are just living in reproductions of those lives, so maybe they overshot the mark on his return and went back to a preexistent state, even to 1956, and basically they got lost in time. I confess to being stumped, it does not seem like, in the logic of the telling, this last epilogue which casts doubt on all the resolving tropes of most dramas, where everything is wrapped up, is warranted by the text, or the momentum of the mis en scene. This “world” at the end, is a world of Twin Peaks which has imploded in a way, where does it exist?

In my way of thinking, systems theory wise, there is the elan, or center of life, where the mind is alive, one lives in the present, and things move and are creative, it is the fire of life, and it spirals up and down, this is where agency is, and where, in Twin Peaks The Return, the intuitive trails that are spread out through the 18 weeks are. Then, there are, if I make use of this same graph to map out the phases of hypnagogy, charactetrized by five stages, entoptic, glass onion, lattice, whoosh and deep REM dream sleep, as you spin down, hypnagogic states now preferred as more conducive to intuitive thinking, in an era where waking life is so polluted by rationalization (the Trojan Horse syndrome of social media where so many formerly personal communications have now been materialized and mediated into symbolic-mechamically-reproduced forms). But, then, on each level, there are also adjunct spaces, and I have worked out the horizontal splicings of that space too, but not here. But, then, back up in either vigilogogic space, waking but just waking, or in waking life, there are the workings of Civilization, many good, but many, in the proliferations of ways of deceit, by rationalization and exploitation, bad, I mapped this out at the beginning of this exegesis, as I thought that Lynch began things by commenting on how it was so diffuclt to make contact with any of the intuitive part of the universe, to get through the thicket of exploitation in modern culture, I repost that first graph here again

aaatw 118My guess then is that he ends as he begins, he laid out the plot of reunion, and the coming together of some serious doppelganger problems in Twin Peaks (and I have done this whole preliminary reading without wanting to delve back into the tv series, I have already written of an aspect of Fire Walks with Me), but then, at the end, pulls back again, to let us know that as we depart it, so Cooper will get stuck, it is hard to get to these places, thus, I have mapped out the dream space of Twin Peaks the Return. I have navigated its whooshes and its many zig zags in adjunct dream space, I have found that, in fact, Lynch’s imagination seems to dwell on the incoming all-over Ambient nature of fears, and for that does a lot of circling and whooshing, and so I have located the Red Curtained Chamber, not in a supernatural place, but in an Ambient zone located in the brain just outside the adjunct space of the entoptic level of hypnagogy, got to by that route; then I have located the scenarios presented in the broader cosmology as also mainly taking place in the Ambient Zone, the Floating Castle, where Cooper had to fall from the Red Curtained Chamber, floats by my reckoning over the Ambient sea, far out from mere hypnagogy, more toward the unconscious, and at the level of the lattice; and then down in deep REM dream space, that was mapped out in Episode Eight, the Ambient Sea is found to in fact be on the far sie of the Ambient Desert, this world is entered into by way of the Ambient Desert Gas Station, which will then now and then in compositing of dreaming be transferred back into the hypnagogic event zone, and then the village there too, and, surprisingly, the Theater Lighthouse structure where so much processing takes place, this is located, since it seems to invite in Sentient spinning forces, some of which are dangerous and scary, that is Judy or Bob, at the borderline between the Ambient and the Sentient. Again, hypnagogy talks about the nature of the various phases of light dreams, it characterizes the nature of those states of dreams. Ambients are those thought patterns in waking or dreaming states in which one feels things are circulating, but not in the way of the whoosh, downward, but by a sense that the world is encircling you and closing in on you, negatively, most commonly represented in movies by the shot of a circle of people standing over one looking down, that is, this is another class of fears, I think emit at present from the cingulate or the membrane that holds it; and then Sentients are those figures that are the equivilant of tinnitus in the brain and if they do get too intense they can and do cause people to go crazy, they spin wide but very hard in upon you, and their spin can also have bite, and kill, as in psalliction, and we did see, early on, in this whole saga, some tearing apart situations. The plot is moved forward in Twin Peaks the Return by waking people surrendering their certainty in the rational world, letting intuition guide them down into a vigilogogic zone thence to hypnagogy, where they open up locked mysteries. Those who got killed or caught got caught up in the rationalizations and exploitations of the cruel world, or by the action of Judy or Bob’s forces against them. Twin Peaks The Return is therefore an allegory of how to get back to dream, and wisdom, to follow one’s intuition, to put oneself back together in a way that does not let the world tear you apart. But, then, it also does end on a note of caution, that in the end even those who think they do it, can fail at it, and get lost in the struggle, it happens. So, at the end, after travelling through this universe, even DC gets caught up in the world, and the traps of rationalization and exploitation, until he does not know where he is

aatw 117Overall, when I watched Twin Peaks, the Return, I was still only working with a simple hypnagogic model. Only after November, 2017, but, I think, inspired by the spinnings in the scenarios, did I begin in earnest to explore in more detail the working of Ambient forces circling round the hypnagogic zones in the head, and, then, only quite recently, in 2018, did I also realize that horror movies were also spending a lot of time trying to visualize wide harsh spinning but invisibly destroying forces, and that these abstract, nonfigurative spinning forces can only be represented by a further outlying spin, the Sentients, and, it is true, there ARE Ambient and Sentient forces in the dream visualizations of Twin Peaks the Return. Does my reading have anything to do with what was on the mind of David Lynch when he thought all this through? I do not know, I have not looked into it, I have not even delved into the whole “solve the mystery”of it caper aspect of online reports and other theories, I have not linked this yet to the series, I am not, in that way, a groupie or in want of being an expert to “figure it all out,” all I wanted to record was a more extensive reading of what about the series so excited me, and that was its mastery of hypnagogic space, for I believe Lynch has a pagan dream theory imagination, its wisdom in positing that you can only get to the answers in life by way of intuion, not reason, all of its funny situational and circumstational and even genre scenes evoking America in chaos right now, but most of all because for 18 weeks its entirely absorbing realism, its warmth, its agency, describing a place where real people live life, however horrible, was very, very different from what we too often get from TV series, cardboard and poster people representing “issues”and doing all sorts of fantasy posturing to make the viewer only feel better, not more human. Twin Peaks: The Return exists, if nowhere else discernible, though I have tried to place it, on a whole other level.

John Latham’s SKOOB works, an approach suggested by a movie in passing, Still/Born (2018).

Rev., May 14, 2018

FUSION byline features explorations of similar trope development in contemporary art and movies.

I’ve made a strange discovery of a hypnagogic dysfunction, in my treatment of the nondescript movie Still/Born (2018). In this one, the mother has twins, but only one survives. For that, in grief, mixed with job, she keeps the dead second twin’s crib in the nursery, allowing it to become a doorway to let a haunting presence in. So, what is this?

Consider the baby monitor, which has been made use of as a supermedia almost since its inception, years ago (see Signs (2002)). It is placed in one room, and monitors the sounds coming from another room, which could not be heard by ear alone, if not for it. Thus, it creates a vis-a-vis situation between two rooms, it bifurcates the watching space. Then, for that, because of the limits of the technology, there is static, and it is in that static that she hears not one crying child, but two. So, by this it is assumed that in a device which exists to place two rooms either side of it, the static also divides the reception quality in two, and this splitting results in the haunting.

What this suggests is that the baby monitor is a glass onion formation, a filtering object designed to admit sentient or ambient spirits in to consciousness, but in such a way as to filter them as split, or twinned, that is, it creates twinfire as an existential state, bifurcating reality, much as a kaleidoscope in its early stages does. This splitting, however, I have to consider a dysfunction, as the glass onion itself would not get you there. It would just oscillate, in order to split and bifurcate, that would require a whoosh, thus, I would think that the splitting effect of this glass onion is the result of its bottom dropping out in an adjunct zone, and dropping down to the whoosh state there, this IS a dysfunction, a creator of paranoia.

aaas 1

this is a much more controlled, and paranoid, 2D space than the one in the mainstream, which drops down through the chandeliering effect of the lattice to a full on whoosh spiral. It is inductive, that is, it helps to induct the person into whatever paranoid state one is to end up in. And, then, the odd thing is, though here I will not mention that they branch out to visual forms of the baby monitor, the thing that really gets Mary in Still Born into it is books. And it is not just books. It is a book given to her after she makes a long ride, down a road threading the needle through two wildernesses

aaas 2She is in the woman’s haunted house, because she cannot get over it, under a strange lamp, bespeaking strange possibilities, she listens to a tape that sounds an awful lot like hers, that is, a prototype of which hers is the copy, validating the reality of what she think she heard, making it, by a single example, real

aaas 3and it is at this stage that a book comes into it, and we see Lamashtu, in this context, in the context of her moving down through the static of the baby monitor to a reality where those two voices are real a book serves as the bookending device to as it were pull the splitting together into a new obsessive whole, that is, it functions as an adjunct sort of lattice, to create and validate a new reality

aaas 4and by, now, a simple feedback loop, a loop of pointing, there being only ONE documentary source, in ONE binding, word and picture bind, to become a reality

aaas 5then, surprisingly, the woman allows her to take the book home with her. This is ill-advised as it has now become the lattice of binding that creates as real the twinspin reality of her identification. Now, each line is underlined and reinforces the reality, verifying the reality of it for her

aaas 6but what really struck me here was that she SPREAD OUT the books, as it to take them all in, and this is the version of the whoosh that occurs in this adjunct descent into paranoid twinfire. As she pans, the contagion spreads over all reality, as she pans, she goes down the rabbit hole, into the world of books

aaas 8and then she points at Lamashtu

aaas 9and then replays the baby monitor, and hears her, and puts two and two together, and that is what happens in the twinfire twinspin state

aaas 10and the spiral downward in goes on, more shuffling, and mind-boggling

aaas 11more immersive close-ups

aaas 12it is in this context, that, the book being now identified in this construction of the haunting with the vent over her bed from which she first heard noises, and feared them, this is now animated by the book, and in a dream she goes up to it, and it looks out at her with two eyes, so she has now by this means brought the demon in

aaas 13but there is one more thing that surprised me, and I thought to myself, in terms of a movie like this, not a good idea at all, she spreads them all out again. And they are more spread out than before, and the problem here is by this point a book is no longer a book but a bookending doorway so that every time in this haunted silo you open up a book you basically reinforce the bifurcate nature of the real to allow a demon to jump over from there to here and thus you open this reality up to another entry by an entity from that reality. So, she is allowing a lot of demons in. Even worse, book to book, she allows them to jump from one book to another, she is creating a veritable witches Sabbath of hysteria in her researching, the whoosh of this particular representation of a haunting

aaas 14and, here again, it all comes down to Lamashtu, named as the ultimate emissary of that world who has come in

aaas 15but the detail that really shocked me, and I was like, boy, that is a VERY BAD idea (again, thinking in terms of the haunting of the movie, not reality), is that she did this spread out, in the presence of, right in front of, the baby, him in his bassinet right there, almost letting the content of the book, the being in the book, the book’s reality of bifurcate haunting come in against him, terrible, terrible idea

aaas 16so, weirdly, this rendition of the classic research section of any horror movie, which is, most of the time, only about information, here takes on a formal or structural purpose, as it would seem that having started with the baby monitor, the haunting will now occur by pulling Sentient spirits down through it into another object equally able to split the atom of the real and let a ghost in, and that would be a book, which, then, becomes a bible, and, as such, validates the reality of the thing, and then for that spreads out and takes over as an authority creating reality that allows the demon in. As said

aaas 17

so, this is of interest.

But, then, the fun thing here is, this month John Latham (d. 2006) is showing some of his Skoob paintings from the late 50s at Lisson. And while they seem illegible or simply expressionistic in the most jejune way from the point of few of painterly aesthetic formalism, if we read his backward spelling of the word Books as real, and take it at his word, then it is apparent that he is not using books, so much as books turned around, and become not mere object, but conveyors of content or spirit in a way reversed. Going back to before baby monitors, but still in consideration of the notion that some objects of a certain form can serve as filters to allow Sentients into conscious life in certain patterns or shapes, the book then could be seen as the primary mechanism by which meaning is conveyed into art in a bookended way, that is, split. Let’s see if this works out. First of all, it is apparent, he saw books as a formal device only, but which split space, that is, as bookending entities, regardless of book content

aaas 18then he saw that if they serve as a filter, or a “glass onion” form of introducing one to a different state of consciousness, they can also “go down” from that and not only take on a lattice form, as if a chandelier of books, but also populate the very air of the whoosh down into a dream state induced by the presence of books

aaas 19then back “up top” that is at the level of the symbolic interactionist, the glass onion, he saw an armful or handful of books as a conveyor of knowledge, but as a kind of device that served as a rotating crystal ball of sort into a world of abstraction

aaas 20then in spaces adjunct from that, he could just spin out other likesize objects which bespeak the “leading” nature of books as they carry you off into a labyrinth of suggestion and knowledge (I don’t know what this state is, but it is centripetal. I often get it when I run across a title of a movie, of a certain sort, then want to “run the table” on it and all movies like it, to just watch them all, to have that reality back again, this an adjunct movement, so, this too, he is trying to capture here the movement of mind by way of the bookending form of books)

aaas 21but then, as he dropped down to a lattice level, where the world of books bifurcates into a simple bookended reality, then the form that the books took were, amazingly, like fish tanks. Fish tanks, in movies, universally mean that one has dropped into a two-dimensional palliative state where everything is bifurcate and mirrored, and you are basically living the life of a fish tank fish. It is a very common symbol in horror movies, but in movies in general too. Since I do not want to claim that Latham was working with hypnagogic states, though it would be of interest to see if any of these ideas occurred to him as he was coming out of such states waking up in the morning, I will only at present say that he seeks to create vigilogogic states of simplified mindset where reality is bookended and, by that, one finds a way to some meaning. It is really rather remarkable that as part of this, he somehow dropped down to the level of lattice, and found the use of glass to frame books in a way that mimics the fish tank trope in movies, is quite amazing

aaas 22and then he sometimes spins out from that because just as one looks at fish in a fish tank and wonders at them and imputes into them an oceanic meaning and fantasy life when in fact they are stuck in a very limited terrain so too with books you can, sometimes, perusing a shelf, open a book, and feel a whole world open up, and you want to go there, and go into it, and you want to read the whole thing, but, then, you hold back, it does not happen, you put the book back down, and move on. This, I think, captures these situations in the mindset of the lattice derived from the bookending of reality

aaas 23

in his imaginary abstract world and then this completes with the most abstract of these, showing the whole adjunct plain of the vigilogoic state of openness to all ideas and the whole of it when encountering perhaps a whole library and it all becomes as it were a tidal wave of Sentient imaginings, and a single book is the one you choose, realizing that there is really very, very little of the whole of it you can ever get to

aaas 24I know how Latham’s books have been reviewed: formally. Like Julien Schnabel’s plates, they are viewed as simply raw material that he expressionized and then put into paintings as a kind of collage element to create an overall Clyford Still like visual space, that was of interest. But, I believe that Latham was part of the geometry of fear generation, he included books because he had thought about their reality as physical objects vis a vis their content and how that basic bookending relationship changed with every content and element in the book, resulting in a book shelf full of books even in the abstract to emit a feeling in itself which participates in the gap between the content and the form and the whole of it as it relates to your capacity to take it all in, a kind of bookmania that I suffered from many times in my life, and still do, and still am, and I think Latham felt that, why cant I make art about all those feelings? are they not exactly parallel to the feelings that abstract artists are trying to evoke through paint alone in art? and isn’t the panoply of feelings that broad fields of bookended reality create filled with all sorts of fears too? I can make art out of that. I will not at present claim that Latham saw a book as a binding filter to allow entry into this world Sentient spirits; nor will I claim that a book in a work of art by him functions as it does when Mary comes across it after a pilgrimage and a haunting, for her to by its form conceived in paranoia make whatever is in it the prototype to her new haunted reality, and by her pointing and her connecting the dots making the book the bible of her state of being; I will not argue that Lathan saw books spread out as a kind of whoosh of spiral down into dream, though that seems arguable, and that this spreading of books formally also spread the contagion of their content out over all things–that is, I will NOT in this note secure the FUSION-oriented inference I am making, because I have not done the research, but, really, when John Latham called his books SKOOB, the fact that he put it backwards is a signal clue that at last I am on the right track when it comes to figuring out his work.

Twin Peaks: the Return (2017), part 5: toward the twin finale..

Rev., May 21, 2018.

In Twin Peaks: The Return, things continue, in the final chapters, with Mr C driving up to the gas station we have seen before.

aatw 1but how he got here is a problem, and, then, even here, things are complicated, he has to go up the stairs on the side of the building

aatw 2when he is up there it is almost as if he relives Hawk’s adventure in the woods, he goes through some woods, somehow, so this is a dream

aatw 3but, then, to my surprise, he goes into the black wallpapered rose room, with that distinctive wallpaper, which we last saw in Fire Walk with Me

aatw 4this was the room that Laura walked into in a dream after putting up a picture of it given her by two people in the parking lot

aatw 5the picture, just an eight by eleven, framed, of it

aatw 6when she is scared out her room by Bob, she takes it with her, but drops it beneath the bushes

aatw 7but then she hung it on her wall, oppposite her bed, more or less usurping a picture of her guardian angel

aatw 8and then, in a dream sequence, or in a gown prowl, she went into it

aatw 9and there is one door with the red curtains behind

aatw 10and then wallpaper room beyond that, I think

aatw 11And when she gets there, the little boy points the way in

aatw 12then she wakes up to a nightmare presence, I don’t know who

aatw 13and walks out of the room

aatw 14This dream then maybe having caused her to spiral out of control, in Fire Walks With Me, so she ends up at the bar, topless

aatw 15I have previously treated this zig-zag room as a dream formation leading from her normal life as evoked by her bedroom, leading out into her dream life, and on to the Red Curtained Chamber, I have to assume that here the structure serves the same entry-way purpose:

But here, it is not the little boy, but the Sooty Men, who guard the door, I imagine as the door to the nursery

aatw 17this part I am a bit fuzzy on, there is a face there, who judges him, he is let through

aatw 18then he gets his escort, at the door

aatw 19the man then leads him down a long dark hall

aatw 20this too entoptically waffles between what it is and a factured field of sight in the woods

aatw 21but, then, as we get into that, surprise again, WE GO UP THE STAIRS

aatw 22these are the same stairs that Cole saw in his vision or encounter with them at the top of the spiral in Episode 11, got to by a crawlspace outside of town

aatw 23The same stairs, this then, somewhat illogically, now leads into a backyard, so I guess somehow we had segwayed into a basement, to come up by the stairs

aatw 24there are some people standing in the dark in the plaza of the back of the motel

aatw 25we go into the motel room, I don’t think it is a motel room we have seen before

aatw 26and in the back room is that strange belllike boiler contraption

aatw 27which then emits a gas or smoke in which there is a voicing revealing some secret, but which at least for the first time says the name Judy, or jow dah, that dark force in the world, and it has something to do with David Bowie, back in the original series, who in the office in Philadelphia, questions who this Dale Cooper is

aatw 28at this point, the whole place begins to go up in smoke

aatw 30and then it simply vanishes

aatw 31so where were we? unlike the others, there was no whoosh or spiral to get him there, so Mr C on his own power had some power that he simply had to walk off from totally conscious life to lapse into a somewhat light entoptic hypnagogic state, in which the walls wobbled, and there were intimations of the forest behind, perhaps even being only the immediate forest behind, reminding him that all of this was an illusion flickering in and out of consciousness. Then, a series of constructs that never were together before, come together, 1) the gas station in the Ambient Desert at the beginning of this time, plus the custodian Watchers who watch after that, then 2) the floral nursery from Laura Palmer’s dream, then 3) the stairs from Gordon Cole’s vision, then 4) the Belllike container which we have seen three times previously, and, finally, 5) the revelation of Judy, the David Bowie moment, emit from it, but also only previously encountered in this particular telling (I cannot go back into the mythology of the tv show) when Cole had one of his Monica Belluci dreams shortly before this. For me, the compositeness of this place means it is not, per se, the gas station, but pieces from five vectors and five places in the universe yet outlined that momentarily in an entoptic form come together to act in the stead of either the Floating Castle or the Red Curtained Chamber, neither of which Mr C has the power to get to, to communicate a message to him. It is an impromptu space, not unlike, an odd comparison, the mockup of the insurance man’s office by the crooks in The Sting

aatw 32it serves a purpose, then goes poof. I know this is a somewhat tortured working out of it, but I think that is the reason for its up and down ramshackle nature, that is the reason for the entoptic flickering in and out of the forest and that is the reason why the elements of the spots do not quite fit together, to make for a totally delirious encounter.

aatw 33

again, 1 is the façade, 2 is out of Laura Palmer’s dream, the flowered room, 3 is out of the gas station, 4 is the stairs out of the Cole vision, 5 is out of previous motel encounters, and 6 the belllike container out of previous encounters in the floating palace. It is, overall, a composite, and it is by walking the tumblers of it, that Mr C, in a gentle hypnagogic state, gets the information about Judy. All of this, in the bigger picture, means that, though he is trying to resist, he is being pulled back. But, in general, this is a phantom structure and not one I would class with the Gas Station, the Floating Castle or the Lighthouse Theater, as a place in the ambient world of dream.

Pretty soon after, the other side of his split soul, Dougie Jones, even after having been rescued, finally cannot resist his attraction to wall sockets, and puts a fork in it, it sends him to the hospital

aatw 34Things now get rather bowling-pinnish (as in tableaux shots where characters just line up like bowling pins) in the Ambient quality of shots as everyone seems to need to gather in to witness the final events. Dougie is in the hospital

aatw 35and, then, when he wakes up, AT LAST! He is all Dale Cooper

aatw 36but right away, he is given a message from the One Armed Man

aatw 37and

aatw 38what I think this means is that Mr C did not, as was required in this soul exchange, go back in, that is, as a tulpa go back to where he was made, in the world of the Red Curtained Chamber. But he reaches through the membrane separating his hospital curtains from the red curtains of the other place, and gives Dale Cooper the green ring, which I suppose means full put together soul

aatw 39at this point, DC joyfully takes over, calls the Mitchums, ask them for a plane to Seattle, done, because he is their guy

aatw 40but then a final loose end (I think I earlier reported that Diane got zapped, not yet. They are all still up in Buckhorn, she is at the bar, being the dame with the drink and the cigarette

aatw 41she gets a strange text, apparently alerting ALL to put the plan into action, it upsets her no end

aatw 42but now to loud clacking music if I remember we retrace the steps that Tammy made a few times to Cole’s room through the corridors of the hotel

aatw 43but this crawl is much more ominously pictured, as we come to it by way of a full on immersion in the landscape painting and its utter banality, and we see that Cole’s door is at the end of the hall, in a bit of cul de sac, this almost feels like her version of Mr C’s walk in the gas station-motel complex

aatw 44she comes in close up alarm to the door, and Cole seems to know she is coming

aatw 45she then, in a monologue I have forgot, talks about the old gas station, giving the coordinates to Mr C, that she was at the station, then something about the sheriff, finally, she just breaks, I am not me, pulls a gun, and they all, of course, blast her away, with a full on crotch shot, indicating at least in old movies of final death

aatw 46and she vanishes

aatw 47while Tammy exults that they saw a real tulpa, that tulpa is taken up into the Red Curtained Chamber

aatw 48where she is more or less dispensed with, liquidated as a robot, and by its manner, her face blast away, revealing a black interior space, all empty, and the entire thing motored by a single gold pearl suspended inside her head, quite the robot

aatw 49later, Cole tries to fill in some of the plotlines, but we already know these, they were all trying to get their hands on Judy, jowdah, a negative force in the universe, Mr C, or as Cole calls him Cooper, was looking for the coordinates, where the information was, etc, that’s how Ray Monroe was in it as an undercover FBI, but he failed, and on it goes.

aatw 50we also hear, incidentally, that 253 is a numerological puzzle, it simply adds up to 10, the number of completion.

Back in Twin Peaks, the nymph found at the well in the woods is agitated, but she has been given some pajamas

aatw 51because for the third time we are back at the well of whatever it is

aatw 52and Mr C has found it, at the coordinates

aatw 53once again, as with Andy, it swirls up

aatw 54Mr C is given only partial insight into the theater, where the Admiral now floats inside, Mr C is in a weird sort of box

aatw 55but on the screen, Laura’s house

aatw 57and either by some malfunction or whatever Mr C is sent back to the police station at Twin Peaks, on the screen

aatw 58BREAKto be continued.