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3.94 AVERAGE
3.94 AVERAGE
For super serious fans only, but for those who are? You're in for a treat.
dark
funny
mysterious
reflective
medium-paced
Plot or Character Driven:
Plot
Strong character development:
No
Loveable characters:
Yes
Diverse cast of characters:
Yes
Flaws of characters a main focus:
Yes
This felt a little bit TOO X-Files and not Twin Peaksy enough. The sheer weirdness of character interactions and the general worldview of Lynch was certainly lacking.
Still this was an entertaining enough exploration of old school Occult and the middle portion of the book has some great writing about the Town and the characters within it.
Would be interested to read the second book but it won't be a priority.
Still this was an entertaining enough exploration of old school Occult and the middle portion of the book has some great writing about the Town and the characters within it.
Would be interested to read the second book but it won't be a priority.
This book is best when it talks about the characters from Twin Peaks. Itβs a little bit blah when it talks about the characters or events that lead to how a character was portrayed on the show like the log lady.
Unfortunately, that is combined about 20% of the book. The rest of the book is nothing but recycled, alien conspiracy, theories.
After reading this book, I am wondering if MarkFrost thought his show was about aliens.
If you like aliens, this is a great book about men in black, the illuminati, the freemasons and x file conspiracy theory
Unfortunately, that is combined about 20% of the book. The rest of the book is nothing but recycled, alien conspiracy, theories.
After reading this book, I am wondering if MarkFrost thought his show was about aliens.
If you like aliens, this is a great book about men in black, the illuminati, the freemasons and x file conspiracy theory
Must read for Twin Peaks fans, and before watching the new season.
Twin Peaks is notorious for asking questions without necessarily providing clear, coherent answers. Unlike intellectual properties such as Star Wars and Harry Potter, there is no impression that Twin Peaks will ever make sense in a complete and totalizing way. Mark Frost's wildly ambitious The Secret History of Twin Peaks pivots from this injunction by asking similar sorts of questions without necessarily providing coherent answers.
In form and composition, The Secret History of Twin Peaks embodies the postmodern notion of narrative play. The novel (if one were to call it that) is a collage, deftly blending FBI documents, newspaper clips, personal journals, transcripts, and marginalia to produce the sensation of a story without necessarily consenting to being one. The form of the novel, therefore, mirrors the show that produced it. Twins Peaks plays with genre, tone, and cinematography in ways that leave audiences wondering: Will it commit to being anything? Is it a soap opera? Is it a crime noir? Is it a dark comedy? By answering "yes" to these questions Twin Peaks invites the stratification that comes with contradiction. The show refuses to reconcile these contradictions, and the The Secret History of Twin Peaks follows suit in many ways.
However, the novel's failure arises from its conceptual demand to answer the show's big phenomenological question: Why are the oddities in Twin Peaks happening? While Frost attempts to maintain some degree of ambiguity (this is achieved by layering or stacking several narrative voices that, when taken in total, obfuscate more than they clarify), he offers a tacit explanation for these phenomenological oddities that involves a countless array of figures from Lewis and Clark to Richard Nixon (yes, that Richard Nixon). Instead of deferment, something the show does by utilizing a serial format, Frost's novel attempts to reconcile the ambiguities and contradictions that make Twin Peaks so tantalizing.
In 2000, I began working at a video store. I learned a fair amount about stories while working there, and one of the more important ideas I learned came during my first few weeks of employment. Earlier that year the first of three Star Wars prequel films arrived for video rental and purchase. One of my co-workers loved Star Wars, and while she took umbrage with many of the film's choices, she enjoyed the film for "answering a lot of questions." It took years for me to realize what she actually meant. It was not enough to answer some questions; she wanted answers to all the questions. While I sympathize, this position fails to consider not only the necessity of ambiguity but also the necessity of intuiting which stories need telling. Are the Star Wars prequel films good? No, but that is different from considering whether the impulse to make them was the correct impulse because, again, some stories should not exist. This is not to suggest that Frost's The Secret History of Twin Peaks is of quality or kind with Lucas's prequel films; however, I would suggest that like those prequel films, The Secret History of Twin Peaks does not do enough to answer that simple but fundamental question: Should this story exist?
In form and composition, The Secret History of Twin Peaks embodies the postmodern notion of narrative play. The novel (if one were to call it that) is a collage, deftly blending FBI documents, newspaper clips, personal journals, transcripts, and marginalia to produce the sensation of a story without necessarily consenting to being one. The form of the novel, therefore, mirrors the show that produced it. Twins Peaks plays with genre, tone, and cinematography in ways that leave audiences wondering: Will it commit to being anything? Is it a soap opera? Is it a crime noir? Is it a dark comedy? By answering "yes" to these questions Twin Peaks invites the stratification that comes with contradiction. The show refuses to reconcile these contradictions, and the The Secret History of Twin Peaks follows suit in many ways.
However, the novel's failure arises from its conceptual demand to answer the show's big phenomenological question: Why are the oddities in Twin Peaks happening? While Frost attempts to maintain some degree of ambiguity (this is achieved by layering or stacking several narrative voices that, when taken in total, obfuscate more than they clarify), he offers a tacit explanation for these phenomenological oddities that involves a countless array of figures from Lewis and Clark to Richard Nixon (yes, that Richard Nixon). Instead of deferment, something the show does by utilizing a serial format, Frost's novel attempts to reconcile the ambiguities and contradictions that make Twin Peaks so tantalizing.
In 2000, I began working at a video store. I learned a fair amount about stories while working there, and one of the more important ideas I learned came during my first few weeks of employment. Earlier that year the first of three Star Wars prequel films arrived for video rental and purchase. One of my co-workers loved Star Wars, and while she took umbrage with many of the film's choices, she enjoyed the film for "answering a lot of questions." It took years for me to realize what she actually meant. It was not enough to answer some questions; she wanted answers to all the questions. While I sympathize, this position fails to consider not only the necessity of ambiguity but also the necessity of intuiting which stories need telling. Are the Star Wars prequel films good? No, but that is different from considering whether the impulse to make them was the correct impulse because, again, some stories should not exist. This is not to suggest that Frost's The Secret History of Twin Peaks is of quality or kind with Lucas's prequel films; however, I would suggest that like those prequel films, The Secret History of Twin Peaks does not do enough to answer that simple but fundamental question: Should this story exist?
Entirely fun and incredibly deep, "The Secret History of Twin Peaks" contains all of the craziness of the series and expands on it, but since it lacks Lynch's touch, it's neither charming enough nor as capturing as it could be. However, as a fan addendum, it continues to add more and more paradoxical layers to the series, which does nothing but please me. Twin Peaks will haunt me my whole life, this simply adds to the mess.
Highly compelling read for any fan of the show, and brings some good perspective to some of the mysteries from the old show while building anticipation and burning questions for the new one. I don't think it can be considered as a stand-alone by any means, so if you've never watched the show, well, then what the hell are you doing wanting to read this book anyhow?
In preparation for the new series coming up in 2017 I picked this up on Audible and wasn't disappointed. This is a multi-actor reading, with a number of the original cast reading their respective parts in the story. The book records the history of the town and key figures in its mysteries from before its founding all the way up to Agent Cooper's return from the Black Lodge. I don't want to give too much away, but this is a great book for Twin Peaks fans. It might not hold the same appeal for those unfamiliar with the show.
Really only for huge fans of Twin Peaks, which I am. Much of it seems like rambling alternate history, until you do some Googling and find out its ACTUAL history. So I guess I learned something from this book. The idea of taking a minor character that hardly anyone would even remember from the show, and fleshing him out as a key player in both the real world and the show's world, is deeply weird, but weirdness is what I love about the Twin Peaks mythology.
There aren't a whole lot answers about what happened after season 2, but there are just enough that the book serves its purpose of making me even more excited for season 3.
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There aren't a whole lot answers about what happened after season 2, but there are just enough that the book serves its purpose of making me even more excited for season 3.
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Worth a once over only if you're trying to 100% Twin Peaks.