Brinkema: “Vomit tempts it solicits.” Kristeva: “The abject is edged with the sublime.” O’Toole: “With society a circus of sensations, anything truly terrifying (by definition, truly surprising) is saliva for a jaded palate.” (See Savoring Disgust by Carolyn Korsmeyer). Our favorite Twin Peaks symbols back together again! As vomit! In Part 8, we witness a cosmic entity spew forth more key components of the narrative, and in Part 11, “Sick Girl” resurrects from the shadows and coughs up green slime for Bobby Briggs.įirst, let’s keep in mind that artists employ vomit to ‘activate’ the audience because the disgusting is magnetic. In Part 3, Dougie vomits cherry pie and Cooper vomits creamed corn and scorched engine oil. Two male, two female, two cars, two empty spaces. Let’s click and expand on the four vomit scenes-one from the end, one from the middle, and a couple from the beginning-and treat them as pieces to the puzzle and as puzzles in and of themselves. And then you have to put the puzzle together, but one is from the end of the story, one is from the middle, and a couple from the beginning, and you won’t know until it’s more formed what it could be. I also always say the whole thing exists in another room as a complete puzzle, all the parts are together, and someone from that other room is sort of a rascal and randomly flips parts over into this room. Lynch actually somewhat explained the structure of Season 3 to Jeff Jenson shortly after Part 3 came out: Like most of us, I assume the ‘structure’ and significance of Twin Peaks isn’t revealed in the linear narrative so much as in the hypertext where all the themes and characters are stacked in the space of the imagination and left to whisper and resonate. We can’t deny that vomit plays a role in Season 3. Is it just a coincidence that creamed corn is also classic movie vomit? “The cheapest special effect ever,” says John Waters: “A can of creamed corn, and presto!” As Eugenie Brinkema (2011) famously put it, in Lynch’s world, “the figures do not vomit the vomit figures.” And whaddya know? Summer of ’17, beginning of Twin Peaks: The Return, we find out that the entire narrative rests on what Denis Lim famously summarized, “murky doppelgänger metaphysics involving the very Lynchian combo of electricity and vomit.”
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