referendum wrote:Frost writing 2 books after what was to be the last word on the Twin Peaks universe took definitive shape speaks for itself. What artistic reason is for him to do something like that if he was truly satisfied with The Return. Not that what he'll come up with will necessarily be better.
i don't think this is right. For what it's worth ( and i know this is an idea alot of people dislike ) Lynch and Frost seem to have unmoored TP from the need to have a consistent linear narrative, and decided that Twin Peaks is a sort of story generating machine, so it is possible to tell different stories around the same themes, or with some connection to the world of TP , that can overlap or contradict each other as much as they like, because that's all they are, separate stories - separate fictional worlds - each with their own integrity, but with defining elements and themes in common. There is not one definitive version - there are versions. Frost's book has no obligation towards respecting the storyline of TP3 or vice- versa. I dunno whether i would call this meta-fiction or alternative time-lines as other people have done: I think it is something else. I suppose if we get more books and maybe another series it will be clearer what it is.
@Novalis has been trying to say something about this aswell. He described it as moving from duality to multiplicity. As a structural/ story telling mechanism I am still trying to get my head round it and put it into words. If that is what is happening...I might just be seeing faces in the shadows....
ps, there was an interview i read that Lynch gave, i think it was around 2014 - before he had started filming TP but after most of it was written - when he talked about finding it an interesting idea if a detail of someone's life turned up in another time-zone, for instance, if you told a story about events that happened in 1920, but somewhere in it a character finds a piece of paper with the name ' Lee Harvey Oswald' on it, which would have of course massive significance for the viewer nowadays but meaning nothing to the character inside the story. Maybe him and Frost talk about this kind of stuff, who knows?
I don't have an issue with TP not sticking to linear narrative. I don't think it deviates from that much though. When it does it's usually an added layer rather than something that disturbs the basic linear timeline. FWWM had an unconventional structure in the sense that the Theresa Banks part was in a way a backstory within a backstory. The most obvious deviation from conventional narrative pertains to the supernatural where consistency is dismissed altogether (movements within it and between the realities never follow a formula) which as far as i'm concerned works perfectly well.
Considering Frost's upcoming book will inevitably be a companion piece to The Return. The title implies it will address the finale because there isn't much sense to a final dossier on Twin Peaks prior to the events of the finale even in context of the Secret History. I can't see how the ideal scenario would not be to deliver the final all encompassing epilogue within the 18 hour show. The book just has a plan B vibe to it.
In retrospect TP is not so much about TP but about Blue Rose. If you look at it from that perspective, the narrative is pretty standard with some deviations in the specifics of the cases and topics of interest to the project. We know more than we thought we needed to know about what Blue Rose is, how it came to be, how the agents got involved and their whereabouts throughout the timeline the universe covers. The original run was about Laura's case and after that was resolved the main plot was Windom Earl - again a deviation from Twin Peaks towards the FBI. FWWM was essentially about two cases that turned out to be connected. The Return is a collection of things of interest to Blue Rose and as per usual the agents don't really have the competency to make much sense of what they're dealing with. The Secret History is all about Blue Rose through the eyes of the people involved in it.