Thank you for the links, and while I’m at it, thanks for the reference on AML to the Lino Brocka piece you wrote.

—
Trevor:

Yes. And either that’s a mistake or it’s Marcus using Rocket from the Tombs to refer to Rocket from the Crypt and Pere Ubu and other similar bands. I’m afraid I had to return the book to the library so I can’t go back and check at the moment. But I seem to recall that he used the “from the tombs” idea to encapsulate that whole Cleveland thing.

Regarding, Lynch. He deals most heavily with Twin Peaks and Lost Highways. It’s hard to summarize because his work is so idiosyncratic.

With Lost Highways he focuses on Bill Pullman’s face and how Lost Highways deconstructs the terrors of success and individualism and the Western and the rage that lies behind the placid surface. It’s about displacement and memory and the open road.

And I don’t really remember what he has to say about Twin Peaks.

I can point you to some interesting reviews, though:

Quarterly Conversation

The Guardian

Flak Magazine

NEw York Times

For what it’s worth, I found the section about Roth to be the most thought-provoking but boring and the section about Pere Ubu the most interesting and entertaining.

Also, William, can you shed a little more light on his take on Lynch for me. I had all but written him off after Eraserhead until I was so dazzled by Inland Empire. But I’m trying to rethink his work now. He’s also a very important figure in the city I’m living in since he’s poured millions of dollars into the city and its film industry. I’m very interested in him as an American figure.