So 20+ years late to the ball, I got started on Twin Peaks. I took inn the Laura Palmer arc over a few days that, incidentally, were some of the emotionally most trying of my entire life, so I guess it served a therapeutic purpose. Especially the Log Lady introductions moved me in their theme of emotions and reality. So, thanks Lynch!
My favourite lines, however, are the following by the otherwise sarcastic, bordering on the abrasive, FBI agent Albert Rosenfield (via)
Albert Rosenfield: [to Sheriff Truman] Now you listen to me. While I will admit to a certain cynicism, the fact is that I am a naysayer and hatchetman in the fight against violence. I pride myself in taking a punch and I’ll gladly take another because I choose to live my life in the company of Gandhi and King. My concerns are global. I reject absolutely revenge, aggression, and retaliation. The foundation of such a method… is love. I love you Sheriff Truman. [he leaves the room] Dale Cooper: [to Sheriff Truman] Albert’s path is a strange and difficult one.
Language is the oldest technology humankind has – and visual language, the ability to distill human experience and emotion and make a representation of it, one of the oldest human impulses (the cave paintings in Luscaux are testament to that). It’s a kind of alchemy perhaps, something that helps us reimagine our environment and design the world we make for ourselves. It’s the place in our minds where we translate what we see and experience, where we invent new vistas, new ways of seeing.
A few years ago, I realised that the traditional ways the comics medium is used to express ideas wasn’t working for me. Once this happened, I started thinking about how comics might better express what I want to say. I started thinking about what the medium is and its building blocks. Since then I have been continually pulling comics apart and trying to figure it out. I like to think about comics in new ways.
In comics, men of words hire men of images. The historical system of patronage is codified by capitalism and is supported by critics who use words and instinctively “read” comic text as though it is merely supported by images that stand in for verbal metaphors. In the arena of commercial art, class ties to and debases visual literacy and text reigns supreme.