Hear David Lynch Read from His New Memoir Room to Dream, and Browse His New Online T‑Shirt Store

We think of David Lynch as a film­mak­er, and right­ly so, but the direc­tor of Eraser­headBlue Vel­vet, and Mul­hol­land Dri­ve has long kept a more diverse cre­ative port­fo­lio. He began as a painter, study­ing at the Penn­syl­va­nia Acad­e­my of the Fine Arts, and has also tried his hand at pho­tog­ra­phymusic, and com­ic strips. More recent­ly, writes the AV Club’s Ran­dall Col­burn, “Lynch has also released his own line of cof­fee, col­lab­o­rat­ed on Twin Peaks-themed beer and skate­boards, and cre­at­ed his own fes­ti­val. His lat­est endeav­or? T‑shirts, which is wild because it’s hard to imag­ine the ever-dap­per film­mak­er ever wear­ing one.”

Per­haps a line of Lynch-approved tra­di­tion­al white shirts, made to be but­toned all the way up even with­out a tie, remains in devel­op­ment. But for now, fans choose from the 57 T‑shirts designs now avail­able at Stu­dio: David Lynch’s Ama­zon store. All suit­able for wear­ing to your local revival house, they include “Turkey Cheese Head,” “Cow­boy,” “Small Dog,”“Small Bark­ing Dog,“and “You Got­ta Be Kid­din’ Me.” What kind of life, now solid­ly into its eighth decade, has both enabled and dri­ven Lynch to make not just so many things, but so many Lynchi­an things? Per­haps we can find a few answers with­in the near­ly 600 pages of Room to Dream, Lynch’s new mem­oir.

“Fans who share Lynch’s plea­sure in mys­tery will approach this book anx­ious­ly, hop­ing that his secrets may some­how be both revealed and sus­tained,” writes the Wash­ing­ton Post’s Charles Arrow­smith of the book, an excerpt of which you can hear read by Lynch him­self above. (He begins by say­ing “I’m going to tell you a sto­ry about my grand­par­ents” and ends with the image of his young self vom­it­ing into a hel­met he’d brought to school for show-and-tell.) And those who fear that the con­ven­tion­al­i­ty of the mem­oir form might flat­ten out Lynch’s idio­syn­crasies can rest assured that “in telling his life sto­ry, Lynch demon­strates the same dis­re­gard for causal­i­ty and tonal con­sis­ten­cy that marks his films.”

Despite includ­ing not just Lynch’s per­spec­tive but the per­spec­tives of many oth­ers (“sur­pris­ing­ly can­did ex-wives, fam­i­ly mem­bers, actors, agents, musi­cians, and col­leagues in var­i­ous fields,” pro­claims the jack­et copy), “Room to Dream pulls off a neat trick in draw­ing back a cur­tain and reveal­ing rel­a­tive­ly lit­tle. Despite the book’s heft, there’s not much to expli­cate the mys­ter­ies of Lynch’s work. But then, for him, the mystery’s the thing. To explain would be to destroy. What we get instead is insight into his cre­ative process.” As ded­i­cat­ed Lynch enthu­si­asts under­stand, the cre­ative process, which through­out his career has led him not to answers but ever more strange­ly com­pelling ques­tions, is every­thing.

Note: When Room to Dream comes out on June 19th, you can down­load the audio­book ver­sion, which Lynch helps nar­rate, for free if you sign up for Audi­ble’s free tri­al pro­gram. We have details on that pro­gram here.

Relat­ed Con­tent:

The Paint­ings of Filmmaker/Visual Artist David Lynch

David Lynch’s Pho­tographs of Old Fac­to­ries

Dis­cov­er David Lynch’s Bizarre & Min­i­mal­ist Com­ic Strip, The Angri­est Dog in the World (1983–1992)

What Makes a David Lynch Film Lynchi­an: A Video Essay

Based in Seoul, Col­in Mar­shall writes and broad­casts on cities and cul­ture. His projects include the book The State­less City: a Walk through 21st-Cen­tu­ry Los Ange­les and the video series The City in Cin­e­ma. Fol­low him on Twit­ter at @colinmarshall or on Face­book.

by | Permalink | Comments (0) |

Sup­port Open Cul­ture

We’re hop­ing to rely on our loy­al read­ers rather than errat­ic ads. To sup­port Open Cul­ture’s edu­ca­tion­al mis­sion, please con­sid­er mak­ing a dona­tion. We accept Pay­Pal, Ven­mo (@openculture), Patre­on and Cryp­to! Please find all options here. We thank you!

Leave a Reply

Open Culture was founded by Dan Colman.