[This post originally appeared on my personal blog last year. In light of a new audience, and a new book from Ajvaz forthcoming on Dalkey in a few months, The Golden Age, I’ve reupped it here. Thanks! BB]

The signs of connective tissue in the films of David Lynch are in places very clear. Beyond Lynch’s own mentioning of the mesh of words, most vocally between Mulhollland Drive and INLAND EMPIRE, but also, I would insist, between all the films, in many ways the blank or horrendous spaces that make the films seem the most ‘underneath the viewer’s skin’ are the creation of the space itself, a portal both from film to film, as well as, I must demand, into human.

The rips in spaces in Lynch are all throughout, and in many ways, the definitive space of Lynch: the totem-being behind Winky’s, Club Silencio, the Black Lodge, the pink house on the sound stage and the ‘other version’ of Hollywood & Vine in INLAND EMPIRE, the Rabbits, Ben’s house in Blue Velvet, the exploding shed in Lost Highway, perhaps the entire terrain of Eraserhead, etc., etc. You could list these rooms forever.

You could also list, in your own life, the spaces of your mind that are contained in memory or in associative practice: sleep rooms, childhood slurrings, ruined pictures, unrecorded thoughts, most any second mostly. That you could also not truly make this list is important too, as here is an example, in Lynch’s hands, perhaps, of what occurs in evidence of the reckoning:

[Watch the whole scene here]

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