Jamie Ruers is an art historian specialising in art and culture from Vienna 1900 and Surrealist art and film. She received her BA from the University of Plymouth in 2014 and her MA from Birkbeck College, University of London in 2015. She is a researcher and the events manager at the Freud Museum London where she organises talks, courses and conferences on applied psychoanalysis, typically to art, culture, and contemporary issues.Jamie has given talks on Viennese modernism and the Surrealists at the Freud Museum London, the Austrian Cultural Forum, and is featured on documentaries such as Art & Mind (2019). She has published articles and essays on psychoanalysis, philosophy, and art in The Art Newspaper, various Freud Museum publications, and artist monographs. This is her first edited book with hopefully many more to come.Stefan Marianski is Education Manager at the Freud Museum London, where he works with young people to engage them with psychoanalytic thought. He has organised a number of events and conferences on psychoanalytic themes, and has written and lectured on dreams, sexuality, anthropology, surrealism, and masculinity. He is also a member of the Psychosis Therapy Project, which provides low-cost psychoanalytic psychotherapy for people experiencing psychosis.

‘this collection raises several important questions, pertinent both to psychoanalysis and an appreciation of Lynch. What are the implications of trying to interrupt trauma? To what extent is Lynch’s oeuvre an attempt to confront the malevolence of the Other? At what point do hysteric representations begin to hystericize the spectator? Can the free association of psychoanalysis be reconciled with the free association of transcendental meditation? By exploring these questions, the reader can begin to peer behind the Lynchian curtain and will, most likely, see quite a bit more than they might have expected to. The collection feels fresh and unquestionably offers more than just a rehashing of the popular psychoanalytic readings of Lynch.'

• IntroductionJamie Ruers and Stefan Marianski Chapter 1“Listen, do you want to know a secret?” Lynch stays silentChris RodleyChapter 2What’s so Lynchian about that? Defining a cultural moment with some notes from Freud and LacanCarol OwensChapter 3Dream Logic in Mulholland DriveOlga Cox CameronChapter 4Lost Angels in Los Angeles: Lynchian psychogenic fuguesMary WildChapter 5“It’s a strange world, isn’t it?” A voyeuristic lens on David Lynch's Blue VelvetAndrea SabbadiniChapter 6The Fragmented Case of the Lynchian HystericJamie RuersChapter 7Möbian Adventures on the Lost HighwayStefan MarianskiChapter 8“It is an illusion”: The Artful Life of David LynchAllister MactaggartChapter 9David Lynch SprawlsRichard MartinChapter 10Waiting for Agent Cooper: The Ends of Fantasy in Twin Peaks: The ReturnTodd McGowan Chapter 11Panel Discussion on Twin Peaks: The ReturnTamara Dellutri, Richard Martin, Allister Mactaggart and Todd McGowan

Jamie Ruers is an art historian specialising in art and culture from Vienna 1900 and Surrealist art and film. She received her BA from the University of Plymouth in 2014 and her MA from Birkbeck College, University of London in 2015. She is a researcher and the events manager at the Freud Museum London where she organises talks, courses and conferences on applied psychoanalysis, typically to art, culture, and contemporary issues.Jamie has given talks on Viennese modernism and the Surrealists at the Freud Museum London, the Austrian Cultural Forum, and is featured on documentaries such as Art & Mind (2019). She has published articles and essays on psychoanalysis, philosophy, and art in The Art Newspaper, various Freud Museum publications, and artist monographs. This is her first edited book with hopefully many more to come.Stefan Marianski is Education Manager at the Freud Museum London, where he works with young people to engage them with psychoanalytic thought. He has organised a number of events and conferences on psychoanalytic themes, and has written and lectured on dreams, sexuality, anthropology, surrealism, and masculinity. He is also a member of the Psychosis Therapy Project, which provides low-cost psychoanalytic psychotherapy for people experiencing psychosis.

‘this collection raises several important questions, pertinent both to psychoanalysis and an appreciation of Lynch. What are the implications of trying to interrupt trauma? To what extent is Lynch’s oeuvre an attempt to confront the malevolence of the Other? At what point do hysteric representations begin to hystericize the spectator? Can the free association of psychoanalysis be reconciled with the free association of transcendental meditation? By exploring these questions, the reader can begin to peer behind the Lynchian curtain and will, most likely, see quite a bit more than they might have expected to. The collection feels fresh and unquestionably offers more than just a rehashing of the popular psychoanalytic readings of Lynch.'

• IntroductionJamie Ruers and Stefan Marianski Chapter 1“Listen, do you want to know a secret?” Lynch stays silentChris RodleyChapter 2What’s so Lynchian about that? Defining a cultural moment with some notes from Freud and LacanCarol OwensChapter 3Dream Logic in Mulholland DriveOlga Cox CameronChapter 4Lost Angels in Los Angeles: Lynchian psychogenic fuguesMary WildChapter 5“It’s a strange world, isn’t it?” A voyeuristic lens on David Lynch's Blue VelvetAndrea SabbadiniChapter 6The Fragmented Case of the Lynchian HystericJamie RuersChapter 7Möbian Adventures on the Lost HighwayStefan MarianskiChapter 8“It is an illusion”: The Artful Life of David LynchAllister MactaggartChapter 9David Lynch SprawlsRichard MartinChapter 10Waiting for Agent Cooper: The Ends of Fantasy in Twin Peaks: The ReturnTodd McGowan Chapter 11Panel Discussion on Twin Peaks: The ReturnTamara Dellutri, Richard Martin, Allister Mactaggart and Todd McGowan