David Lynch’s filmography has been the subject of exhaustive academic and critical attention for the past two decades, so much so that those of us who analyze his oeuvre often find it necessary to acknowledge from the beginning that we might be treading familiar ground as we work toward our central claims. The alternative, of course, is to lay claim to some ostentatiously novel critical lens and establish total originality from the outset. London-based film and architecture scholar Richard Martin’s incisive and highly readable The Architecture of David Lynch seems at first to embrace the latter option, inviting the reader to wonder how a focus on architecture could possibly sustain a book-length discussion of one of the most enigmatic and prolific American filmmakers of all time. Yet, ultimately, Martin finds solid rhetorical ground and a plethora of interdisciplinary source material from which to articulate astonishingly deep, intricate, and, yes, original...
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