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Catching the Big Fish: Meditation, Consciousness, and Creativity Hardcover – December 28, 2006
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From Publishers Weekly
Lynch blends biography, filmography, spiritual quotes and his philosophical perspective on the life-changing capabilities of transcendental meditation, all within two and a half hours. Having practiced meditation for three decades, director Lynch discusses how it has influenced his life and helped him to concentrate his energy. Listeners may catch glimpses of creativity and consciousness, but Lynch's rants lack cohesion and substance. Within the audiobook's short chapters, Lynch barely broaches a topic before moving onto the next, leaving listeners to question his emphasis to go "deep." The most interesting aspects arise out of his anecdotes and comments about his films, like Eraserhead and Blue Velvet. His dry rattling voice hints at the passion behind his statements, but more often comes across as insistent and almost whiny. He reminds listeners that authors do not always make the best voices for their books. However, on the sound production end, the lightly blowing wind for the quotes from the Upanishads and Sutras adds mystical air to their reading. It's unfortunate that neither his words nor his voice live up to that standard.
Copyright © Reed Business Information, a division of Reed Elsevier Inc. All rights reserved. --This text refers to an out of print or unavailable edition of this title.
Author David Foster Wallace once observed that, as a filmmaker, David Lynch seems to care more about getting inside the heads of his viewers than about communicating a particular message to them once he's inside. With this book, Lynch offers us a rare glimpse into his own head. A longtime practitioner of transcendental meditation, a set of meditation practices popular in the 1960s, Lynch is primarily interested in communicating to readers the powerful creative vitality that he has tapped through meditation. In 85 brief, airy chapters--many koanlike and some only a sentence or two long--Lynch discusses the techniques with which he expands his consciousness, catches ideas, and gives form to abstraction. (It's not all lofty stuff: milkshakes are, it turns out, a key vehicle for creativity.) In the process, he reveals just enough biographical information, philosophy of film, and general behind-the-scenes dirt (including the connection between Lynch's Lost Highway and O. J. Simpson)to keep the attention of those more interested in Lynch's films than in his consciousness. Brendan Driscoll
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