Issue 15 Call for Papers DEADLINE: THURSDAY, JANUARY 31, 2019 Special Issue: Twin Peaks: Season Three Guest Editors: Matt Miller and Matthew Lau This special issue of NANO will explore the significance of the recently released third season of the seminal television show, Twin Peaks.

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*Image: Screenshot from Twin Peaks, Season 3, Episode 8, 2017.*
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Issue 15 Call for Papers

DEADLINE: THURSDAY, JANUARY 31, 2019 
Special Issue: Twin Peaks: Season Three

Guest Editors: Matt Miller and Matthew Lau

This special issue of *NANO* will explore the significance of the
recently released third season of the seminal television show, *Twin
Peaks*. Controversial from the outset and divisive to fans and critics
alike, the new *Twin Peaks* (2017) is emerging as perhaps even more
radical and important than the original series (1990-1991). The original
*Twin Peaks* is often considered the first cult television show that
spawned intensive fan followings in the emergent world of the web, and
the immense catalogue of paratexts and influences the series has
inspired since has never been fully tabulated. As a central work of
American surrealism, a universe of oddities continues to find Twin
Peaks's orbit.

It is challenging even to define the latest *Twin Peaks* season. Creator
David Lynch has referred to it as an 18-part feature film, and it has
been presented on the big screen as a film at the Museum of Modern Art
(MoMA) and other venues. While *Twin Peaks* has always played with the
tricks and tropes of genre television, especially detective fiction and
soap operas, it has also pushed beyond the conventional limits of
television and transgressed and exploded expectations. Season three of
*Twin Peaks* is amorphous both in terms of its media formations and its
constantly shifting tableaux of symbols and themes. It is an origin myth
and tale of apocalypse, a profound questioning of the nature of good and
evil, a veritable dictionary of post-modernity, a slow-moving narrative
painting, a testament to the strength of a single woman, a series of
elegies for actors and actresses who died between seasons two and three,
a retelling of Homer's *The Odyssey*, a cosmic dream, and a forum for
music videos. Co-writer Mark Frost has extended its world back to
ancient Sumerian mythology, but season three of *Twin Peaks* also tracks
the pulse of the moment with major statements on the current opioid
crisis and the puzzling reversal of the FBI as an institution being
looked to for salvation by a significant portion of the American left.

This issue welcomes multimodal essays up to 4,000 words (excluding works
cited) exploring topics relating to season three of *Twin Peaks*,
including but not limited to the following:

- *Twin Peaks* as genre fiction (for example, science fiction, detective
 fiction, horror, and soap operas)
- Examinations of use of artistic devices such as symbolism, allegory,
 and parallelism
- Media transformations and adaptions of season three
- *Twin Peaks* fandom in all its forms
- Use of music in *Twin Peaks* (its score, Roadhouse musical interludes,
 and atmospheric effects)
- Authority in *Twin Peaks*, including the role of Lynch's refusals.
- *Twin Peaks* and its literary and media paratexts (especially *The
 Final Dossier*)
- Reception of season three of *Twin Peaks* by the television and film
 industry
- Explorations of intertextuality in *Twin Peaks,* season three (with
 film, painting, music, etc.)
- Explorations of gender and feminist critique
- Examinations of the hero's journey and critique of heroism
- Religious vision and its disguises in season three
- Philosophical implications of *Twin Peaks,* season three
- The origins of *Twin Peaks* in Lynch's other works, including not only
 his films but his drawings, paintings, writings, short films, and
 other proto-works

Please direct questions to the special issue editors: Matt Miller,
Yeshiva University \[<matt.w.miller@gmail.com>\] and Matthew Lau,
Queensborough Community College (The City University of New York)
\[<mlau@qcc.cuny.edu>\].

*NANO* is a multimodal journal. Therefore, we encourage submissions that
include images, sound, video, data sets, or digital tools in support of
a written argument. The multimodal components of the essay must be owned
or licensed by the author, come from the public domain, or fall within
reasonable fair use (see Stanford University Libraries' [Copyright &
Fair Use site](http://fairuse.stanford.edu/overview/fair-use/), and the
U.S. Copyright Office's [Fair Use
site](http://www.copyright.gov/fls/fl102.html), for more
information). *NANO*'s Copyright and Permissions information is on the
top left of this page.

For questions about video, audio, or image usage, please contact *NANO*:
<editornano@citytech.cuny.edu>.

*NANO* uses modified 8th Edition MLA (Modern Language Association)
formatting and style. See:
[https://nanocrit.com/Submissions/Submission-Guidelines](https://nanocrit.com/Submissions/Submission-Guidelines){target="_blank"
rel="noopener"}

**Please use the Submission Form on
<https://www.nanocrit.com/Submissions> (button on top left of page)**

Keywords and abstract: Each author is asked to submit 5 keywords and a
150-word abstract to accompany their submission.

Deadlines concerning the special issue to be published in *NANO*:

- Submission deadline: **January 31, 2019**
- Publication: **spring/summer 2019**

We look forward to receiving your contributions.

\*Image: Screenshot from *Twin Peaks,* Season 3, Episode 8, 2017.

Image: Screenshot from Twin Peaks, Season 3, Episode 8, 2017.

Issue 15 Call for Papers DEADLINE: THURSDAY, JANUARY 31, 2019 Special Issue: Twin Peaks: Season Three Guest Editors: Matt Miller and Matthew Lau This special issue of

 NANO

will explore the significance of the recently released third season of the seminal television show,

 Twin Peaks

. Controversial from the outset and divisive to fans and critics alike, the

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CfP: NANO, special issue “Twin Peaks: Season Three”. Deadline: Jan 31, 2019.