Greg Olson, author of David Lynch: Beautiful Dark, the essential book on Lynch’s life and art, has resided in the Twin Peaks region of the Northwest for decades, and David Lynch spent youthful years in the Northwest; both of their fathers were woodsmen. Lynch believes that the world hums with spirituality, and over a thirty-year span Lynch and Mark Frost created forty-eight hours of Twin Peaks TV and film, hypnotic cinematic music immersed in the depths and divine heights of human nature, an artistic song of the forest, America, the world, the cosmos. David Lynch is an international icon of visionary artistic innovation, humanistic thought and philanthropy, and spiritual exploration, and Twin Peaks: The Return is his magnum opus, a mytho-poetic summation of his deepest beliefs and concerns. Author Olson, in his characteristically intimate and personal way, traces the Twin Peaks currents of Lynch’s emotional-visceral storytelling, themes, imagery and sound: the way the artist and viewer share an electrified circuit of mystery and understanding.

For nearly 40 years, David Lynch's works have enthralled, mystified, and provoked viewers. Lynch's films delve into the subjective consciousness of his characters to reveal both the depraved darkness and luminous spirituality of human nature. From his experimental shorts of the 1960s to feature films like Eraserhead, The Elephant Man, Blue Velvet, Mulholland Drive, and INLAND EMPIRE, Lynch has pushed the boundaries of cinematic storytelling. In David Lynch: Beautiful Dark, author Greg Olson explores the surreal intricacies of the director's unique visual and visceral style not only in his full-length films but also his early forays into painting and short films, as well as his television landmark, Twin Peaks. This in-depth exploration is the first full-length work to analyze the intimate symbiosis between Lynch's life experience and artistic expressions: from the small-town child to the teenage painter to the 60-year-old Internet and digital media experimenter. To fully delineate the director's life and art, Olson received unprecedented participation from Lynch, his parents, siblings, old school friends, romantic partners, children, and decades of professional colleagues, as well as on-set access to the director during the production of Twin Peaks: Fire Walk with Me. Throughout this study, Olson provides thorough analyses of the filmmaker's works as Lynch conceived, crafted, and completed them. Consequently, David Lynch: Beautiful Dark is the definitive study of one of the most influential and idiosyncratic directors of the last four decades.

For nearly 40 years, David Lynch's works have enthralled, mystified, and provoked viewers. Lynch's films delve into the subjective consciousness of his characters to reveal both the depraved darkness and luminous spirituality of human nature. From his experimental shorts of the 1960s to feature films like Eraserhead, The Elephant Man, Blue Velvet, Mulholland Drive, and INLAND EMPIRE, Lynch has pushed the boundaries of cinematic storytelling. In David Lynch: Beautiful Dark, author Greg Olson explores the surreal intricacies of the director's unique visual and visceral style not only in his full-length films but also his early forays into painting and short films, as well as his television landmark, Twin Peaks. This in-depth exploration is the first full-length work to analyze the intimate symbiosis between Lynch's life experience and artistic expressions: from the small-town child to the teenage painter to the 60-year-old Internet and digital media experimenter. To fully delineate the director's life and art, Olson received unprecedented participation from Lynch, his parents, siblings, old school friends, romantic partners, children, and decades of professional colleagues, as well as on-set access to the director during the production of Twin Peaks: Fire Walk with Me. Throughout this study, Olson provides thorough analyses of the filmmaker's works as Lynch conceived, crafted, and completed them. Consequently, David Lynch: Beautiful Dark is the definitive study of one of the most influential and idiosyncratic directors of the last four decades.

In Indigenous Missourians: Ancient Societies to the Present, historian Greg Olson argues that the history of Indigenous people in present-day Missouri is far more nuanced, complex, and vibrant than the often-told tragic stories of conflict with white settlers and forced Indian removal would lead us to believe. In this path-breaking narrative, Olson presents the Show Me State’s Indigenous past as one spanning twelve millennia of Native presence, resilience, and evolution. While previous Missouri histories have tended to include Indigenous people only during periods when they constituted a threat to the state’s white settlement, Olson shows us the continuous presence of Native people that lasts up to the present day. Beginning thousands of years before the state of Missouri existed, Olson recounts how centuries of inventiveness and adaptability enabled Native people to create innovations in pottery, agriculture, architecture, weaponry, and intertribal diplomacy. Technological advances made it possible for Native people to build Cahokia, one of the largest cities on the planet during the eleventh century. Located just across the Mississippi River from present-day St. Louis, Cahokia was an amazing example of centralized power and technological know-how.Olson also shows how the resilience of Indigenous people like the Osages allowed them to thrive as fur traders in the face of French and Spanish colonization. Even as settler colonialists waged an all-out policy of cultural genocide against them, Native people persevered. Though the state of Missouri claimed to have forced Indigenous people from its borders after the 1830s, Olson uses U.S. census records and government rolls from the allotment period to show that thousands remained, often passing as blacks or whites. Removed from their tribal communities, these Indigenous Missourians came together to create intertribal social networks to celebrate Native culture in new ways. In the end, Olson argues that, with a current population of 27,000 Indigenous people, Missouri remains a part of Indian Country and that Indigenous history is Missouri History.