I'll preface this w/ the fact that I've never really read about twin peaks online or seen anyone elses theory about the stoplight so if this is generally old new i'll apologize- but i was thinking about this today so i thought i'd see what anyone else had to say...

So I was thinking about twin peaks today and I was reading about on the web a bit. I haven’t seen the show in a very long time but when I watched it many years ago I always found the image of the stoplight to be one of the most captivating symbols of the series. It seems to have garnered its fair share of attention on the web and I thought I might offer up my interpretation. I’ll begin by noting that before David Lynch ever committed a lone stoplight to celluloid the idea intrigued and unsettled me for reasons I could hardly explain. There was just something about the notion of a stoplight continuing to work when nobody was around that always generated some sort of philosophical pause; perhaps something along the lines of if a tree falls in the forest but no one is around to hear it…. Indeed, I always felt Lynch tapped into that aspect of the lone stoplight quite brilliantly to make his point. Now remember I haven’t seen the show in years, but I remember distinctly that every time someone would talk about how Laura tried to signal for help only to be ignored- they would show the stoplight. That is why the image is so potent in the series- the stoplight was, in a sense, Laura Palmer. It always went a little farther for me though. The stoplight seems to capture the human condition in some essential way. Things- functioning properly- letting off signals into empty night. It’s a lonely and unsettling image- it really served its symbolic role well. Let me know if you agree or disagree w/ this theory….

 cgeorgia11@hotmail.com

Sounds good to me

And also, it's always turning red (isn't it?) which could stand for life stopping, or the town being stuck in the sadness. 

i always have this conversation w/ my brother where we debate an artist's intention vs an audience's interpretation. Regarless of why the twin peaks creators included the stoplight I always feel free to interpret why a symbol/scene/line works. To paraphrase a line from Joeseph Conrad- it's not so much what an artists puts in to a work, as what an audience takes out of it.... My brother also has this notion that works of art necessarily draw on the subconscious-- there may have been something compelling and fitting about the image while the connection to the story remained illusive. But seriouly, when I watched the show (and this was a while ago so maybe I'll rent the dvds or something) I rember it as being like clockwork; someone talks about Laura Palmer's cries for help being ignored and then they show the stoplight. It seemed like they were really beating you over the head with the comparisson. As for the colors of the lights- that's interesting to. I don't remember enough of the show to say whether the colors were choreographed to match up with anything. Whether the red was Laura's cry for troubles to end- or if the colors ever matched up to the progress of Dale's investigation/ ideas (I had both thoughts when I watched)

The stop-light is all alone, and it carries on going through the motions even when there are no people around. Perhaps this reflects Laura's loneliness, and her feeling obliged to go through the motions of school, homework, being Bobby's girlfriend, being the Homecoming Queen, when all along she felt terrible and had very few people she could talk to about it.

Also, the traffic lights are just above the intersection of Sparkwood and Highway 21, the last place James saw Laura, before she was killed. Perhaps this is indicating James's emotions, his grief at the death of his girlfriend, his memories of their last, tragic conversation.

YOU KNOW i HAVE THIS WHOLE THEORY ON frost's stopping by woods on a snowy evening- since you quote it-- if you have any interest, feel free to read my essay below- otherwise totally skip it-- it's pretty off the twin peaks point-- but seeing as how you brought it up-- I could never get a teacher to buy into my theory but perhaps the kind of people that chill on a twin peaks message board...

           His opening line, “Whose woods these are I think I know”, introduces us to the situation ironically. It is no accident that the possession of these woods is our first concern. This deep gaze outwards represents a deep gaze inwards; a journey towards a stripped down form of human consciousness. The woods into which our narrator stares are in this sense most certainly his own. However, we are then told, “His house is in the village though”. As in “Mending Wall” the poet deals with divisions of the psyche so deep he feels it necessary to cast them as different people. While the man from the village has oft been said to represent the world of societal obligation (and this is definitely a legitimate way to approach the work), I would go further. This village is meant as a psychic contrast to the sort of meditative state described above, and as such, can be viewed not simply as a world of human obligation, but as the mind’s seat of reason or thought and language. Perhaps concerned over its seeming frivolous, our narrator also indicates shame (“He will not see me stopping here”) at this activity, thereby reinforcing the depth of the psychic schism.

              Frost provides the third branch in his anatomy of the soul as we are told, “My little horse must think it queer/ To stop without a farmhouse near”. The horse, who “gives his harness bells a shake” because there seems to be no reason to have stopped, completes the trilogy as the animalistic aspect of the narrator’s psyche. Indeed, the feeling of being pulled from the trance of the woods is as much a part of being human (if perhaps not distinctly human) as the meditation itself.

            An expert use of symbolism and alliteration serve to literally conjure the type of pure, blank consciousness the poet has in mind. The time is noted as “The darkest evening of the year” which suggests the deep extent of the narrator’s delve into the trance of the woods. The alliteration of the “s” sound in the lines, “The only other sound’s the sweep/ Of easy wind and downy flake” manifests within the reader the solitude of the moment. Moreover, the sound of “easy wind and downy flake” also proves an interesting clue to the type of consciousness Frost is depicting. Unlike the distinct ring of the “harness bells” which can well be imagined jangling out on a quiet night, “easy wind and downy flake” would not make any perceptible noise. The movement of the falling snow without any accompanying sound mimics the persistence of consciousness in the meditative state, absent any “sound” in the form of thought or concern.

            It is worth mentioning the ambiguous closing lines of “Stopping By Woods”. Our narrator has enjoyed his sojourn into a world, as Wallace Stevens describes it in his poem, “Of Mere Being”, “Beyond the last thought”. Yet, his animal instincts to keep moving and stay productive, as well as all the sense of obligation to others implied by the word “promises”, draw him from his inward gaze. The last two lines “And miles to go before I sleep/ And miles to go before I sleep” do appear to invoke the idea of death. The switch in metaphor from watching the woods to sleeping would seem to indicate at least a subtle change in subject matter. It would not be difficult to see death as the next

logical step in a progression from an active mind, to a meditative state free of thought. Indeed, only a denial from the poet himself could persuade us otherwise, and yet that is precisely what we have.