A decade before the notion of “prestige television” entered the lexicon, “Twin Peaks” was a stalking horse, one whose sui generis mixture of psychological horror and whimsical camp drew equally from the experimental cinema of Luis Buñuel and the high-intensity soap operatics of “Peyton Place.” In his insightful book, “A Place Both Wonderful and Strange,” Scott Meslow narrates the show’s unlikely journey from midseason network replacement to a television landmark that still produces imitators.