Babble Book Club: Final Discussion - The Wind Up Bird Chronicle

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Sun, 2012-01-15 12:54

Kaitlin McNabb Kaitlin McNabb's picture

Welcome to the Babble Book Club's final discussion of The Wind-Up Bird Chronicles! Please feel free to post any and all comments about the book, author, writing style, anything that comes to mind!

Full disclosure: I finished the book last night.

my immediate response was a sigh of relief and well as a few nods to a final understanding of what was at times a tangled web of events, people, alternate realities.

the book left me wanted to immediately read again -- although I'll forgo that for a smaller book this time.

Initial reactions to the narrative suspended between reality and fantasy?

Issues Pages:

Arts & Culture

Regions:

Sun, 2012-01-15 13:22

Kaitlin McNabb Kaitlin McNabb's picture

(responding to my own question, ha)

the entire book was filled with chaotic narratives, tangents, intersecting stories and aspects of surrealism that in turn created a frantic need to understand in my mind. Book Three seemed to serve as some form of denouement although, but much wasn't resolved.

I think I am failing to understand what and why things were happening in the well. How was the blue mark on his cheek originally put there (other than the source of intense heat), who was the man he killed in the end who releaved him of his blue mark, Kumiko was calling him in Book One to warn him -- warn him of him fall from grace?

And if anything was resolved the answer seemed to just spur on more questions. I felt both frustrated by the ending that it had yet to answer any of my questions or reveal why certain characters and narratives were there and at the same time satisfied because of traveling the journey with Mr.Okada. As much as the narrative(s) sometimes interferred with my understanding, at points simply reading the story and suspending myself during the reading made it enjoyable.

Sun, 2012-01-15 13:54

Catchfire

Boy, reading the discussion on Wind-up Bird makes me wish I had found time to read the book. I've ben talking with my partner about it (who has read it) and comparing it to other Murakami books. It sounds like WUBC is one of the more convoluted Murakami plots, to say the least. Was that your experience, Kaitlin?

From what I hear, it also has a lot of similiarities to Hardboiled Wonderland and the End of the World (not under dicussion, I know, but I'm doing what I can!) in that it has a lot of antecedents in modernist hardboiled detective fiction (after all, at the end of the dat, it's about the search for a cat, eh?) and deals with alienation from an increasingly complex modern world. I'd expect that the unanswered questions (typical of Murakami) are meant to contribute to a feeling of alienation and malaise in the world. Even "clues" like the mark on the cheek (I'm speculating here, obv), which are "supposed" to point to some larger truth, are just errant signifiers, leading us further and further into bewilderment.

Sun, 2012-01-15 13:56

Kaitlin McNabb Kaitlin McNabb's picture

"Two chapters from the second volume of the original three-volume Japanese paperback edition were not included in the English translation. In addition, one of the chapters near the excluded two was moved ahead of another chapter, taking it out of the context of the original order.[2]
The two missing chapters elaborate on the relationship between Toru Okada and Creta Kano, and a "hearing" of the wind-up bird as Toru burns a box of Kumiko's belongings. In English translation, two chapters were originally published in The New Yorker under the titles "The Zoo Attack" on July 31, 1995, and "Another Way to Die" on January 20, 1997."

I read this on wikipedia and it blew my mind.

While reading, I constantly questioned that if Murakami had been an American/Canadian/British writer would his book have been edited differently becasue of different mainstream and cultural values of Western publishing. I feel like a lot of the surrealism and separate stories would have been edited out. The fact that stories can be completely removed and published as separate pieces and remain stand alone yet still incorporate themselves into another narrative is pretty outstanding.

I question if some of the (at times frustrating) nuances and moments would have been scarified for an easier and more conventional and more accesible way to tell a story.

Sun, 2012-01-15 14:05

Kaitlin McNabb Kaitlin McNabb's picture

Catchfire wrote:

Boy, reading the discussion on Wind-up Bird makes me wish I had found time to read the book. I've ben talking with my partner about it (who has read it) and comparing it to other Murakami books. It sounds like WUBC is one of the more convoluted Murakami plots, to say the least. Was that your experience, Kaitlin?

From what I hear, it also has a lot of similiarities to Hardboiled Wonderland and the End of the World (not under dicussion, I know, but I'm doing what I can!) in that it has a lot of antecedents in modernist hardboiled detective fiction (after all, at the end of the dat, it's about the search for a cat, eh?) and deals with alienation from an increasingly complex modern world. I'd expect that the unanswered questions (typical of Murakami) are meant to contribute to a feeling of alienation and malaise in the world. Even "clues" like the mark on the cheek (I'm speculating here, obv), which are "supposed" to point to some larger truth, are just errant signifiers, leading us further and further into bewilderment.

convoluted is definitely the word i was use, but not in every negative sense of the word.

I have (yet) to read Hardboiled... but I definitely did see some of the aspects you were saying and I agree that the unanswered questions are supposed to reflect the alienation of the world, and it would not be as wonderful if everything was so nicely wrapped up in a bow (fiction like that can be boring) but at some points it does feel like a lack of pay off.

I appreciate when stories are written just to experience life though another's eyes, but when characters and plot are just interspliced throughout a book, it is almost frivolous. If he is commenting on life, then yes, not everything happens for a reason (sorry believers) and events are random, but when trying to add significance to them for the purpose of literary devices, I think they get lost. What is the point of adding a 'clue' like you said if you are going to neither use the clue to solve, explain or further, but instead layer it with fifteen other clues and devices? Is it so one can decided for themselves what it means or am I just dense or is Murakami just a masochist (his sex scenes are weird)?

Sun, 2012-01-15 14:10

Jill_27

I'm only just putting my thoughts down in type, but here's a couple so far:

I can't remember the last translated book I have read, but this is definitely my first translated Japanese book. I found that either Murakimi's style or his translation to be easy to read (despite the length), and rather efficient. I finished last week and it took me a while to decide how I really felt about the book... the whole time I was reading I was wondering if I was ever going to fully understand the links between all the characters and their (sometimes tremendously long) narratives. In the end I was happy that everything was explained, although I was left slightly disappointed that after such a long and complicated book- I felt Murakimi was simply trying to quickly tie up all the loose ends and offer his readers closure. I too, felt slightly unsatisfied with the ending...

As for the characters, I found that, with the exception of May Kasahara, the women in the book seemed to be very similar. While Malta, Creta and Nutmeg were all eccentric and mystical, I found them to have been portrayed as very hollow and with no other purpose than to blatantly provide Toru with whatever bit of insight he is requiring at that particular part in his journey. On the other hand, I found May's character to be refreshing and complementary to Okada's dull and monotonous personality. I was pleased that there was another fully developed individual who was going through her own transformation independently but at the same time as Okada.

more thoughts to come...

Sun, 2012-01-15 14:23

Kaitlin McNabb Kaitlin McNabb's picture

@ Jill_27

I completely agree!

Again, as much as it is nice to have things resolved (for your own state of mind!) the aspects that were resolved were unsatisfying. I liked that it was revealed the Kumiko was the initial voice on the phone and that she was the presence in room 208 (even if I have yet to fully grasp the undestanding of that alternate reality) and even the fact that she had to kill her brother. But the rushed explanation, with May Kasahara at the end, of her staying in prison etc was so, boring and uninspired, for lack of better terms.

It seemed like he was force to resolve something, so he chose that, and ran out of ideas. If he were to fully complete the narrative though, it might have taken another 600 pages. I think the length and complexity of the stories here at points hindered the story and it got lost in words.

Also, interesting point of the women of the novel. I dislike when women are used only as devices to serve the main male protagonist, and I know some of the other members have commented that they think his writing can be misogynistic, but i disagree, because I think it is the flaws of his characters to be self-absorbed etc. However, you're right, even though Creta, Malta and Nutmeg were accomplished and successful women who were independent they did nothing other then to provide Toru with either sexual interest or draw away from his mundane life (manic-pixie dream girl syndrome!).

May Karashara was great though, her flaws, her attributes -- she seemed so real even if her storyline and eccentricities were somewhat fantastical.

Sun, 2012-01-15 14:32

Artless

I just lost about a paragraph of comment. Is this site stable enough to devote time to? I don't want to spend time on a comment to see it disappear into electricity in a flash.

Sun, 2012-01-15 14:37

Artless

Well, I'll try again. The book was well written but ultimately was very unsatisfying. The descriptions set in Manchuria were brutal and effective as were the well sequences. But the bood had a 'made up' quality about it; characters coming and going with no particular significance - the plot meanering here and there without rhyme or reason that i could make out. Maybe, Murakami is writing out an oriental/Japanese form which needs to be understood to fully appreciate Wind Up Bird. However, the wriitng in translation is crystalline and the book (at least until I figured out that it was pretty much random) enjoyable simply as a creepy angst-rousing read. Don't know if I'd take on another book of this length by this author.

Sun, 2012-01-15 14:59

#10

Kaitlin McNabb Kaitlin McNabb's picture

@ Artless

don't worry the site is built to last, but every once in awhile the internet has its ways with it!

I agree, I wonder if my lack of understand at times has anything to do with the style it was written in. Murakami has always been praised (and ridiculed too) by his ability to incorporate Western influences of music and arts & culture into his writing, blending two very different writing scenes and audiences. Again, I mentioned the editing, I wonder if the editing/editor played a large role in this by either allowing freedom to Murakami because he is so prominent and wonder if it had had a different editor would it have turned out differently?

I too found the read more enjoyable when I let go of the need to find meaning in his narratives and just enjoyed the story and maybe that as watch Catchfire said is the point -- maybe Murakami is reaching for a larger goal and understanding of events of life, rather then the story within a vacuum.

I really liked the perspectives of the WWII written in this novel -- I rarely read fiction surrounding WWII and was both horrified and intrigued by his stories. His ability to write vivid passages and beautiful prose is outstanding, and I know I questioned if it was him or the events in earlier posts, but I think I have to conceed the win to him. His ability to evoke emotion from me was incredible and very visceral.

Of the other Murakami I have read (much smaller ones for sure) this one definitely best them in the prose quality, descriptive passages and ability to evoke emotion. Would you try another one of his works?

Sun, 2012-01-15 16:02

#11

Artless

Kaitlin; like your comment - very balanced and managed to capture what I found most attractive about the book. I don't know whether editing really did or could have played a major role in the final product because the plot/characters are fairly consistent in tone throughout.

I read Murakami's collection of short stories After the Quake and recall that they had the same 'out of time' disarray of plot and characters. However, I recall that I was a lot happier with some of the stories than I was with this jumbo length effort. They seemed to work in a hermetic way where there wasn't a continuous stream of characters coming and going and (seemingly) random events. As for the panoply of female characters of one stripe or the other and the Yoda-like older Japanese men who are introduced - I just don't know. Likewise, the dream-sex . . .

Altogether, I'm beginning to feel that I may simply be missing the point and should go out a read a book review or two to see whether I'm missing some dreadfully apparent significance. We have all had the experience of seeing someone look terriby stupid when they just didn't 'get' what was going on. Just some questions - the bat is obviously important but how; symbol of colonialism/oppression by US? What was the white mass/object/larva inside the characters supposed to signify - gross, anyhow. The well scenes reminded me of some of the Japanese horrow movies I saw decades ago; Woman in the Dunes etc. Can't remember the names - that feeling of dread - impending doom etc. etc. I'm afraid I don't have much more to say although one could go round and round talking about the random plot details, characters, descriptions etc. Cheers. A

Sun, 2012-01-15 18:49

#12

Catchfire

Thanks for everyone's contributions!

@Jill, I'm glad you mentioned the translation--there are two available English translations of W-UBC. Alfred Birnbaum, who also translated my copy of Hardboiled Wonderland, and Jay Rubin, who, according to Wikipedia, did the "approved" translation (whatever that means). Rubin also did Norwegian Wood, among others. I've always been amazed at reading Murakami translations how native they seem to American English--especially considering all of his Western cultural references (I don't know if it's the same in this book). One interesting tidbit with regard to translations, Murakami's latest book, 1Q84, a 928-page behemoth, was translated by both Rubin and another bloke, Phillip Gabriel. They were assigned different volumes independent of one another (previous books had been translated in tandem, but not like this). It was done so quickly that Gabriel couldn't see what Rubin had done until the book was ready to go (although they did talk, of course). So essentially, you have two different "voices" of Murakami in the same book.

Sun, 2012-01-15 19:54

#13

Gaian

Artless: "I read Murakami's collection of short stories After the Quake and recall that they had the same 'out of time' disarray of plot and characters. However, I recall that I was a lot happier with some of the stories than I was with this jumbo length effort. They seemed to work in a hermetic way where there wasn't a continuous stream of characters coming and going and (seemingly) random events. As for the panoply of female characters of one stripe or the other and the Yoda-like older Japanese men who are introduced - I just don't know. Likewise, the dream-sex . . ."

Thank you. Isolated (hermetic) they were, and my enjoyment of the early chapters disappeared with the attempt to make a pastiche of events/impressions, some kind of whole. I would probably enjoy his short stories as a peek into life in Japan...if I could come to trust the concern of characters as representative of contem;porary life.

Sun, 2012-01-15 20:25

#14

Kaitlin McNabb Kaitlin McNabb's picture

@Gaian interestingly enough, these were originally produced as short stories in Japan. I really think we would have taken a different view of the book if read the original way Murakami may have intended (Three separate -- also, apparently some chapters were arranged as well). Although I would throw this book in the 'liked' column in my mind, trying to navigate through this large a read, with all the complexities that Murakami throws it definitely made it daunting and difficult to remember. He kept all the same styles, symbolism and devices I have seen him use before, but with the amount of overlapping information, it just gets lost sometimes.

@Artless, I would definitely like to keep reading reviews and analyses of the book -- I would eventually like to read it again, but need sometime to think about it first. Next time I read it, it will be with more of a relaxed state of mind, and potentially a more open one as well. And always feel free to keep going 'round and round' -- everyone knows I repeat myself constantly!:)

and to echo catchfire: thanks everyone!

Please feel free to keep this discussion going, and stay tuned for our next selection!

Mon, 2012-01-16 00:10

#15

Lemon Drop

Hey there. I am in BC, so my comments might form a little later compared to others, which gives me the benefit of reading everyone else's comments first. In interview, Murikami says that he was inspired to write Wind Up Bird after seeing Twin Peaks. I am curious to know if he meant the television series (the whole thing?) or the movie. Either way, I can certainly see the connection -- when imagining the young character, May, the image I had of her resembled Audrey from that televion series: a naughty teen who is manipulative but helpful to Okada (Cooper), and possesses strong intuition. Like Lynch, Murkami's work seems to either hit deep inside or goes right over your head. There are missteps which we forgive because of the risks that the visionary pursuit entails. I personally find the loose ends fascinating, and agree with Jill in her frustration at the easy jail ending. The dry well is where the magic happens, for sure. Those scenes reminded me of Beckett -- very existential, which I love -- also like a character in a Bergman film, someone wrestling with darkness... super zen, awesome. The mark seems to be a sign of the narrator's induction into a healer's circle, and a passport to the dream world, where he resolves his own psychological enigma (and saves Japan) by killing Noburu Wataya (who in the real world has a stroke was it). When Kumiko warns Okada at the beginning, was this not about the horrible gene that inhabits her family, something she never has the chance to reveal because her brother stole her away and held her captive? The various levels of the story seem to connect through symbols, the recurrent imagery. Did anyone find that this book influenced their lives in any way while reading? I know I had a really cool dream the other night which must have been inspired by my bedtime reading, something about falling down an elevator shaft and then getting swept through an underwater grate.... Also, I have been sucking on Ricola lemon drops as an alternative to cigarellos. Reading this book in a gush reminded me of my Twin Peaks marathon ... episode after episode, kind of living the art for a couple weeks. It was fun.

Mon, 2012-01-16 00:26

#16

alex

Glad it's not too late to chime in with my thoughts...WUBC was my introduction to Murakami more than a decade ago and I loved it! When I first read it, I was really taken by Toru and found I was easily whisked away into his magical world with him. I really enjoyed how new characters were introduced into the novel...by way of flashbacks or chance encounters along the way...

I agree with @Artless that the book did feel long...I sped through the first half of the novel and then found it difficult to finish. And I agree with @Jill the ending was a tad anti-climactic.

I have since read a couple of Murakami's other novels -- Norwegian Wood and Dance Dance Dance -- and seen After the Quake adapted as a play. I'm not sure I was as enamoured with these books/stories after reading WUBC. In reading these other works the style felt a little tired to me...possibly because I read them later on...

On a separate note, I've found that the depictions of women portrayed in the Murakami novels I've read are rather shallow -- delicate flowers or chilly and standoffish (or, as @Jill as notes about Malta, Creta and Nutmeg, "eccentric and mystical")...I'm not sure if women are always portrayed this way or just in these books.

Mon, 2012-01-16 01:29

#17

Artless

Lemon Drop; right on about Twin Peaks. Even though I saw but a single episode I remember thinking the 'Bird' had the same oppressive, hermetic menace about it. I think I was more uptight than usual when reading Bird - but I'd try another of his books, not aslong (life's too short!) Cheers.

Tue, 2012-01-17 03:51

#18

Lemon Drop

Thanks, very artful of you to mention. So, no dreams, eh? As for the continued focus on Murikami's depiction of women, I'll add that compared to some male writers he's quite generous in his portrayal of the opposite sex. They are mystical, clairvoyant, etc, as yous say, maybe in too much of a tinfoil kind of way. His men are frequently horrible killers. Each gender seems to have its quirks. I know I identifed with the male protagonist, but maybe that's my biased privilege. It must be tough for a gal to read some dude's skewed vision of her proud gender.

I think this book goes down well with the anime movie Paprika, too.

Thinking Calvino ... though Calvino is definitely a step up, at least challenge-wise.

Thu, 2012-01-19 11:32

#19

Gaian

Kaitlin McNabb wrote:

@Gaian interestingly enough, these were originally produced as short stories in Japan. I really think we would have taken a different view of the book if read the original way Murakami may have intended (Three separate -- also, apparently some chapters were arranged as well). Although I would throw this book in the 'liked' column in my mind, trying to navigate through this large a read, with all the complexities that Murakami throws it definitely made it daunting and difficult to remember. He kept all the same styles, symbolism and devices I have seen him use before, but with the amount of overlapping information, it just gets lost sometimes.

@Artless, I would definitely like to keep reading reviews and analyses of the book -- I would eventually like to read it again, but need sometime to think about it first. Next time I read it, it will be with more of a relaxed state of mind, and potentially a more open one as well. And always feel free to keep going 'round and round' -- everyone knows I repeat myself constantly!:)

and to echo catchfire: thanks everyone!

Please feel free to keep this discussion going, and stay tuned for our next selection!

Just panting at the starting gate in anticipation of the next selection from on high. Perhaps something easier for inter-library folk to come by? :)

Thu, 2012-01-19 16:51

#20

Kaitlin McNabb Kaitlin McNabb's picture

oh yes!

will announce very shortly!

Fri, 2012-01-20 00:14

#21

Lemon Drop

Artless, you mentioned the bat: something archetypal from Japan, perhaps? Baseball hugely popular there, for one thing. The fact that it is used for violence makes it a negative symbol, or one of both liberation and destruction. When they kill the Chinese baseball team players with the bat, it must echo sport rivalries from the past. Imagine a story where a hockey stick kept popping up as a lethal weapon: I think it would point at the destructiveness of nationalism, or something ...

looks like this discussion has bit the dust... Thanks for sharing. It might be cool if Kaitlin lead the way with some pointed questions next time ... thanks of inspiring me to read a novel quick like that though.

Fri, 2012-01-20 00:26

#22

Glenl

I would like to suggest "Fall of Giants" by Ken Follett for consideration.

Fri, 2012-01-20 02:41

#23

Kaitlin McNabb Kaitlin McNabb's picture

@Lemon Drop: the discussion has never bit the dust! I think the book was a bit larger and longer then anticipated for most, and in retrospect I would not have choose it as a first pick again (did it scare off some?)

but as for the bat -- at first I didn't agree with your comments about baseball, but I think that you might be on to a little something. While I wouldn't go as far as to say it is about opposing sports teams it is definitely an a symbol of pride within Japanese sports culture. I would argue that maybe the juxtaposition of using the bat as a negative item to create violence and utilmately death is perhaps a slight at certain aspects of Japanese history within WWII. Baseball can be a source of pride but when used for a task of evil is completely upended.

maybe?

What i feel now towards the book is great, great appreciation that i (a) finished it and (b) have read it.

I think I will have to read it again to truly pull into some of the symbolic gestures that he was making. I really enjoyed that Murakami diverged from a lot of tradition writing styles and processes that we see, typically in American/Canadian style writing where we are taught that the end product justifies the means. I think that fact that Murakami could feel safe (or realistically not care) that he could leave the reader behind and concentrate wholly on his story made it that much better. He did not worry if we got each plot twist or understood all the characters purpose and motives, he simply wrote. That is something I truly enjoy when you have to, at times, work for the read. He never handed anything to us and for that it is a greater book.

I still wish he would not have resolved issues with Kumiko quite so nicely, because honestly it did not fit in with the rest of the book. It made sense she would kill her brother, but to wrap everything up so neatly in a bow?!

I couldn't identify the significance of the "wind up bird' though -- you?

At first I thought it was a symbol for Toru himself, hands down. But then it slowly evolved and I lost track. It could have been Japan, the reader, Toru, the connection between Toru and others? Also was Toru ever used as some form of 'healer'?

And as for your mention on dreams -- I have never had such messed up dreams as when I read this book before bed, excluding the time I read 'Naked Lunch'. This book definitely affected the way I will now view fiction (love magical realism genres!) but the way I view writing, the way his other books did not.

Also, please let me know of any way that I can improve the forum for the book club! We are a work in progress here, and feedback is always appreciated. I struggle between trying not to dominate the conversation, provoking conversation and getting my views across as well! Only time will tell if I am able to achieve that balance.

Fri, 2012-01-20 02:44

#24

Kaitlin McNabb Kaitlin McNabb's picture

Glenl wrote:
I would like to suggest "Fall of Giants" by Ken Follett for consideration.

We have just decided on a new book: The Antagonist by Lynn Coady!

I don't think we could have handled another behemoth like one of Follett's! Check out The Antagonist though, I am sure it will be a great read, and definitely keep your suggestions coming for next time! We have a new thread up to place and comments or concerns at all about the selection, book club or anything you may imagine!

Fri, 2012-01-20 19:46

#25

Lemon Drop

There's life! Yay. Yeah, I will have to ask my friend if China and Japan face off in baseball. Well, in some bodies of theory, professional sports is shown to exist within a state's "war-machine", which would back up your theory, Kaitlin. Wind-Up bird. Hmmm... What I remember is that we are told that the wind-up bird chimes whenever something disruptive is about to happen. And that it is a symbol of how people are set in motion according to their wiring at birth, like we all have little keys sticking out our backs. There is a great quote that explains that... I don't have the book with me here though. Cool that you had dreams too. Or not cool, as it may be. As for Toru as healer... wasn't he employed by the end by Cinnamen and (...) in the strange house down the alley? I might have misunderstood that, but I am content to believe that he was indeed working that business that had to do with helping middle-aged people overcome their sex problems or something... it was all rather vague. It makes me want to reread some sections. If not, what was he up to at the house? Then there's the story on the computer called Wind-Up Bird... I almost wonder if that is this story, or part of this story, on file, and when that asshole brother "defiles" someone, he in fact draws them into the Wind-Up Bird file on the computer, or casts them out ... I know this is a stretch... but I guess I like to imaginatively engage with a text, and one like this, with all its seeming holes, allows me to do so.

If I could throw in a suggestion for a book it would be Shantaram... though Coady's book will no doubt kick ass.

Wed, 2012-01-25 01:24

#26

Kaitlin McNabb Kaitlin McNabb's picture

yes!

I feel like there was so much symbolism layered over and over, that at points it lost meaning. Maybe that is why I found Murakami's other novels not as daunting because of obvious things like length, but the understanding of the first was not dependent upon the second. By which I mean, I think I kind of got the first (with giatn black sections), went through the second thinking that it was clearing things up and then made it to the third where I realised I had completely missed the point.

I will definitely go back and read, and be able to read with already an understanding, of at least what will happen, and hopefully dig into things that are perpelxing me.

I have yet to find a good analysis of the book, or really one that really speaks to me.

But interestingly, for as much initial criticism I gave this book (even though I still claim and claimed to enjoy it), when I finished and started reading another book, I felt a gap. Definitely once you have read Murakami, even if you can get lost in his world, his writing is suberb! and its even a translation! Also, I really, really appreciate -- or from my view anyway -- that Murakami wrote within sense of inhibition and had the strength to again, leave the audience behind.

I think those books that blow people's minds and define genres, manage to clearly break rules, but seemingly the best for me is when they disregard their reader and just writing. It isn't in a malicious way, almost in the context of freewriting where the inner critic is silenced and the writer allowed to just move through a piece.

apologies, I have been studying a lot of writing theory lately...

Thu, 2012-01-26 12:50

#27

Kaitlin McNabb Kaitlin McNabb's picture

a cheeky post to an inforgraphic by one of our facebook club members -- it is a little ridiculous how much this sums up our questions and some potentially clears up some information.

haha, all they have to do is integrate the twin peaks references and then it is really accurate!