Friday, 29 July 2011

Anohito and "Susanna’s" death (decoding the epilogue of Candy Candy Final Story)



(...follow the white rabbit)follow the white rabbit...

====================== NOTA ======================
  Para la traducción de esta antigua entrada seguir este otro enlance
====================== // ======================


Candy and her doubts ... anohito, anohito, who is anohito?






... hahaha ... I cannot help but to laugh when looking at this comic strip.  But, I am also wondering “who” anohito is?  "Anohito (= That person)." Who is HE, (the ONE who won Candy’s heart in the end)?

Over the last few months I finally had the time to watch Candy Candy the compleate animated series - (bless the Internet (YouTube) and "file sharing"), Candy Candy playlist1 (from chapter 1 to 99) and Candy Candy's playlist2 Chapter 100 to 115 & movie  (these links are in spanish dob)

Anyhow, I always remembered that those illustrations in the manga/comics books were far much nicer, I spend so many summer afternoons at my neighbor’s Marga (the poor thing was recovering from a hip surgery) and while I was visiting her, I would also “devoured” her comics of Candy Candy with my reading... so making a new internet search I came across Candy Candy manga  (shame I cannot find these in colour - and yes, by all means the Manga/Comic (fantastic work by Yumiko Igarashi) has more quality than the TV series, and one can understand the end/outcome far much better ... when I was on my teens I couldn't grasp the concept on why Candy will end-up with the "old-fellow" (it had to be Anthony or Terry – as those two were of our age – I always hoped for Anthony to be "alive" in some way or another !! ...now, after reading the comic 20 years later ... I understand far much better than the" Prince on Pony’s Hill" was always the only option ...

Well, apparently that was not all... no,  Kyoko Mizuki, legal author of Candy Candy, has just edited and added more information on  CANDY CANDY FINAL STORY , to tie-up (if they were any) loose ends. As far as I understand, this new edition is only available in Japan (but in some forums (unofficial) translations of selected pages from the novel are now emerging)

From what I’ve been able to read thanks to these free translations  (LA BITACORA (FORO ROSA)  - is that, Candy now on her 30’s lives happily in England with a man she loves "Anohito (that person/HE)" ... the problem is that she (Candy) throughout the novel, never names "that person" by his first name ... at this time we should also distinguish what is "objective"  from what is “subjective or speculative” (until we get an official translation)... but I can not stop thinking about a naughty Mizuki laughing at the conclusions confused fans all over the world are drawing  ...Daffodils= that means He is Terry. The colour blue= he is Albert. The books of Shakespeare= HE is Terry. CAR= Albert because HE is always driving. BLANK PAGES = Terry. Candy into his arms = Albert ... All this completed with "solid" arguments .. and so it is, that the heat is on.

And who is "HE"?

Why is that Candy never pronounces the real name of Anohito (being him, Terry or Albert)? Why is that she is not clear? After 30 years, does the author want to leave an open ending? I doubt it. I'm not going to analyze Candy’s words; what is she telling us during the novel or try to find clues as if “this” or “that” person comes out of her lips, because in reality I think Mizuki is the key, she is who wrote the novel and she is the one who manipulates Candy to guide us thought out the book, thus then, let’s follow Mizuki steps.

The first thing that we notice is the construction of the novel; the rhythm of the reading that the author forces us to follow, we shouldn’t forget that Mizuki is an experience writer/poetess and everything that appears before our eyes is not by accident but instead, it has been calculated & premeditated beforehand. Thus, she divides the book into the following sections: PROLOGUE, 1st PART, 2nd PART, 3rd PART and EPILOGUE. Point out that I am going to read a linear story, that of a traditional structure (with an introduction, a development and an end).

·         In the prologue  (introduction) - Candy in her present, writes from England to sister Mary and Miss Pony (who is recovering at Pony’s Hill) this allows Candy to recall her memories, introducing the reader in the novel’s nostalgic flow.
·         Sections 1, 2 and 3 - (novel's body), Candy is directing the reader, she thinks/remembers/comments, inviting us into her world. She is the one who guides us combining present & past, (sometimes) aided by a “little box of treasures” where she keeps letters, clippings and other memories  ... she looks back with nostalgia to that “past” or loved ones who are now gone, in summary, this is a resume of her adventures and misadventures, combining it with her current situation. The tempo is romantic but melancholic, sometimes even depressive until our reading is interrupted, we are confronted with a few blank pages -  and a  love note from Terry  (sensitive and melancholic) followed again by other blank pages until starts
·         The epilogue (outcome and final) - here we are presented with a collection of letters (a correspondence between Albert and Candy  - and one letter more from Candy to Anthony  ... the rhythm of the book seems to change, still melancholic and sensitive, but is also cheerful and with hopes.  Finally there is one last paragraph where Candy comes back from her thoughts to the present, collects her memories and once again stores away her little box of treasures, at the moment "Anohito" arrives home, she runs into his arms -  transferring emotion and happiness to the reader (the end).

From now on, I will continue with a subjective analyses (but as I have mentioned before, so far I've only read bits and pieces and loose translations, probably all this, will make more sense once I can read an original copy with an official translation, but for now I'll have to wait (like most of us). 

The first thing that got my attention was "Susanna'death" (this event alone, holds two epilogues at the same time) and is key to the story. Death is an epilogue in itself - is the end of life (Susanna's life) but is also an epilogue to the relationship Terry/Susanna (and so it also doesn't exists an obstacle that prevents Candy/Terry to be together). This information is very important and at first I was surprised that it wasn't included in the epilogue (outcome) of the novel, but finally I didn't give much of a thought as I understood the narrative was linear/following a chronological order... until I read someone's comment in a forum where they verified that the correspondence with Albert is prior to Susanna's death and which Mizuki included in the epilogue.

This new fact made me think... why is that Mizuki needs to create an epilogue/section in the novel but then she avoids to include an information as obvious as "Susanna's death? Does she need "two epilogues"? But what's more, now I also know that Mizuki, first creates the events in a chronological order (that she planed) to later deliberately mixed them up in the narrative (creating, thus two different dimensions in the novel, one is chronological (time) and the other one is narrative (story)). And why is that she needs to re-arrange the order of time (past/present) of the events? Why doesn't she create the events directly in the order she wants to narrate them? What is she communicating in reality?

Let's name those events in order (chronological dimension);
Candy meets the "Prince." She is adopted.  She falls in love with Anthony but he dies. She falls in love with Terry, but he stays with Susanna. She discovers that her friend Albert is also her protector "Uncle William" and the Prince of the hill. Susanna dies. Terry writes a love note. Candy lives happily with Anohito (end)

Now let's see the same events in the order Mizuki "forces us" to read them, (under a narrative dimension);
Candy meets the "Prince." She is adopted. She falls in love with Anthony but he dies. She falls in love with Terry, but he stays with Susanna. Candy reflects over Susanna's death. Love note from Terry ---- Epilogue Correspondence with Albert and letter to Anthony. Candy in Anohito's arms (end)

Why didn't Mizuki include the information about Susana's death in the book's epilogue? (under the chronological dimension and by logic, this is its right place), but in the narrative dimension Mizuki "deliberately" excludes it from the epilogue and instead includes previous events. Is Mizuki pulling off some kind of magic trick?

OK, let’s go step by step.. we need to remember that Mizuki created the character/accident of Susanna to prevent the relationship between Terry-Candy to continue. So, why to "kill" NOW Susanna's character? As one possibility I am thinking; if Susanna is alive, even in the remote event that Terry would abandone her, Candy, still, will never take him back. But if Mizuki eliminates Susanna, Candy can "choose", Mizuki finally gives her "free will" to decide.

Let's understand now the options that Mizuki has (under a narrative dimension) on how to communicate to the reader the relevance of "Susanna's death";
a)    (to modify the time dimension) "on purpose " to include the information, "Susanna dies" in the epilogue (in a narrative dimension would indicate) Terry is probably Anohito.
b)    (without altering the time dimension) the information, "Susanna dies" follows in the epilogue (in a narrative dimension indicates) this fact is relevant -it may be Terry- (this is the right option -but Mizuki decides otherwise).
c)    (without altering the time dimension) "Susanna dies" doesn’t follow in the epilogue (in a narrative dimension would mean) this fact might or might not influence Candy on her choice (for Anohito).
d)    (to modify the time dimension - this is what Mizuki decides to do-) "on purpose" to exclude the information "Susanna dies" from the epilogue (indicates in the narrative) this information is irrelevant to Candy.

Susanna's death (as that of Stear) is sad, but is not decisive to Candy. So what? maybe Susanna's death is irrelevant to Candy, but still, this doesn't exclude Terry as a possibility to be Anohito. True, this fact alone doesn't do much, but it is peculiar that Mizuki swaps the chronological & narrative dimensions of 4 key elements to the novel's development. First, let's analyze the content of these 4 events (following their true chronological order)

(We know beforehand, that Terry (must) stays with Susanna, thus breaking Candy's heart)
1.   Correspondence with Albert in Candy - these letters are written immediately after Albert reveals Candy his other identities, he is "Uncle William" but also "the prince of Pony's hill". In their exchange of letters, we can see how Candy & Albert are getting closer, intimate, we feel sincerity, friendship, complicity, perhaps even something more ... but especially we notice a cheerful Candy, excited, full of energy and optimistic.
2.   Candy (in a self analysis) writes a letter to Anthony (if this doesn't make me cry I don't know what else will do) .. the content  of this mail is very sad and sensitive, Candy reflects over her life - a mixture of laughs and tears- and looks with hope to her future because she knows no matter what the destiny brings she will always go on, and asks Anthony that wherever he is, to keep protecting her.
3.   Susanna dies
4.   (18 months after Susanna's death) Candy received a love note/declaration from Terry, the content is melancholy, Terry reproaches himself something like "sorry it took me so long, I didn't have courage before, but if you want me I'm still here as my feelings for you haven't change"

But, instead, in which order is Mizuki "feeding" the information to the reader? Why does she need to create events in an other to later on "cut them from the past" and paste them into a "future"? what is really transmitting? Let's look once more to the narrative dimension we are "forced" to follow (under Mizuki's design).

1.  Candy reflects on Susanna's death = "I'm sorry for her"
Blank pages (meditation / reflection) = and now what?
2.  love note from Terry (he still loves me, he is awaiting on reply)
Blank pages (meditation / reflection) = and now what?
---- Epilogue ----
3.  Correspondence with Albert, (starting to smile, life is not so bad surrounded by friends)
4.  Letter to Anthony (I'll heal, it's gong to be tough but I'll make it, give me strength and look after me)

Straightaway, under a narrative prespective, Anthony's letter is key to "Terry's good-bye", not so much in its content, but in its context (within the epilogue). Mizuki specifically cuts the letter from the "past" (passing it "over" Susanna's death and Terry's note) and pastes it into a more actual "present", giving new value to the letter, in other words - Mizuki manipulates the letter's time-dimension, so it gains new power in the narrative-dimension - thus creating a sandwich;

(Under a chronological perspective, this is what really happened)
·       Letter Anthony = I am going to heal my heart, I'll put my past behind, I'll be strong ...
·       Susanna dies/Terry's note = .. sorry I'm late ... but I still love you

(But under a narrative perspective, this is what Mizuki "forces" us to read)
·       Susanna dies/Terry's note =  .. sorry I'm late ... but I still love you
·       Response/Candy's reaction to Terry's note = (Letter Anthony) I will continue recovering, I'll be strong

By now we also know that Candy has "free will", Mizuki is telling us that Candy is not with Terry because she can't (Susanna's obstruction), but instead because she "doesn't want to" be with him.

If the letter to Anthony wasn't in the narrative dimension of the Epilogue, the connotation would be that this is nothing else that one of the many letters Candy writes, without major consequences, but once altered of its true chronological order and included in the epilogue, this letter has connotation of "full stop" to the relationship or any chance to go back with Terry "things once lost will never return." Candy had already begun the process Terry's detox before he even writes his love note, probably even before Susanna died, Susanna was already irrelevant to Candy...but Anthony's letter is not only a farewell to Terry ...

Suddenly I had a revelation, "IWE"! (Iwe, is the dog of my in-laws) actually they did not know how to call the dog, so they named it "Iwe"(which in Swahili language means "(he) IS"-that exists). Candy may well not tell us Anohito's real name ... because she doesn't really know how to call him ... and this only occurs ... well ...

Then Albert is Anohito ? -No -no? -NO!

Let's concentrate once again in the epilogue's section, if Mizuki wanted to tell us that Albert is Anohito, she might suggested something like this;
1.   Letter to Anthony (I will heal my heart, life goes on)
2.   Correspondence with Albert (answers and to know him better)
3.   I'm happy with Anohito

And just in case this wasn't enough, Albert also confirms this in his letters to Candy, "do not call me father," "do not call me prince", "do not call me uncle" "I wanted so much to be Albert" "If I could only be Albert" This person wants to be someone else but he can not. Albert is "sacrificed "to make way for William (someone who he doesn't want to be)  and meanwhile Candy keeps calling "him" Albert, in reality, Albert no longer "exists" - because now he must be William. The correspondence between Albert & Candy is "I WANT" (I want to see you, I want to talk to you, I want to ...) but "I CAN NOT" (if I could...) Albert doesn't give any commitment, he doesn't confess his love, his feelings, or anything else relevant, because he knows there is no much point on it now that he the patriarch.

In the correspondence Candy/Albert, Mizuki gets rid of three possibilities at once;
1.   The Prince on the hill = The platonic love, unreal and idealistic, a teenager who "grow up" to make way for
2.   Albert = A wanderer without a past, the friend/brother, that "evolved" to make way for
3.   William = the busy businessman, the patriarch/protector

Well, but then William is .... finally discarded ... in the following paragraph (Anthony's letter) ... "I realized that even when some people are alive, we are doomed to be separated".... and finally I saw it ... Mizuki had just created an "OTHER SUSANNA" another obstacle, this time to prevent any possible romance between William and Candy. This "susanna" had been there from the beginning (probably from birth) but "she" becomes present in the same moment that "Albert" changes into "William "- Was it "her" from whom the Prince was trying to escape? Was it "her" from whom Albert was trying to hide? wanting to be someone else, to dream, to be free for a moment perhaps, even denying it, even so, Albert was aware of his own destiny. Was it "her" that prevented Albert from saying "I Love You Candy"? .. and those silences ... those half words ... those unfinished sentences....

And you Candy? You saw her too .. "she" finally became visible, right? there, in the "hall of portraits" now you too could feel her presence ... You wanted so badly to see Albert, to talk to him close, you seemed so happy in your letters, so exited ... "But unlike Rosemary, he can not marry for love, he can not leave the family name, because" He "is the NAME" and then you realized it, .. "She" was there in the middle, as the abyss,  .. and "she" was the one restraining him (to confess you his love) ... "once again "SUSANNA" SCREWED YOU UP”

And if anyone doubts the "power" that "she" has, as sample it was the opposition to Annie-Archie's  marriage." Yes! "She" is all powerful, there she is always present, constantly reminding you who you really are, pointing at your real status, "He is aristocrat and you an abandon child (maybe even a bastard)"... to be close but never "together" (so powerless). At least Terry had said "I Love You," at least Albert "pretended" to be free, but William, William won't even open his mouth, what for? his words won't have consequences, "Susanna" always omnipresent, is there to stop him. This "susanna" is not just any woman, a woman would have been easier to endure, this "susanna" is even worse, this "susanna" is "He", is his "PERSON" & everything IT stands for ... to be "SIR WILLIAM A. ARDLEY"

... And when you realize how hopeless you were, Candy, what did you do next? ..you sought comfort in a "DEATH ONE", you wrote a letter to Anthony ... this wonderful letter (pure poetry, full of symbolism) I'll forgive myself everything (my background) ... I won't judge myself (social class) ... give me strength, care for me ...., Anthony be my guardian angel ... saying goodbye in this letter to three loves ... the pain of having lost Anthony, the pain of having lost Terry, the pain of having lost Albert ... Burying the past and looking in hope to the future ... until the sweet Candy flourish once more.

Mizuki, did it again! under a narrative prespective, Anthony's letter is key to "William's good-bye" and in the context of the epilogue is "full stop" to him or any chance of having a relationship.

--------------------
Years went by ...meditation/reflection ... But then ... Who is Anohito?
--------------------

The clue is still in Anthony's letter ... The "other two" had failed ... and your Anthony, in the event you were still alive, would you also have failed? ... "Who knows what kind of man would you have become if you were still alive?" ... a grownup Anthony?... a man in love, stable, with time for Candy, who can offer her a future, strong but also kind personality, physically attractive, well dressed, smart, educated, polite, probably with a liberal profession and a hobby in nature ....

but ... but we know this is a paradox, impossible ... Oh ... Mizuki so much pain ... Anthony is dead and the other "possibility" that could come "closer" to him (in physical appearance and personality) ... doesn't exist!

HE CANNOT EXIST! NO! ..unless Mizuki, "kills" the''susanna" that is left. The man tied to legacy, to honor the name, the responsibilities, the commitments, the social class, constantly under pressure & controlled always traveling, and .. and there is nothing in the novel that tells me this is going to be any different, Sir William A. Ardley spent half of his life between his Chicago's office and Lakewood ..and Lakewood ... Ardley's manor house ...Ardley's manor house, is now sold to other hands? "sold? now? This is relatively recent, is part of the immediate present and is how Candy started to remember ... But why will Sir William do something like that? Why to sell it? Businesses are going wrong? have someone repossessed his property? Poor Sir William, something terrible must have happened, he would never get rid of the house at his own will, the house is part of the legacy ...is like the tradition, ... like the responsibilities  .. like ... is like ... telling me ... "Susanna" has died ...

There is nothing that restrains Candy from starting a new life next to a man she is discovering, a man in love, that I can imagine, a “grownup Anthony... probably he has kept Ardley as his surname, but maybe now he is called Bill, or Wills, or Al, or Bert, or perhpas his real name is indeed Anohito ... Maybe he is a lawyer, or a journalist, or perhaps a vet ... Maybe he has shaved his head, or he has gray hair or even a mustache ... But is still him, with those wonderful eyes, that amazing smile and those strong protective arms.

In short, in the present, Candy lives with a man she loves .. (Perhaps Terry? Probably Anohito Ardley? I dismiss Archie? I doubt is George? I can not imagine is Michael? I hope isn’t Tom? I wouldn’t bet on Niel? .. Stear is eliminated? And I refuse to believe that Candy has a ghostly relationship with Anthony ?-)... but whoever THAT PERSON = ANOHITO" is the one who helped Candy to find true happiness" ...



***
Dedicate it  to my children, and specially to my husband "for letting me to waste time"  

Anohito y Candy Candy

(...sigue al conejito blanco)sigue al conejito blanco...
Anohito y Candy Candy
(Ilustraciones de Igarashi Yumiko) 
Siempre me sorprendio el gran parecido que hay entre estas dos escenas (del comic/manga). A la izquierda Anthony con Candice, (despues de haber sido adoptada por tio William). A la derecha, esta vez, es William Albert, en el momento que impide el compromiso de Candy con Niels. No se porque realmente cortaron esta ultima escena de la serie animada de television (tal vez habria que preguntarselo al guionista).  




(Ilustraciones de Igarashi Yumiko) Anthony imaginandose (de adulto) su boda con Candy. Quizas subliminalmente (en el manga) las autoras ya querian dejarnos una opcion clara para anohito

(For an English translation follow this link)

Wednesday, 27 July 2011

Tuesday, 19 July 2011

Anohito y la muerte de "Susana" (descifrando el epilogo de Candy Candy Final Story)

(...sigue al conejito blanco)sigue al conejito blanco...

====================== NOTA ======================
(for an English translation of this old post, please  follow this other link).
====================== // ======================

Candy y sus dudas; ...anohito, anohito, quien es anohito? 


 Lo que me rio con esta tira comica JaJaJa ...si yo tambien quiero saber quien es "Anohito (=Esa persona)". Con quien se quedo finalmente Candy?..

..hace tan solo un par de meses volvi a ver la serie animada de Candy Candy (en YouTube) - (bendita sea internet y el "file sharing"); Candy Candy playlist1 (del capitulo 1 al 99) y Candy Candy playlist2 del capitulo 100 al 115 + pelicula

De todas formas, yo recordaba que las ilustraciones eran mucho mas bonitas en comic (Manga). Cuantas tardes de verano me escape a casa de mi vecina Marga (la pobre convaleciente de una operacion de cadera) y mientras "le hacia compañia" yo "devoraba" con la lectura su comics de Candy Candy... asi que haciendo un nuevo search en internet llegue hasta Candy Candy manga (pena que estos no los encuentre en color - y si, el Manga/Comic (fantastico trabajo de Yumiko Igarashi) tiene mas calidad que la serie animada de televison y tambien se entiende mejor el final/desenlace)... cuando era adolescente/cria, no entendi muy bien como al final Candy se pudo quedar con el "viejo" (se tenia que haber quedado con Anthony o con Terry - que para algo eran de NUESTRA EDAD - de aquella siempre espere a que Anthony "resucitaria" de alguna forma u otra!!... ahora, despues de leer el comic unos 20 años mas tarde... comprendo mejor que "el principe de la colina" siempre fue la unica opcion...

..Bueno, pues, al parecer ahi no acabo la cosa ... no, Kyoko Mizuki, autora legal de Candy Candy, acaba de editar y añadir mas informacion en CANDY CANDY FINAL STORY, para poder atar (si es que los habia) cabos sueltos, creo que de momento esta nueva edicion solo se ha publicado en Japones (pero en algunos foros ya estan apareciendo traduciones (no oficiales) de algunas de las paginas de esta nueva novela)

Por lo que he podido ir leyendo atraves de estas gratuitas traducciones (LA BITACORA (FORO ROSA) - es que ahora Candy (ya en sus 30) vive felizmente en Inglaterra con un hombre al que ama "Anohito (esa persona/EL)",... el problema es que ella (Candy) en toda la novela, nunca nombra a "Esa persona" por su nombre de pila ... en este momento habria que distinguir lo que es "objetivo" de lo que es subjetivo o especulativo (hasta que tengamos una traduccion oficial y fiable). 

... pero no puedo dejar de pensar lo que se debe de reir la picara de Mizuki con las conclusiones que sacamos las confundidas fans... LOS NARCISOS, eso quiere decir que EL es Terry. El color AZUL, el es Albert. Los libros de SHAKESPEARE, es Terry . COCHE, Albert porque es el que siempre conduce. PAGINAS EN BLANCO= Terry. Candy se arrojo en sus BRAZOS= Es Albert ... Todo esto acompañado de "solidos" argumentos ..y asi es, que estan encendidas las pasiones.

Y quien es "EL"?

Por que no pronuncia Candy el verdadero nombre de Anohito (sea este Terry o Albert)? Por que no es clara? Despues de 30 años quiere la autora volver a dejar un final incierto? Lo dudo. Yo no estoy interesada en analizar las palabras de Candy, lo que nos dice en el transcurso de la novela, e intentar descubrir claves para saber si sale de sus labios esta u otra persona, porque en realidad creo que la clave es Mizuki, ella es la que ha escrito la novela y es ella la que maneja a Candy para guiarnos, intentemos pues, descubrir que es lo que hace Misuki. 

Lo primero que llama la atencion es la construccion de la novela, el ritmo de la lectura que la autora nos obliga a seguir, no debemos olvidar que es una escritora/poetisa con experiencia y todo aquello que se aparece ante nuestros ojos, no es por casualidad sino que ha sido premeditado de antemano. Asi pues, ella divide la novela en las siguientes secciones; PROLOGO, PRIMERA PARTE, SEGUNDA PARTE, TERCERA PARTE y EPILOGO. Indicandome que voy a leer una narracion lineal, de estructura tradicional (con una introduccion, un desarrollo y un final).

·         En el prologo (introduccion)- Candy en el presente, escribe desde Inglaterra a la hermana Maria y a la Srta Pony (que se encuentra convaleciente en la Colina de Pony) esto da pie a que Candy empiece a recordar, introduciendo al lector en el ritmo nostalgico de la novela

·         Secciones 1, 2 y 3 - (cuerpo de la novela), Candy es la que lleva el hilo de la narracion, ella piensa/recuerda/comenta invitando al lector a entrar en su mundo. Ella nos guia combinando su presente con el pasado (a veces) ayudada por una cajita de tesoros donde tiene guardadas cartas, recortes y demas... mira con nostalgia los recuerdos de momentos cruciales ya pasados y seres queridos que ya no estan, es en fin un resumen de sus aventuras y desventuras, combinandolo con situaciones actuales del presente. El ritmo de la novela es romantica, pero melancolica, a veces incluso depresiva hasta que la lectura se interrumpe, ya que apraecen unas paginas en blanco, - viene una nota de amor de Terry (sensible y melancolica) le siguen otras paginas en blanco y a continuacion empieza

·         El epilogo (desenlace y final) - aqui se recoge unas cartas (una correspondencia entre Albert y Candy - y una carta mas de Candy para Anthony ... el ritmo de la lectura parece cambiar; aunque melancolico y sensible tambien es alegre y con esperanzas finalmente hay un ultimo parrafo donde Candy regresa de sus pensamientos al presente, recoge y guarda sus recuerdos en la cajita de tesoros, en el momento que llega "Anohito" y ella corre a sus brazos – transmitiendonos emocion y felicidad (fin).

Ahora empiezo con lo subjetivo; (pero como he dicho hasta el momento solo he leido fragmentos sueltos y traduciones algo bruscas, probablemente todo esto tenga mas sentido una vez que se pueda leer una copia original con traduccion oficial, pero de momento tendre que esperar (como la mayoria).

Lo primero que llamo mi atencion fue la "muerte de Susana" (este hecho abarca dos epilogos a la vez), y es clave en toda la historia. La muerte es un epilogo en si mismo – es el final de la vida (de Susana) pero tambien es un epilogo a la relacion Terry/Susana (con lo cual ya no existe impedimento por el cual Candy/Terry no puedan estar juntos) esta es una informacion muy importante y en un principio me extraño que no se incluyera en el epilogo (desenlace) de la novela, pero luego no le di mas importancia ya que pense la narracion es lineal y sigue un orden cronologico, hasta que lei el comentario de alguien en un foro donde se verifica que la correspondencia con Albert es anterior a la muerte de Susana y que Mizuki si ha incluido en el epilogo.

Este dato me hizo reflexionar; Por que se empeña Mizuki en crear una seccion epilogo para luego no incluir una informacion tan evidente como la "muerte de susana"? Necesita "dos epilogos"? Pero, es mas, ahora tambien se que Mizuki, primero crea unos acontecimientos siguiendo un orden cronologico (que ella ha planeado) para luego premeditadamente alterarlos en la narracion (creando asi dos dimensiones en la novela, una cronologica y la otra narrativa). Y para que necesita alterar el orden del tiempo (pasado/presente) de los acontecimientos? Por que no crear los eventos directamente en el orden que ella quiere usarlos? que es lo que realmente nos esta diciendo?

Remarquemos los acontecimientos, segun su dimension cronologica;
Candy conoce al “Principe”. Es adoptada. Se enamora de Anthony pero el muere. Se enamora de Terry, pero el se queda con Susana. Correspondencia con Albert, descubre que su amigo, es su padre/protector “Tio William” y el principe de la colina. Carta para Anthony. Susana muere. Terry le escribe una nota de amor. Candy vive ahora felizmente con el hombre al que ama (fin)


y ahora veamos (bajo una dimension narrativa) en que orden Mizuki nos “obliga“ a leer los acontecimientos;
Candy conoce al “Principe”. Es adoptada. Se enamora de Anthony pero el muere. Se enamora de Terry, pero el se queda con Susana. Susana muere. Terry le escribe una nota de amor. ----Epilogo---- Correspondencia con Albert, y carta para Anthony. Candy en los brazos de Anohito (fin)

Por que no incluir la informacion de la muerte de Susana en el epilogo, segun el orden cronologico es el lugar que le corresponde? pero en la dimension narrativa Mizuki "deliveradamente" la excluye del epilogo y en su lugar incluye eventos anteriores. Estara Mizuki haciendo trucos de magia?

Vallamos por partes, Mizuki creo el personaje/accidente de Susana para impedir que la relacion Terry/Candy continuara. Por que “matar” ahora al personaje de Susana? a mi se me ocurre esto, Si Susana sigue viva, aunque Terry la abandone, Candy nunca aceptaria volver con el, pero al elimiar a Susana, Candy puede "escoger", Mizuki por fin le concede libre albedrio para decidir.

Veamos entonces las posibles opciones que Mizuki tiene (en la dimension narrativa) para comunicar al lector la trascendencia de la "muerte de Susana";
a)    (alterar la dimension cronologica) para incluir "deliveradamente" la informacion “Susana muere” en el epilogo, (indicaria en la dimension narrativa) probablemente Terry es Anohito 

b)    (Sin alterar la dimension cronologica) incluir la informacion “Susana muere” en el epilogo (indicaria en la dimension narrativa) este hecho es relevante  (puede que sea Terry) (esta es la opcion correcta, hasta que Mizuki decide de otra manera).

c)    (Sin alterar la dimension cronologica) NO incluir la informacion “Susana muere” en la seccion del epilogo (indicaria en la dimension narrativa) esto tal vez condicione a Candy tal vez no. 

d)    (alterar la dimension cronologica, (esto es lo que Mizuki decide hacer) para excluir "deliveradamente" la informacion “Susana muere” del epilogo, (indica en la narrativa) esta informacion es irrelevante para Candy. 

La muerte de Susana (como la de Stear) es triste, pero no condiciona a Candy. Bueno y que? puede que la muerte de Susana sea irrelevante para Candy, pero esto todavia no anula a Terry como Anohito. Cierto, este hecho aislado no, pero lo curioso es que Muziki altera las dimensiones cronologicas y narrativas de 4 elementos claves en el desarrollo de la novela. Analizemos, primero el contenido de esos acontecimientos (dentro su verdadera dimension cronologica)

(sabemos de antemano que Terry se ha quedado con Susana, rompiendo el corazon de Candy)
1.    Correspondencia de Candy con Albert; Estas cartas se situan inmediatamente despues de que Albert revela a Candy sus personas; no solo es "el tio William" sino tambien "el principe de la colina". En estas cartas Candy lo van conociendo mas personalmente se ve el acercamiento, la confianza, la sinceridad, la amistad, quizas incluso algo mas.. – pero sobre todo percibimos a una Candy sonriente, excitada, llena de energia y optimista.

2.    Candy (un poco a modo reflexivo) le escribe una carta a Anthony (si esto no me hace llorar no se que mas lo hara).. el contenido es muy triste y sensible, Candy reflexiona sobre su vida – un cumulo de risas y lagrimas, y mira con esperanzas al futuro porque sabe que no importa lo que le depara el destino, pase lo que pase ella saldra adelante, y le pide a Anthony que donde quiera que el este no deje de velar por ella.

3.    Susana Muere

4.    (18 meses despues de morir Susana) Candy recibe una nota/declaracion de Amor de Terry es una nota melancolica donde Terry parece hacerse un reproche a si mismo, algo asi como “lamento haber tardado tanto, no tuve coraje antes, pero si tu quieres yo todavia estoy aqui esperandote ya que mis sentimientos hacia ti no han cambiado”

Pero en que orden nos obliga Mizuki a leer la informacion? Por que crea unos eventos anteriores y luego se toma el trabajo de “cortarlos del pasado” y pegarlos en un “futuro”? que es lo que realmente nos esta transmitiendo? veamos nuevamente la dimension narrativa que Mizuki nos “fuerza“ a seguir.

1.    Candy reflexiona sobre la muerte de Susana, = lo siento por ella
Hojas en blanco (parentesis/reflexion) = y ahora que?
2.    Nota de Amor de Terry = el todavia me ama, espera mi respuesta
Hojas en blanco (parentesis/reflexion)= y ahora que?
----Epilogo-----
3.    Correspondencia con Albert = empezando a sonreir, la vida no es tan mala rodeada de amigos
4.    Carta para Anthony = voy a cicatrizar, va a ser duro pero lo lograre, dame fuerzas y vela por mi

Bajo una prespectiva narrativa, derrepente la carta de Anthony es clave al adios a Terry, no tanto en su contenido, pero sino en su contexto (dentro del epilogo).
Mizuki deliveradamente la corta del “pasado” (pasandola por "encima" de la muerte de Susana y la nota amorosa de Terry) y la pega en un “presente” mas inmediato, devolviendole relevancia, es decir altera la dimension cronologica para que la carta vuelva a tener relevancia en la dimension narrativa. Mizuki ha hecho un sandwich/bocadillo;

(bajo una prespectiva cronologica, esto es lo que realmente ha ocurrido) 
·         Carta/Anthony = voy a curar mi corazon, dejare el pasado atras, voy a ser fuerte... 
·         Susana muere/nota de Terry = ..siento llegar tarde... pero yo todavia te amo 

(pero bajo un prespectiva narrativa, lo que Mizuki nos "obliga" a leer es esto)
·         Susana muere/nota de Terry = ..siento llegar tarde... pero yo todavia te amo 
·         Respuesta/reaccion de Candy a la nota de Terry = (Carta/Anthony) yo voy a seguir recuperandome, voy a ser fuerte 

y ademas ahora sabemos que Candy tiene "libre albedrio", Mizuki nos esta diciendo que Candy no esta con Terry porque no puede (impedimento de Susana) sino por que "NO quiere"
Si la carta para Anthony no estuviera en (la dimension narrativa) del Epilogo, la conotacion seria que no es nada mas que una de las muchas carta que Candy escribe, sin mayor trascendencia, pero una vez alterada de su verdadero orden cronologico e incluida en el epilogo, esta carta tiene contexto de “punto y final” a la relacion y cualquier posibilidad de volver con Terry “cosas una vez perdidas nunca volveran”. Candy ya habia empezado el proceso desintoxicacion (por Terry) antes de que el escribiera su declaracion de amor, probablemente aun antes de que muriera Susana, Susana ya era irrelevante para Candy ...pero la carta para Anthony no solo es el adios a Terry...

Derrepente tuve una epifania, "IWE" (suena como Ivue)! (Iwe, es el perro de mis cuñados) ellos no sabian relamente como llamar al perro y entonces le pusieron "Iwe" de nombre (Iwe en el lenguaje Swahili significa "(el) ES" -el que existe). Tal vez Candy no nos dice el nombre de Anohito... porque realmente no sabe como llamarlo... y esto solo ocurre con ... bueno … 

Entonces Albert es Anohito? –no -no? -NO!

Volvamos otra vez a centrarnos en la seccion del epilogo, si Mizuki nos hubiera querido decir que Candy se queda con Albert, nos hubiera insinuado algo asi;

1.    carta para Anthony (voy a curar mi corazon, la vida sigue)
2.    correspondencia con Albert (respuestas y conocerlo mejor)
3.    ahora soy feliz con Anohito

Y por si esto no fuera poco, Albert tambien lo confirma en sus cartas a Candy, “no me llames padre”, “no me llames principe”, "no me llames tio" “queria tanto ser Albert” "de haber podido ser Albert lo seria" Este personaje quisiera ser alguien mas pero no puede, Albert se ha "sacrificado" para dar paso a William (alguien que el no quiere ser) y aunque Candy le siga llamando Albert, Albert ya no "existe" - porque en realidad, el ahora tiene que ser William. La correspondencia con Albert es un QUIERO (quiero verte, quiero estar contigo, quiero...) pero no PUEDO (si pudiera...) Albert no se dice nada realmente comprometido, no confiesa su amor, sentimientos, nada relevante por que sabe que no tiene razon de ser, el es ahora el patriarca.

En las correspondencia Candy/Albert, Mizuki se acaba de deshacer de tres posibilidades a la vez;
1.    El Principe de la colina = el amor platonico, irreal e idializado, el adolescente que "crecio" para dar paso a
2.    Albert = el trotamundos sin pasado, el hermano/amigo, ya nunca volvera por que "evoluciono" para dar paso a 
3.    William = el ocupado hombre de negocios, el patriarca/protector

Bueno pero y entonces William es.... finalmente descartado... en el siguiente parrafo (en la carta para Antony)..."...me di cuenta de que hay gente que aunque esta viva, estamos condenadas a estar separadas".... y por fin lo vi... Mizuki habia creado "OTRA SUSANA" otro impedimento, esta vez para evitar cualquier romance entre William y Candy. Esta "susana" habia estado ahi desde el principio (probablemente desde nacimiento) y se hizo presente en el momento que el "cambia" de "Albert a "William" - Era de “ella” de quien intentaba "escapar el principe"? Era de “ella” de quien se "escondia Albert"? desear ser otra persona, soñar, poder ser libre, por un momento talvez, aun negandoselo, Albert era consciente de su destino. Fue esto lo que le impidio decir un "Te Amo Candy"?.. y esos silencios... esas palabras a medias... esas frases sin terminar.... 

Y tu Candy? ..tu tambien la vistes, verdad? alli, en la "sala de los retratos" ahora tu tambien podias sentir su presencia, ...Tu tenias tantas ganas de ver a Albert, de hablarde desde muy cerca, se te notaba tan feliz en tus cartas, tan contenta..."pero a diferencia de Rosemary, el no puede casarse por amor, el no puede abandonar el apellido, por que "EL" es el apellido" y en ese momento te distes cuenta, .. "ella" estaba ahi, en el medio de vosostros dos, como el abismo .. y era "ella" la que le impedia declararse?... "SUSANA" TE LO HABIA VUELTO A QUITAR" 

Y por si alguien duda del “poder” que "ella" tiene, para muestra la oposicion que hubo a la boda de "annie-archie". Si! ella es poderosa, ahi estara siempre, constantemente recordandote quien eres, ubicandote en tu lugar; "el un aristocrata y tu una abandonada (puede que incluso bastarda)"... poder estar cerca pero nunca "juntos" (cuanta impotencia). Al menos Terry habia dicho "Te Amo", al menos Albert "pretendia" ser libre, pero William, William no puede ni habrir la boca, para que? sus palabras no tendrian consecuencias, "susana" siempre omnipresente, esta ahi para impedirlo. Esta "susana" no es cualquier mujer, una mujer hubiese sido mas facil de asimilar, esta "susana" es aun peor, esta "susana" es "EL", es su persona y todo lo que ella representa... el tener que ser "SIR WILLIAM A. ARDLEY"

...y al darte cuenta de la impotencia, que hicistes Candy?.. buscastes consuelo en "UN MUERTO", le escribistes una carta a Anthony ... esa maravillosa carta (pura poesia, llena de simbolismos) voy a perdonarmelo todo (mis origenes)... no voy a juzgarme (clase social)... dame fuerzas Anthony...., vela por mi... se mi angel guardian... esa carta que es un adios a los tres... el dolor de haber perdido a Anthony, el dolor de haber perdido a Terry, el dolor de haber perdido a Albert... Enterrando el pasado y mirando con optimismo al futuro... hasta que florezca la dulce Candy.

Mizuki, lo habia vuelto hacer, bajo una prespectiva narrativa, la carta de Anthony es clave al adios a William y en contexto del epilogo es el “punto y final” a cualquier posibilidad de tener una relacion.

--------------------
los años pasaron ...parentesis/reflexion... ...pero entonces ...Anohito, quien es?
-------------------- 

Pues la clave esta en la carta para Anthony ... Los "otros dos" habian fallado ... y tu Anthony, de estar vivo, tambien habrias fallado?… “Quien sabe en que clase de hombre te convertirias, si aun estuvieras vivo?” ... un Anthony adulto?... un hombre enamorado, estable, con tiempo para Candy, que le puede ofrecer un futuro, de personalidad amable pero tambien fuerte, fisicamente atractivo, bien vestido, elegante, con estudios, educado, culto, probablemente con una profesion liberal, y con un hobby afin a la naturaleza.... 

pero...pero sabemos que esto es una paradoja, imposible... Oh... Mizuki cuanto dolor... Anthony esta muerto y la otra “posibilidad” que mas se le "aproximaria" (en parecido fisico y personalidad)... no existe!

No puede existir! No, mientras Mizuki, No “mate" a la ''susana" que queda. El hombre atado al legado, al honor, el apellido, a las responsabilidades, las obligaciones, los viajes, los compromisos, la clase social, constantemente observado y presionado.. y no hay nada en la novela que me indique que valla a ser de ningun otro modo diferente, el Sir William Ardley se pasa media vida ocupado entre la oficina de Chicago y Lakewood… Lakewood… la casa señorial de los Ardley…, la casa señorial de los Ardley, es ahora vendida en otras manos?” vendida? ahora? Esto es relativamente reciente, es parte del presente inmediato y es como Candy empezo a recordar…Pero por que hara el Sir William una cosa asi? Por que venderla? han ido mal los negocios? Se la han embargado? Pobre Sir William, algo realmente terrible tiene que haber ocurrido el jamas se desharia de la casa por voluntad propia, la casa es parte del legado, ... la tradicion ...las responsabilidades.. … es como,… es como... decirme... "susana" ha muerto...

No hay nada que impida a Candy empezar una vida nueva al lado de un hombre al que esta conociendo, un hombre enamorado que me puedo imaginar ...un "Anthony" en version adulta... Probablemente siga siendo Ardley de apellido, pero a lo mejor ahora se llama Bill, a lo mejor es Wills, o Al, o Bert, o quizas su nombre realmente es Anohito… A lo mejor es abogado, o periodista o quizas veterinario… A lo mejor ahora se ha afeitado la cabeza o se ha dejado bigote o le estan saliendo canas… Pero sigue siendo el, con esos ojos maravillos, esa sonrisa encantadora y esos fuertes brazos protectores.

Resumiendo; En el presente, Candy vive con EL - un hombre al que ama.. (quizas Terry? probablemete Anohito Ardley? descarto a Archie? dudo de que sea George? no me imagino que sea Michael? espero que no sea Tom? yo no apostaria por Niel?.. Stear esta eliminado? y me niego a pensar que tenga una relacion fantasmagorica con Anthony?-)... pero sea quien sea ESA PERSONA=ANOHITO, "ayudo a Candy a encontrar la verdadera felicidad" ...

****

Esta mini-disertacion esta dedicada a mis hijos, y en especial a mi marido "por dejarme perder el tiempo"