Who is Anohito (あのひと)?

So who exactly is Anohito (あのひと)–that person whom Candy eventually married in “Candy Candy: The Final Story”, the novel written by Keiko Nagita (Kyoko Mizuki)? For those of us who have read the translations, the answer to this question is clear.

Anohito (あのひと) Revealed

Anohito (あのひと) is, of course, Terry Graham Grandchester– a son of a Duke, an accomplished Shakespearean actor, and the only man whom Candy described as the one she “loved more than anyone else”.

How did we come to this conclusion?

It emerged out of a group collaborative fan effort of shared ideas and organized research. We examined the meaning behind the ambiguous maze of clues the author left behind in her novel and constructed a plausible timeline based on the historical events in the story. After reviewing all the evidence, it became obvious that Terry was clearly and indisputably, Anohito.

Granted, the author specified in her post-face that she had obscured the identity of “Anohito” on purpose so she would not “deprive the dream of those long-time readers”. In doing so, she had implicitly given the fans permission to decide for themselves who Candy eventually married in the novel. For us devoted fans, that person is Terry Graham Grandchester, and this blog will prove once and for all why he is the one and only choice for Candy.

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Novel’s Product Information

Candy Candy: Final Story Volume 1352 pages
Candy Candy: Final Story Volume 2: 344 pages
Author: Keiko Nagita 名木田恵子 (also known as Kyoko Mizuki)
Publisher: Shodensha, Inc. 祥伝社
Release date: November 1, 2010 (originally Oct. 28, 2010)
Price per Volume: ¥ 1,680
Language: Japanese

Soon after its publication, avid international CC fans initiated worldwide petitions to translate the novel in their native language (English, French, Spanish, Italian, and Greek). The novel sparked a huge interest and debate among fans due to the obscured identity of “Anohito” (あのひと), “that person”, the man who married Candy.

Aware of these petitions, the author had expressed her approval for the translation of her novel in foreign languages, but due to unexpected personal and professional issues, the final decision to allow translations by foreign publishers remain on hold today.

“As I say repeatedly, this novel isn’t the sequel. It’s the novel I rewrote thoroughly. Despite that, the new novel has more 300 pages than the old one has, and Candy in her 30′s looks back at her memories. Therefore, the editor says kindly it’s the newly-written novel… But the content is the same as old one. So, please don’t expect too much.”Keiko Nagita (translated quote from Sakura’s Japanese CC BBS, Oct.14, 2010)

As the author mentioned, the Final Story is only a revision of her original novel published in 1978 by Kodansha, Ltd.

Original 1978 Candy Candy novels

Original 1978 Candy Candy Novels

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About the Nature of Anohito

The following is a revealing essay written by Scottie examining and analyzing the contents of CC: The Final Story and the nature of Anohito. We highly encourage all Candy fans to read this!

We are uploading the complete analysis in this blog. In the meantime, if you want to read the complete analysis, you are invited to read its progress and development at the Candy & Terry Forum. Registration in the forum is required in order to view it and comment in the CC Novel Spoilers & Discussions Forum of the board.

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Editor’s note: Everybody is HIGHLY ENCOURAGED to read Bequi’s Blog in order to compare it with the work presented by Scottie herein.

ABOUT ANOHITO’S NATURE
Candy Candy Final Story
By: SCOTTIE

Originally Published June 2012

This text is an attempt to interpret the Candy Candy Final Story by Kyoko Mizuki. I decided to bring this text forth as a result of a blog: Bequi’s Journal.

In this blog the author proposes that Albert is Anohito. It is a serious work, which tries to explain the narrative, and introduces the novel in the historical context in which it unfolds.

When I started reading it I thought that the person was really interested in creating a work to ensure the understanding of the story without arriving at the partial vision of the fans who are blinded to any argument to support either Albert or Terry.

Notwithstanding, after a while, in her work you start to notice phrases that are misinterpreted by her or even changed. On the other hand, there exist inconsistencies in the chronology that signals to me that there was no proper reading of the novel and that no associations of the correspondence with the proper time settings are made.

I exchanged comments with her and her dogmatism that denied any criticism given on the interpretation of the phrases told me that it would be impossible to reach an intellectual agreement with her in order to establish an identity of Anohito in a joint interpretation effort .

It only remains for me to clarify that I used the analysis methods and tools required by my profession to try to understand this story. I have at my disposition the Final Story books and I have incipient Japanese language skills, which helped me in being able to read a few lines of the novel. I have also used information from the manga, the anime and the novel of 1978 as buttresses of this work.

I will not speak either of the Candy Candy story in the manga and anime or the later novels, nor will I speak of the historical context in which this story takes place – it would be redundant since it is so well summarized in Bequi’s blog. I just want to present an interpretation of this story.

My proposal for this work is to reveal the identity of Anohito.

It goes without saying that any analysis is subjective (as I said to Bequi herself); here nobody has absolute knowledge. However, I tried to use the means at my disposal to understand the nature of this character without a name, and of course understand the story of Candy.

The Puzzle Novel
It is important for the reader of Candy to know that this novel aims to be of a puzzle narrative style or choose your own adventure or a game book (it is not high literature). Thus, this fragmentation is not only because the story was conceived first as a manga; but also offers alternative endings to the original end which was conceived in the mind of Mizuki.

The intent of this type of book is for the reader to become critical of what is read. In this process, readers are active and responsive at the same time, as they question and respond to the text.

The example of a more serious puzzle novel is the literary classic “Ulysses” by James Joyce, which is the exacerbation of the encoded novel.

On how to read a novel and a puzzle novel
Reading becomes an interpretative activity if it is done by questioning the text and if you allow it to respond; as it allows the reader to construct questions that extend into the social group: the individual and the collective. Then, they all come together during the act of reading. To read a text is to decipher its meaning; at the same time it is build upon it according to one’s personal interpretation. In other words, all text is characterized by its internal organization and multiple codifications.

In order to produce this empathy, this particular communication, the text should refer to the whole persona of the recipient, to all of their entire cognitive and emotional activity, to his or her personality. At a cognitive level it tends to satisfy their literary interests. From the emotional point of view, it provides elements of identification, projection, transference and empathy with the story, and with its characters.

The reader introduces into his or her relationship with the work his or her ever changing experience; and, at the same time, being situationally conditioned it includes knowledge, information, their own biography, their blocks, their hang ups; which, as a bio-psychosocial being, it possesses consciously or unconsciously. The complex psychological processes that occur in the act of reading are mediated by both internal situations (images, affections, repressions) as well as external (criticism, education, literary propaganda). This process which we call transference arises spontaneously in the moment that the reader understands, internalizes, endorses and makes their own the situations of the text and is induced to make them act again and again; transforming them according to their own vision, their point of view – from this point the aesthetic object begins to emerge.

Keiko Nagita’s novel and Hypertext
It is called hyperfiction or hypertext narrative stories written through hypertext, e.g. composed of a set of text fragments (some call these lexias) interconnected by links. They are characterized by not having a single path which is set by the author; yet it leaves the reader with the ability to choose their way among several possible variables. Sometimes it does not even have an established principle. They almost never have an ending. The most extreme versions allow the reader to modify the work, either directly or working with the original author.

Two examples of hypertext narratives are:

“Hopscotch” by Julio Cortazar and the story “The Garden of Forking Paths” from the book Fictions of Jorge Luis Borges

Again, these are extreme cases, in this case the book is designed so that ultimately there is no possibility of finding solutions to the narrative. In Misuki’s story an end does exist.

The Epistolary novel
In the epistolary novel the writer-Candy-, presents herself, in the practice of the writing, as the foundation of the truth that she herself proclaims and announces; and what is announced is a unique heritage of her privacy and her intimate life. It is a truth that does not need to be proven or demonstrated, and belongs exclusively her individual vision, and almost secret, of things and of the world.

In this type of novel, the author appears as a transcriber, compiler or editor, which seeks to deny the novelistic character of the book. The novel attempts to pass through a real reality as it is presented as a spontaneous speech produced by a person who is neither a writer by trade and nor was the work intended for novelization/publication. The preface and notices to the reader help to create the private and intimate nature of the epistolary or autobiographical novel.

To analyze the Final Story novel, the following must be taken into account, regardless if you are a fan of Terry or of Albert:

- It would be important for people interested in understanding this story to read the manga one more time and to see the anime. Misuki knows that she targets an audience that knows the story and who for over 30 years has followed it, so we are specialized readers. If there is knowledge of the 1978 novel, that would be even better.

-We have the translation of some texts but not of the two volumes of the novel. Our knowledge is fragmented. (In my own case, I have the book in Japanese and I can read the story overall though with great difficulty and with the aid of a dictionary)

-The translations are not official. This means that even with a commitment from Japanese friends to translate, it will never be the same work as a true translator specializing in published books. Which means that these translations are not 100% trustworthy. For the purpose of this analysis we assume that these translations are reliable, and at the same time I rectify the information with my own reading.

-Final Story is a literary construction known as hypertext. It has to be recognized that it is a fragmented form of writing.

-Final Story is also an epistolary novel.

-In this book the reader is active. The reader chooses or reflects. The unconscious of the reader configures their answers from the book being read. It is a novel full of symbolism and each event must be viewed with the depth of its meanings.

- Because of the empty-documentaries (fragmented translations), the analysis must be done using the baseline information from the manga. The manga is better than the anime because the former has more fidelity to Kyoko’s story up to a certain point, as the end of the manga was an abuse of power by Igarashi.

-Knowledge of the identical or the given. The DNA of Shakespearean tragedy in CC Final Story.

-Anohito is not named but is omnipresent in the novel, as Misuki already chose her own Anohito according to her interviews, although she has concealed him for the benefit of the reader.

-Understand what is a prologue and an epilogue.

-The blank pages are time spaces in the novel, but they are also arbitrary cuts proposed by the author to create a hypertext narrative.

-The index should be rebuilt based on an approximate chronology.

Guidelines for reading this analysis
This analysis that I will propose to you here is neither to defend the position that Terry is Anohito (I did that defense with the debate in Spanish on the Bequi’s blog), nor to defend the position that Albert is Anohito; but to find out Who is Anohito? Considering the clues we have at our disposal and draw a parallel of them, since we do not have a fully translated book; albeit we have an overview of the work.

Please, and this is a message to all fans in general: you must truly understand that without a final translation of the novel, reference errors can be made. A single word can change the meaning of the information. The verbs, the times, the adjectives, the construction of the phrases of the translations in English, French and Spanish can be completely different to the kanji, hiraganas and katakanas that make up the Japanese language.

I can rationalize depending on the construction of a phrase by the translating friends but perhaps the phrase has another structure, uses other verbs and has different grammatical tenses, adjectives and contrary adverbs. This is a great trap; in fact it appears that both Albert fans and Terry fans may be manipulating translations, therein the need to return to this same analysis with the official translation or with the translation of a specialized interpreter.

However, the information available can give a face to Anohito, at least for the moment; and in the future we will see if this face is the true one as analysis and translations by kind Japanese fans continue.

The structure of the novel                                                                                                  About the structure of the novel go to Bequi’s blog because it is a good reference if you want to know the composition of the chapters. Here I just want to refer to:

- The prologue constitutes an introductory element of the work done by the author or Candy. Its function is informative. Allusions are made to the content and also includes the relevant aspects of research, or to narrate a particular anecdote.

- The prologue introduces us to Candy in the retrospection of Miss Pony (who is recovering from her illness) and the alleged letter from Sister Mary by giving her good news. From this moment her reverie begins and her retrospections throughout the novel via the chapters of the two volumes.

-The epilogue is located at the end of the work. It can be described as a discourse that uses a persuasive argument. In literature, it is called epilogue or afterword/postface. It’s character is one of conclusion, with a suggestive title: in other words, as a closure, finally, if you will. Normally in the novel the epilogue is used to tell what subsequently happened in the history. This means that the epilogue closes the story because its speaks of a future.

In CC Final Story In the epilogue consists of Candy / Albert’s correspondence. But this correspondence is anchored chronologically within the block that runs from page 243 to page 281. This means that the epilogue does not fulfill the function of closing the plot of the novel but rather to open it again inviting a close reading, a reading of history. Better said, it must tie up loose ends.

As a text built with the intention that each person chooses his own end then it is also true that if the person chooses this out of order structure (see the definition of hypertext) proposed by the author, and can stay with Albert as Anohito.

Albert is closer to the present of Candy in hypertext narrative because his role in this story is set in the epilogue of the book, which is essentially the end of the novel. You can effectively make this association of ideas and conclude that Albert is Anohito. To some extent the hypertext narrative that Misuki offers us favors Albert because the book closes with a long correspondence. But you would have to superficially read the correspondence in order not to encounter the messages that refer to Terry.

However, to consider Albert as Anohito, one should avoid certain fragments of this very correspondence and totally set aside Anthony’s letter that is introduced later in which Terry once again in the plot, or you need to assume that Candy does not care for Terry at all.

What all this means is that the epilogue is new information that confirms that there is a lack of information. But the problem also lies in whether the epilogue is a new information or not. It also means that it must support the interpretation that the epilogue reveals new information and at the same time that the epilogue does not reveal anything new.

We could also accept (as I said before) that it is the end of the book, yet it attempts to wrap us or invite us into a different story line. But again it may seem to be a dead end, and although the epilogue is advertised as a future of history itself, the letters themselves reveal their true chronology and their place in the novel.

Now, do not forget that there really is another Epilogue (careful!) in this novel. The first epilogue, as I said before, is proposed by the author with the Albert / Candy correspondence, and yet also tells us that the chronology of these letters are not the real chronological epilogue; that in truth, another one exists. What is the other epilogue? You may say that it is the obituary notice of Susanna and the letter from Terry. Yes, indeed this is the epilogue of Terry, but can there be something else? Indeed yes.

This means that Terry has a chronological epilogue and Albert has a narrative epilogue.

Then we have the following affirmation from Bequi: “In reading the letters in the epilogue, we must understand this scenario; the big secret – no one knows Candy & WA met 15 years ago, nobody knows that they are writing love letters to each other, nobody knows that they are in love with each other. They are living a secret relationship and “Albert” is an expert at keeping things hidden, and of course once we understand the true secret behind the epilogue, some of the letters in section III will now have a new meaning.” Bequi’s Journal “Anohito unraveled”

Contrary to the claims Bequi makes in her blog about the epilogue, where she says that this was done by Misuki to give Albert ‘s letters a greater importance, and that understanding the big secret hidden in these supposed “love letters” one can understand some of the letters of Section III of Volume III; in other words, the information contained in page 148 to page 283. Then, in her own work, when she classifies Albert’s letters and introduces them into their true temporality, the epilogue disappears and her explanation no longer has an epilogue.

This is not right because you cannot eliminate Misuki’s literary composition or cut it to your convenience. If Bequi wants to analyze who is Anohito, she must also propose another epilogue; so that if Albert’s letters are not the real chronological epilogue, then there must be another epilogue. What then, is then the other epilogue? If the novel has a prologue it has to have a closing or chronological epilogue.

Anohito
Holistically considered, Mizuki’s novel is constructed with two alternative endings, though one of them, for the time being and with the translations that we have, cancells the other or lessens the value of it a bit when doing a comprehensive analysis of the events and symbolism in the novel. The balance is more inclined towards one of the two characters thought to be Anohito . I suggest you read the following proposal and you draw a conclusion.

Anohito is Albert – Anohito is Terry
Albert is Anohito: For this Anohito to work to that end it is necessary to read the story as written by Misuki; however you should avoid reading: “Candy’s letter to Terry”, “Terry’s letter to Candy” and “Candy’s letter Anthony “. Do not make chronologies, you do not need to do anything else except forget about those letters. Under this formula, Albert is surely Anohito and no one can refute it. Now you can make a timeline to create your Albert and Candy universe, but do not forget to remove these letters and even believe that Candy forgot Terry (as proposed in Bequi’s Blog) – but in that sense it is better to forget the chronology or stay with the chronology that Albert’s defender makes, which is incorrect in some of the years.

Terry is Anohito: To make him Anohito is more complicated. You should read the novel until the end several times. When you have finished, you will have a feeling that there is something that does not fit. The single letter from Terry to Candy is neither entirely satisfactory to say that he is Anohito and nor is it satisfactory that Susana dies. There you must become an active reader. If you want to know if Terry is in reality Anohito, you are going to have to take paper and pencil and create a timeline of the novel and anchor the Albert’s correspondence in its true place. In addition, you will have to analyze the formulas used to describe Terry in the novel and symbols proposed by the author to link to Candy to this character, and of course have to keep in mind the figure of Anthony throughout this journey.

But this is not enough, the Terry fan is going to have to reread several times all the Albert and Candy correspondence even if they don’t like it and find it very tedious, as it has relevant information that greatly favors Terry.

Roughly speaking, what are the major mistakes of the arguments in Bequi’s blog?

First, we should recognize the merit of Bequi’s work, which above all proves without a doubt that she is a true fan of the Candy story.

With that, I guarantee you that it is a guide only to a certain point, and Terry fans can also use it to understand the world of Misuki – but beware when they arrive at Anohito problem because at that moment her work is altered and changes. Up until that point, I recommend its reading.

For my part, when I read it, it tried try to convince me that Anohito was Albert, I thought, I thought and I thought, (I saw the whole anime, I read the whole Manga – I confess that I fell in love with the Albert’s character when I analyzed the manga again) and went back to the translations of the Final Story novel, and in addition what I could understand at a high level from reading the books. Notwithstanding, I thought that her work was very forced and contradictory.

What hindered me to follow Bequi’s proposal of to the end were the following:

-The chronology. It is good timing overall, but she slightly alters it to benefit Albert.

-The meaning that she constructs in relation to Albert and Candy’s correspondence. She amputates or cuts phrases so that they acquire another meaning.

-The fact that she searches to create meaning between Anthony’s letter to the Albert and Candy’s correspondence that does not exist. Once again she amputates sentences so that they acquire another meaning.

–Does not analyze the letter from Candy to Terry which yields many clues.

–Does not take into account the nature and character of Albert to build her own plot, but that she reconstructs the character using the characteristics and history of Terry. I always had the impression that this interpretation of Albert by her robs Terry of many of his characteristics, his pain and suffering in order to develop a tragic love between Candy and Albert that has never existed in the mind of Misuki.

-The epilogue is removed from its proposed interpretation. In Misuki’s novel there is an epilogue and it cannot cease to exist. If a literary analysis is made, it cannot eliminate a portion of the structure of the novel.

–It does not mentioned anywhere the Anohito clues that Candy offers in the present. Why?

-She says one must take into account the historical context and customs, and yet forgets to apply these elements to a marriage or union between Albert (adoptive father) and Candy (adopted daughter). How to solve this dilemma?

On the issue of a marriage between Candy and Albert
This aspect does not bother to the fans of Albert at all, but it is important to know that this novel is aimed at an adult audience that questions and analyzes the plot. Nagita knows that the readers know that there is a legal relationship of adoptive parent and adopted daughter between Albert and Candy.

In the last letters of correspondence from Candy, she is signing with the surname Andley (See the letter to Aunt Elroy), which means that in that timeframe she is still Albert’s legal daughter. Please keep this in mind. Here I leave you with information on this subject and you can draw conclusions on this.

On the issue of a marriage between relatives there are two views: canon law and civil law. Let’s see what is said about the prohibition of such marriages.

As said in the Bible
In Leviticus 18 :6-19, is a list of what some call “forbidden unions” or “incestuous”, and while this portion of the Holy Scriptures is about what is really prohibited for a man see or look at the nude body of their close relatives, it is understood that he is also prohibited from marrying or having sexual intercourse with any person included in that list. Reading the above passage we see that the lose relatives whose nudity is prohibited to discover are: father, mother, stepmother, granddaughter, half-sister, half-brother, aunt, uncle, sister-in-law, granddaughter –in-law and daughter-in-law. As we can see, this list does not include cousins, but in the Bible there is something more about it.

The Mosaic Law applies to Catholics, Christians, Baptists, Protestants.

Matrimonial impediments or prohibitions
The impediments to marriage arise from natural or positive law, either canon law or civil law; there exists a distinction between barring impediments that are what make the marriage null and prohibitory impediments which only render it unlawful.

Impediments to have family links with the other spouse: Impairment of legal parentage by adoption (c. 1094). It is the kinship born of legal adoption and is an impediment to those who are united in a straight line (stepfather-stepdaughter, stepmother-stepson), or second degree of the collateral line (step-siblings).

Anohito in Candy’s Present
The novel gives us small clues as to who Anohito is, but they are vague traces that can be attributed to both Terry and Albert. Let’s try to draw a parallel between them.

The character of anohito.
Competitors for Anohito have the following characteristics:

Terry: In the story the character is portrayed as being a happy, jealous, impulsive, possessive, arrogant, noble, generous, devoted, passionate, lonely, sad, playful, elegant, depression, hard, rogue, indecisive, violent. person, He was separated from his mother and had to forcibly separate from Candy

Albert: In the story the character is portrayed as a cheerful, friendly, cordial, generous, independent, caring, adventurous, unstable, lonely, kind, mysterious, selfish, reckless person. Not afraid of separations, he appears and disappears at will.

Here are some excerpts that speak of Anohito:

(Recommendation: Please review the fragments that I propose with the translations that you have at hand circulating on the web and compare if they are correct).

Excerpt 1: Candy wants to stay with Anohito

“Thanks to Great Uncle William, it was possible to obtain the land of Mr. Cartwright. And Pony’s Home is full of orphans as usual. I would like to be of more help to the teachers, but right now —- I do not want to leave HIM whom, above all, wants me by his side all the time. “Vol I. p. 230-235, Candy ‘s retrospection

Here we are witnessing the personality of Terry. Why?

Terry has reasons for not wanting to part with Candy. It has been a very painful separation of many years. About 9 or 10 years or so. Candy does not want to be separated from him either as she says she does not want to leave him. This corresponds well with the pain of that long separation due to Susana’s accident.

On the other hand, he reveals his possessive nature (e.g .remember his jealousy of Anthony). This character sends Candy a one way ticket to New York because he wants her to stay with him. Terry as lover want to possess Candy , feelings that he displayed since St. Paul’s school.

Meanwhile, Albert has not suffered separations with Candy; in fact in one of his letters says literally that between them there is no separation.

“Candy, no farewells between us. I’m sure some day we will definitely meet again. “Vol II page 95-97.

Albert has not shown in the story any fear of separation – and when he decides to leave, he does it without fear or bonds; therefore he could not object to the proposal for Candy to go to America to take care of Miss Pony and he even may warmly accede that she goes alone if he were Anohito.

What is a manoeuvered fragment?
Consider this fragment that Bequi proposed in her blog:

“Suddenly so many business trips are no longer needed and definitely William Albert’s trips are over. Perhaps he even once had a minor heart attack…” [Bequi's opinon]

“Thanks to Uncle William it was possible to obtain the land of Mr. Cartwright. And Pony’s Home is full of orphans, as usual. I wish I could be of more help to the teachers, but right now —- I do not want to leave him, who, above all, wants me by his side all the time. ” (B1/pg. 230-235). Quoted from Bequi ‘s Blog “Anohito unraveled”

This is one of the worst manipulations of Miuki’s novel by the analyst. In the original translation Kyoko speaks of a “He/Him” but in Bequi’s translation “He/Him” is gone. There is no separation between Uncle William and the final sentence. Such changes in discourse essentially undermines the seriousness of an analysis.

Excerpt 2: The library in Candy’s residence
“When I closed the treasure box, I took a deep breath to cool my feelings and went into the study in the next room. Along the walls of the study is a collection of leather-bound books: A comprehensive collection of works by Shakespeare, English and French literature, medical textbooks … “Vol II. p. 197.

It is definitely the portrait of a couple made up of Candy and Terry.

Terry:”Wow, Terry. These shelves are filled with books of plays! And this is the complete set of the works of Shakespeare.”
“Ah, ah …”
Terry stopped and pulled a book off the shelf and then returned.
Eleanor Baker. When Terry’s mother left, she asked him to come to America to study theater. His mother may have felt that Terry had taken a keen interest in theater. Vol II. Pp. 83-92, Summer in Scotland.

“Terry had been absorbed in reading aloud from Shakespeare’s play in Scotland.”
Vol II. Pp. 186-188. Candy’s Retrospection on Terry and his performance.

Albert: No references

Excerpt 3: Travel to the U.S. as a stowaway
Candy: “When I mentioned my trip to USA, at first, he laughed out loud at hearing my story. However, his expression suddenly turned serious and then hugged me. “Luckily, you were safe,” he said. “Vol II pgs. 148-149.

Again refers to the personality of Terry.

Terry is a prankster by nature and will laugh at the antics and adventures of Candy, but he is more formal and worries about what may have happened to her. He is not a character who does this type of risky ventures and one can also say that as a character he is somewhat more traditional than Albert. Terry is raised as the son of a nobleman.

Albert, on the other hand, can take the news more calmly and not worry because he himself is an adventurer, he takes risks and does not mind; has lived in the jungle, in the street, in the forest with animals, – so he can very well understand such imprudence from Candy without getting worried. In fact himself states that he himself went to London as a stowaway.

Excerpt 4: Candy’s Jewelry box
“I took the designed jewelry box from the back of the cupboard. This large jewelry box is decorated with inlaid mother of pearl and small jewels. “He” told me that this grand box is transmitted in his house from generation to generation. “

“I do not go with such an expensive jewelry box ” I said to him.

He insisted with a smile. “Very well, then use it to your liking” he said.

Is too splendid for me therefore I only put my most precious objects in it. My memories, bits of newspapers and magazines, and plenty of letters. “Vol II p. 149.

Again this seems to refer to Terry.

Terry. A response of this kind is typical of the character of Terry, who is unconcerned about valuables and there are greater chances for an antique chest to belong to the House of Grandchester.

Albert does not care about material objects either but he does value family objects. especially as positioned as William Albert Andley.

Both can be Anohito.

Excerpt 5: Slim’s Painting and Candy’s Residence
“… I walked slowly in front of the console, above which hangs in its handmade frame, an oil painting size 55 x 33 cm. That person has placed in such a way that it is always visible from any vantage. It was him a few years ago, who found the painting at a flea market in London. “

Is not it a wonderful gift?

It took only one look to immediately understand that this, among so many old paintings, represented Pony’s Home. It portrays the view that you can enjoy looking down from Pony’s Hill. A wonderful month of May.

Pony’s Home covered by white clover and buttercups. Pony’s Home surrounded by leafy deep green trees. Soft and long grass. And then, the colorful flowers of Lupinus and Rudbeckia surrounding the house. “Vol I. Preface.

On the current residence of Candy
Anohito gives Candy Slim’s painting. He finds it in London, therefore they may live in England, at the very least somewhere in the United Kingdom. I am inclined to think that for both Albert and Terry it could be England.

Terry: He is a theater actor, is English. England is a country renowned for its cultural tradition of theater. Perhaps he found Slim’s painting on one of his tours. Candy congratulates him on touring the UK as Hamlet. He may take residence in Stratford-upon-Avon and become part of the prestigious Royal Shakespeare Company. These assumptions hold up well.

Albert: He is an important American businessman. What would he be doing in England? There may be an answer. Sorry Terry fans, but to be fair I will not behave as Bequi does with her blog. In her defense Bequi does not even bring it up, but I found this possibility in correspondence with Candy.

Albert says, “Candy, it is not that I have been doing nothing but travelling without worries. Even when I was in England, I was about to take care of all the necessary preparations to expand our activities there. ” He is speaking of the time when Candy was a from St. Paul’s.

This means that as Anohito, Albert has an alibi for the future. This assumption holds.

Slim’s painting
Features: a panoramic view of the old Pony’s Home. The painting is made from the vantage of Pony Hill during the spring season. The question to be asked here is: How did Albert and Terry see Pony’s Home the first time? Let’s examine:

Albert:”I do not know why I stopped the car and climbed the hill. I have the impression that it was for both its grandeur and it’s height, which corresponded exactly with the image of the ‘hill’ I had.
I laid down – how high was the sky seen from there. I seemed to be absorbed by the light of that sky. “Vol II. Pp. 293-304 “Albert’s Letter to Candy”

When the Prince of the Hill encounters Candy in both the anime and the manga, he was not interested in observing Pony’s Home. Now Albert’s fans can say that this was the hill where he finally confessed to Candy who was the Prince of the Hill and that he went to the hill several times afterwards, therefore he has more information on the nature of the place. The problem with this interpretation is that it is weakened because it does not have the same aesthetic force. You should always start from the first time (encounter) always, but you can decide what you want.

[i]Terry ‘I want to go to Pony ‘s Home where you grew up’ ….Your words go through my mind.
Your smile when you told me also crosses my mind. “

“However, I have heard Miss Pony and Sister Mary tell me that you looked around the large oak that I had climbed, looked at the apple tree where I had practiced throwing the rope and Pony Hill.

Trees that you may have touched. The hill where you stood — They become more precious to me.” [/i] Vol II. Pp. 174-175.

Both the manga and anime in Terry visits the Pony’s Home in the winter. In the novel Final Story with this letter we propose the same image as shown in the previous fragment.

Terry is very sad and stares at Pony’s Home and the trees surrounding the old house, then walks over to Pony’s Hill and from he takes in the Home as he internally says goodbye to Candy. He wants to capture this image of Candy’s home as a photograph. It is very likely that he has made the parallel between Pony ‘s Hill and and the resplendance in May of the Second Pony’s Hill in St. Paul’s.

Albert fans can say that this visit was in winter and therefore Terry does not know of the Hill’s nature in May and that Albert knows more about it. Albert has the nature but Terry has the panoramic view.

But Terry knew Second Pony’s Hill (The Fake hill as it was called in the manga) which means that you can associate very well the nature of the Second Pony’s Hill St. Paul ‘s in May with Pony’s Hill perfectly.

In fact, Nagita gives a very interesting clue of the association that Terry can make between the nature in London and the nature surrounding Pony’s Home.

When Candy talks about Slim’s painting, she tells us that this painting was made from the vantage of the Hill; it is a panoramic view of Pony’s Hill.

“Pony’s Home surrounded by leafy deep green trees. Soft and long grass. And then, the colorful flowers of Lupinus and Rudbeckia surrounding the house.” Vol I. Preface.

If you compare with daffodils and bluebells (Hyacinthoides) and foxglove in the forest of St. Paul’s College and the Second Pony’s Hill with Lupinus and Rudbeckia surrounding Pony’s Home home you will find that daffodils and rudbeckia are yellow and the bluebells, foxglove and lupine are of a color between blue and violet. Now we speak of an oil painting size 55 x 33 cm which describes the panoramic view of an old wooden house surrounded by leafy green trees and surrounded by flowers yellow and blue or violet in color.

Terry heard the constant stories from Candy of Pony’s Hill and Pony’s Home, and quite possibly heard stories about the characteristic nature surrounding the place which was sacred to Candy . He himself also saw the house, the he looked at the trees intensely, he said goodbye to her from Pony’s Hill as he observed the Home, and he knew a very similar nature of colors at St. Paul.’s

Here are some excerpts from the nature of St. Paul’s College:
“Bluebells (Hyacinthoides) bloomed in profusion in the tussock that was deep in the forest.” Vol II. p. 25-32. May Festival.

“Foxglove flowers swayed as if surprised by the horse that ran through them.” Vol.II p. 25-32. May Festival.

Excerpt 6: The daffodils and the River Avon 

“The River Avon flows easily, receiving the afternoon sun of the early spring. The fresh air of the river soothes my agitated and hot emotions. A scent of daffodils comes in from the patio. I breathe the sweet aroma deep into my lungs. “Vol I. Pp. 230-235.

Candy: “I only tripped on you! You lie down everywhere like a stone.”
Terry: “No stone can enjoy the fragrance of daffodils.” Vol I, pgs., 317-319.

Terry’s association with daffodils is resounding. The daffodils that Candy breathes in her present represent her union with Terry. Both breathe the daffodils and are bound by the flower that is a representation of early spring after a long winter. It is not just the daffodil as a common memory but also the daffodil as a symbol of light representing Terry to Candy. (I will further analyze this aspect below).

There is a transition carefully designed by the author between Anthony’s roses and Terry’s Daffodills. Let’s observe:

Candy tells us:
“A pink flower that Anthony created —-
Now I’m so far away to smell the aroma.
Anthony died that morning —- in front of me. “Pp. 230-235.

Candy meets Terry on the New Year’s eve. Terry’s presence is imposed by the proximity of early spring in Candy’s life. The scene of daffodils in St. Paul ‘s around March produces the transition from the roses to the daffodils.

Candy cannot smell the aroma of Sweet Candy but can breathe the sweet smell of daffodils in her home.

“I just tripped on you! You lie everywhere like a stone.”
“No stone can enjoy the fragrance of daffodils.” Vol I, pgs., 317-319.

You can also infer Misuki’s allusion to the opportunity that life gives over death. Since Terry is alive, he can breathe in the daffodils. Candy can also breathe in the daffodils in her garden because she is alive.

On the other hand, we know that the daffodil is the flower that represents the arrival of spring after a long winter. In England it is a flower that represents hope.

The contrast between the stark death of Anthony as a long winter with the early arrival of spring through Terry’s daffodils is well symbolized by the author.

On the symbolism of flowers, the white daffodil symbolizes the desire for love and the pure yellow daffodil represent hope and patience. It is a good flower to anticipate to us the pure love that grows between Candy and Terry as well as the patience they will need to deal with a long separation.

Albert: There is no link with this character. In her blog, Bequi wants to associate Albert with the Bluebonnet. In my point of view this relationship applies to the Andley family as a whole because the flower is directly related to Andley Home in Lakewood, which means the Bluebonnet represents several characters and not just Albert. But if Albert is to be related with a flower in CCFS, it would have to be with the Magnolia which is the name of the apartment he shared with Candy.

On the symbolism of flowers, the Magnolia flower has been associated with beauty and perseverance, as well as with dignity and nobility. It also symbolizes sweetness and love for nature.

River Avon
Albert: For Albert the river Avon is more uncertain. In England there are the following: River Avon (Devon) runs through Bigbury-on-Sea. River Avon (Warwickshire) runs through: Stratford-upon-Avon. River Avon (Hampshire) runs through Salisbury and Christchurch, River Avon (Bristol) runs though Bath and Bristol. In Bequi’s blog, Bath is proposed.

Terry: River Avon (Warwickshire) runs through Stratford-upon-Avon, city where the Royal Shakespeare Company is based out of. Terry is a Shakespearean actor.

Excerpt 7: Candy’s Diary and the question of Anohito.
“When I mentioned my trip to USA, at first he laughed aloud, listening to my story. However, his expression suddenly turned serious and he hugged me. “Luckily, you were safe,” he said. “Vol II. Pp. 148-149.

Albert: The way of learning about Candy’s trip to America could be during their time together in the Magnolia Apartment.

Terry: in turn this character did not know Candy’s story. Her letters to him are partially stolen by Susanna. In the letter that Candy wrote to Terry but does not send corroborates that he does not know this information.

Analyzing the Novel 

Archie’s wedding and the letter to Aunt Elroy

Let’s see Bequi’s version: “When Candy wrote her last letter to Aunt Elroy (B2/pg.260-263), she’s already in love with W.A. “After much uncertainty, finally I have the courage to take the pen.” Because in this letter she is not only talking about Annie and Archie, part of what she writes can also be applied to her relationship with W.A., and in this way we can better understand their desperation. “ Bequi ‘s Journal – Anohito unraveled

Regarding these two letters that you can also find translated into English; in my opinion they neither refer to nor link Candy in any way with a possible romance between Albert and her. This hypothesis is truly ridiculous! In fact in Bequi’s fragment what you can see is a transfer of the problems faced by Candy and Terry in order to develop the character of Albert in the absence of an argument or development of said character in the novel.

What anguishes Candy is the separation of two lovers. She places herself Annie and Archie’s shoes; she knows this pain very well because she herself lived a forced separation with Terry. Candy wants to avoid at all costs that her beloved friend is kept from happiness like she has for something so trivial as social class.

She sees hope in Annie’s situation and she throws her energy to help prevent a separation because she does not want her friend does not suffer the same fate as her.

If Albert and Candy were in love as proposed in this blog, the least of all problems is that Candy is an orphan. Albert is the head of the Andley’s and has exercised his will above everyone else. No matter how committed he is with his family, if he were in love with Candy, under no circumstances would he allow a separation. In fact the most serious problem that he has it how to fix the fact that he is her adoptive father, considering that by 1920 Candy continues to sign her letters with [the surname] Andley.

It should also be remembered that it is thanks to Albert that Annie and Archie get engaged, as well as it is thanks to him that the horses Caesar and Cleopatra are back together and are given to Candy as a birthday present. In a sense, Albert almost personifies a role of Cupid with these works of solidarity that comfort Candy’s heart.

Candy / Albert Correspondence
* Recommendation: Please always check that I’m giving the correct transcription of the letters.

Candy ¿the sorceress?
There is an expression that Bequi uses to talk about a possible romance in the correspondence. Let’s see:

Candy says:
“Well, now I will cast a spell on the prince of the hill!
Abracadabra, alakazan!
“That day you will go to the Home of Pony to pay a honor to ” you are more beautiful when you smile than when you cry ” girl Candy Letter to Albert. Epilogue

Then Albert replies:
“For the sorceress Candy:
Dear Candy:
I remember quite perfectly the birthday of a certain girl even without hyou having to recite a weird spell like that! In addition therew as good weather to go in search of a gift. A result of sweat and tears. A gift that will surely make you happy. So forgive me if your spell has no effect. Nobody more than I wanted to take a vacation day, but George with a serious tone has told me “I think that you have taken all the days off for a lifetime”

Then he says:
“But I must admit that your spell had some effect. Since then, it has done nothing but take my mind to the events of the past.
Yes, why was he on the hill that day? And what’s more, why was I wearing the traditional costume?” Candy and Albert Correspondence. Epilogue

Attention to all fans in general! You should not read a phrase and [hastily] draw conclusions. To read in the way this is extremely dangerous. You should know the why of what is said, that is, the total content of the two letters in question. If you simply reflect what is convenient to build a love story, you are forgetting the very intent of the letter and at the same time, it is self-deceiving. I invite you to read the complete letters several times and understand the meaning of them.

Bequi says: “Just as Candy writes in his letter to Mary (B2/pg. 203-204)” I was a sorceress and had not noticed? “Is reflected in the spell that sends Albert Candy (B2/pg. 291 -295) and the subsequent response of Albert (B2/pg.296-304) “Dear Candy, Miss sorceress”, the theme is repeated several times within the same letter. “Journal of Bequi. Anohito Untangled

Sorceress has nothing to do with a question of love as Bequi seeks to develop in her blog.

Candy said /cast a spell as a joke to so that Albert could go to Pony’s Home so that he finally can tell her his story; she wants to know all the mysteries that surrounds Albert’s strange life. Candy has an enormous curiosity and we can say that at the time of the letter she still is in shock because of the strong impression that was caused by Albert’s revelations. What she wants is to know is everything and for anyone it is better that all this information be revealed to him face to face, because the feelings are more intense.

Notwithstanding, since Albert is now William Albert Andley, he cannot go to Pony’s Home as he wishes, but since he wants her to be happy and to satisfy her curiosity, he writes a long letter telling of why he was on Pony’s Hill the first time they met. It is within this same explanation that says that he laid down on the hill and there are no signs he did not look towards Pony’s Home, a very revealing revealing piece of information and not very favorable in respect to Slim’s painting .

On the other hand, I do not quite understand Bequi’s reading of the letter to Mary. What I understood in my reading is that it was Eliza who called Candy a witch. Eliza says that Candy is a curse.

It interesting that witchcraft has been spoken about, because this alludes directly to an episode in the manga (it does not occur in the anime). In the manga, Candy teases Terry and says that she is doing witchcraft on him. The scene is in Scotland, Candy pronounces his name slowly and nostalgically.

“Terry … Terry Grandchester “at which point it he enters the scene and says:
“I am honored that you pronounce my name that way”
Candy says, “Tell me, Terry…you won’t get any ideas because I said your name?? You know, I might have said in order to cast a spell”
Then Terry replies: “A spell, I see … you want to cast a spell on me so that I fall in love with you …”

By that time Terry was in love with Candy (he literally says so in the May Festival) and Candy was in love with him too. Please draw a parallel between these two ways in which Candy becomes a witch and draw conclusions. Between the two there is a difference of feeling between the characters and perhaps the very Mizuki made this to remind us implicitly parallel scene occurs between Candy and Terry in the summer in Scotland. Such recollections are typical within the narratives of CCFS.

Back to the correspondence, Candy finds great pleasure to know so many things that have puzzled for many years. She meets Albert during his Prince of the Hill phase. It is likely a great surprise for her to understand that in reality Albert the wandering bum is the great-uncle William.

Candy loves Albert or Mr. William a lot because he has greatly helped the orphans. He proposes to extend the Pony’s Home, he invites Candy as well Miss Pony, Sister Mary and the children in the home to Chicago, and he builds the Happy Clinic close to Pony’s Home so that Candy can work alongside Dr. Martin.

They are letters are so full of love and affection, because the two have been able to care for and help each other for many years. In effect, there has to be in invisible threads between people who are find each other when one needs help.

There is a constant desire by Albert for Candy to obtain happiness. He wants her to be happy.

“Having heard the story I thought I would have liked to see you happy. Hopefully this girl can find happiness, I thought. And I can help her become so”. Letter from Albert to  Candy.” Correspondence. Epilogue.

The story is repeated several times:
“Candy, I was nothing more than a suspicious individual of unknown identity who had lost his memory. But you have not forsaken me even in that state. You have did not abandoned me even when you were fired from the hospital.
You continued to encourage me, telling me that I had helped you once, that my memory no doubt would return.
I cannot thank you enough.
I would like to continue in the future to help you find happiness “
Letter from Albert to Candy.” Correspondence. Epilogue.

Among these letters there is a pattern or structure that is repeated. They seem to speak of themselves, but in reality they always incorporate other characters into their long written conversations.

Albert always refers to Miss Pony and Sister Mary and the children of Pony’s Home. This pattern is repeated 10 times in the letters.

On the other hand the word “thank you” is repeated 12 times in correspondence. Between them there is an infinite gratitude manifested thus.

Another of the words that are repeated throughout the correspondence are adoptive father and adopted daughter. Between the two  the word will be written/said 9 times.

“I’ll never forget when you told me that “we would share everything, ” while we waited for your memory to return, I thought it would be not so bad to live like this, as brother and sister … and now I am your adopted daughter! Perhaps I should actually call you Father?! Candy’s Letter to Albert. Epilogue.

Albert responds:
“Well, I’m going to Sao Paulo. I’ll write again when you’re back. Please tell the teachers that I’ve done just what is expected of an adoptive father “Adoptive Father?! In the end I told said it myself… Take care and say hello to the children! “Letter from Albert to Candy. Epilogue.

The relationship between Candy and Albert is sealed when he in a joking one invites Candy to reaffirm his role as father and protector by making reference to her that she can tell the teachers and mothers of Candy who are devout Christians.

The Horses Caesar and Cleopatra
In one of the letters of correspondence, Candy thanks Albert for having given her on her birthday these horses with whom she lived in the Leagan’s stable.

“Even after I adopted, continued visiting in secret the Leagan’s stable. When I found out later that they had been sold separately I felt really despaired. Caesar and Cleopatra also agreed. I realized that they loved each other so much. What a terrible thing to have separated them! ” Candy’s Letter to Albert. Epilogue.

Albert’s response
“I’m glad you enjoyed your birthday, you also enjoyed the party , right? Sorry, I had to leave before it ended.
I wonder if Caesar and Cleopatra are comfortable at Pony’s Home. They are a beautiful couple. I wanted to show you that they had been so happy to meet again. People are not different from animals. ” Letter from Albert to Candy. Epilogue

The gift that Albert gives to Candy, that is, the horses Caesar and Cleopatra (George found them) is a metaphor for the meeting after the forced separation. Eliza and Neal grow tired of these horses and they are sold to different people. The purchase of these horses by Albert for Candy is very symbolic. It is as if he were saying – typical of Albert- Candy cheer up there will always be the opportunity to meet with Terry. The situation of the two horses can be directly applied to the reality of Terry with Candy. It is as if Albert was playing Cupid in this story.

Candy on the other hand makes a comparison, involuntary or voluntary, of her own love story with these horses.

“When I found out later that they had been sold separately I felt really despaired. Caesar and Cleopatra also agreed. I realized that they loved each other so much. What a terrible thing to have separated them!“

Similarly, Candy also strives to prevent the subsequent separation of Annie and Archie due to the Annie’s condition of being an orphan. It was Albert who recovers Candy’s horses and was also Albert convinces the Andley clan so that Archie and Annie can become engaged, relieving the Candy’s heart of and giving hope that this same opportunity is possible between her and Terry.

In Bequi’s argument, by this this time Albert and Candy are already “in love” which is not consistent with this greatly symbolic gesture on by Albert. Albert knows how Candy feels about the separation (she is suffering) and gives her the horses as a symbol of keep the faith that it is still possible to have a reunion with loved ones (that means Terry), hopes that Miss Pony has also broadcast with her now famous phrase “you don’t know what to expect around the corner”. The world is full of surprises.

The last letter Candy wrote to Albert is very important because here we talk about the two loves of Candy: Anthony and Terry.

Candy will remember the death of Anthony to the point of hurting herself and mourn in the arms of Albert.

What will be clear in this novel is the devotion, the near obsession that Candy developed for Anthony. It has been many years and Candy has trouble assimilating that death. Candy feels guilt for having lost that happiness and that radiant time where it seemed that his life was sealed in a love destiny.

When Albert consoles Candy when Anthony dies, Albert’s role is to comfort Candy even years later for that honest pain that she still feels at the death of the young man. Candy gets rid of this feeling of guilt that has not stopped feeling for losing that life in Lakewood, thanks again to Albert’s support.

[i]The return of the Candy’s Diary [/i]
“On the desk in the room I came to consciousness about his identity. It was my diary.
Albert, you wanted to return it to me, right?
“This … is very important to you.” That is how you told me, almost whispering, as you looked out the window. Your voice was so calm.
Yes, in that diary I spoke almost always of Terrence. I too have thought about that diary so many times. At this time, the diary that you have returned to me is with me. But I have not opened it. I have the intention to entrust it to you again, like you did with the medallion you have given me back after I had returned it.
Do you not find that the passage of time cruel and fascinating?
I have not the faintest idea of where the world will from now on, but I am sure that all the good memories stay forever in my heart. And it is through these memories that I will be able to overcome any difficulty.
That’s right Albert … now I’m happy. “Candy’s Letter to Albert. Epilogue. Vol II. Pp. 317-322.

From this excerpt of novel we can infer the following: after Candy achieves forgiving herself of Anthony ‘s death thanks to Albert ‘s consoling (which is what happens before moving on to this piece) he decides it is time for Candy to have his diary back. This is due, in part, to the fact that the diary is of great emotional value for Candy, but also it is a kind of transition. Albert may feel that Candy is ready emotionally to take the weight of that diary that is dedicated to Terry as she practically confirms it.

It is also clear that she has thought about this diary and it is on your side when you type the last letter of the epilogue, but she in a symbolic gesture that wants to recover and not think Terry is not going to open and actually is going to trust again to Albert.

Now note that she says “I have the intention to entrust it to you again, like you’ve done with your medallion that have given me back after I had returned to you”

She does not give give the diary to Albert, rather she wants to entrust it to him as a fundamental gesture of her trust in him. It is as if he were the guardian of this love between Candy and Terry, the same way Candy is the guardian of Albert’s medallion so fundamental to him as it was on that day when he lost his medallion that decided to become an adventurer as he writes in the letter on pages 296 to 304 when we he tells us how he arrives at Pony’s Hill.

Another interpretation
Another possibility for the return of the diary, might have to do with the fact that Albert has received at his mansion in Chicago the letter that Eleanor Baker wrote to Candy. Eleanor does not know that Candy lives in Pony’s Home but does know that Candy is the adopted daughter of the Andley family and to obtain the address of one of the wealthiest families in the United States should not be too complicated. We should look carefully if there may be a synchronicity between these two events. Let’s examine this issue more calmly to see where we go with it.

There is a very important coincidence between Candy and Albert’s visit to Lakewood and the letter with along with ticket for the Hamlet play that Eleanor Baker sends to Candy. These two events occur during the summer. How do we know this? Well, on one hand, Candy tells us in the last letter of the correspondence with Albert of a walk in the woods where Anthony died where blueberries were in season.

“In the meadows full of colorful roses, blueberries were in full bloom” Vol II. Pp. 217-322.

As we have no dates, due to the destruction on purpose of the chronology by Nagita, one of the most important bases for determining an event are the seasons. If the blueberries were in full bloom as Candy says when she visits Lakewood, her visit had to have been in July / August which is the season for blueberries in the United States as blueberries are an autumn fruit.

On the other hand, one of the questions that arise regarding the letter from Eleanor Baker to Candy is: How did Baker locate Candy several years after their last meeting in Rockstown?

Let’s evaluate the situation Candy was in at the time. Candy was in an uncertain situation whens she meets Eleanor Baker in Rockstown, as she says in her response: ‘I was unsuccessfully looking for my missing benefactor’.

At that time, she lived in the Magnolia apartment in Chicago which I do not think it was a fact known by Eleanor. Nor do I think it was possible that Eleanor might know the home address of the Pony Home, an orphanage lost in the mountains.

The only thing that is likely is that Baker knew with confidence that Candy belonged to the prestigious and wealthy Andley family of Chicago. Not knowing an address, Eleanor Baker probably sent her letter to the only possible destination where she believes she can find Candy or at least have a strategy so that Candy receives the letter, we are talking about the Andley mansion in Chicago. To locate the address of one of the wealthiest families in the United States should not really present a problem to Eleonor Baker.

If this interpretation is correct, the letter probably reached the hands of Albert, the benefactor of Candy, before passing into the hands of the very own Candy.

I am inclined to think that Albert could understand that the letter from Eleanor Baker to Candy had to do with Terry. Perhaps, Candy have talked about this secret to Albert from the Magnolia Apartment, perhaps he can sense on his own that the letter has to do with Terry. Otherwise, why would a recognized Dramatic Arts celebrity send a letter to Candy? That makes no sense if left loose.

Equally important, something that seems to connect these two events is the timing. We know that the letter from Eleanor to Candy comes during the summer. Why we know it?
The ticket represented as a rectangle on page 270 of the second volume tells us:

Autumn Function Stratford Theatre Company
“Hamlet”
Director: Robert Hathaway
Lead Actor: Terrence Graham.” Vol II. P. 270.

Candy’s response letter states:
“I’m sure Terry is the perfect actor to play Hamlet.
I am sure that the work will be a great success as predicted by the critics.
I am sorry Miss Baker.I really appreciate the thought but I…” Vol II. Page 273.

These data are useful because they confirm that the ticket for Hamlet and Baker’s letter and Candy’s response letter to Eleanor must happen before the season starts. Candy’s words confirm this “I am sure that the work will succeed as critics predict”, confirming that when she sent the letter in response to Baker, the play’s run has not yet begun. It’s still summer or early fall then if we consider that the fall begins on September 21 in United States of America.

The response letter from Candy to Eleanor at the most must be written in September before the start of the season of “Hamlet” and of course Baker’s invitation must have been received in August.

These data suggest that Candy’s visit to Lakewood occurs in August during the season for blueberries and that Albert offering the diary back, also gives her Eleanor Baker’s letter. This theory holds up and makes sense when you consider the timing of both events and the motivation for Albert to return the diary.

You might wonder, why is this not said in the last letter from Albert to Candy? Well the answer is very simple, if Misuki gives us this information, she freely gives us dates, ideas would be ordered easy and furthermore it would be clarified and stated that for the first years of 1920 or 1921 (date yet to be determined) Candy is till in love with Terry-which is confirmed in the response sent by Candy to Baker and a blow to the hopes of the Albert fans. What Nagita wanted was to leave the ambiguity of the times, hence the timeline destruction. If we also note that this letter that Candy wrote to Albert,  in addition to the letter Candy wrote to  Anthony, are the last correspondence in the second volume of the novel; and, if we know that Baker’s letter and the Candy’s response occurs in the same period, then it is confirmed without fault that at that time Candy still loves Terry.

This may clarify in some way why Albert decides to return to Candy the diary and likewise the special sensitivity Albert has in returning the diary to Candy, for indeed it is reviving, along with with Eleanor Baker’s letter, a very painful memory for her; but Albert knowing Candy’s feelings, cannot afford not to because he is a character that was portrayed throughout the novel as the eternal protector of of Candy’s love.

It also becomes more understandable that feeling of longing expressed in Candy’s letter to Anthony “as long as there is life there is hope.” A letter that Candy wrote at the same time of her last correspondence with Albert along with the answer to Eleanor Baker.

Then Candy said: “I have not the faintest idea where the world will go from now on, but I am sure that all the good memories stay forever in my heart.” With this expression Candy fills herself with courage for the times to come. She has learned from her experiences and Anthony and Terry are her two lost loves but she have beautiful memories that will nourish her the rest of her life. The same speech will be repeated in the letter to Anthony.

In fact, I think it as Bequi says on her blog, Candy closes her relationship with Albert. But not in the way she thinks. We are talking about this happening in 1920 or 1921 (date to be determined), that is, 5 or 6 years of her separation with Terry. During this time Albert will be with her, supporting her in this slow recovery. Albert owes a lot to Candy, but above all he knows she needs him to heal emotionally.

I do not think that this was Candy’s last letter to Albert or Albert’s to Candy, what I do consider is that these were the most important letters between them, due to the great issues discussed therein and because they undoubtedly indicate that the link between them is beyond any separation, it is a invisible thread as they say that endures despite time, and this is as close to a family tie as there could be. The only ties that are unbreakable are family ties. When she speaks of invisible threads she refers to family ties, so they are invisible threads.

Albert feels that Candy is ready to continue with her life and continue with her catharsis on her own, as she is enjoying a better mood thanks to friends and of course thanks to the joy and peace that is provide to be with her beloved mothers and her beloved Pony’s Home.

Bequi’s interpretation:
In late 1910’s, Candice White and William Albert Ardlay are in love with each other, but both the American society of this era and his family will never allow them to be together as husband and wife, “If I could have, I would still liked to live in secret with you “(L2/pg. 288-290). By then, W.A. also very aware of the opposition of his family and realizes that they will never be together, and in an ultimate sacrifice of love, he gives the diary back to Candy “This is … important to you.” You said quietly, looked out the window. You said it almost whispering — “. (L2/pg. 316-322) – the diary is the symbol of Candy’s love of Terry – “Yes, that diary was everything about Terry.” Albert, in a symbolic gesture is not only returning the diary, but Candy’s freedom , “I will find out where your happiness lies” (L2/pg. 311-315). Bequi’s Journal Anohito unraveled.

Bequi’s argument makes little sense with the interpretations made about a possible romance between Albert and Candy but I have left some samples for you to compare and corroborate with the explanations proposed here.

We therefore conclude that these letters are full of love and gratitude from Candy to Albert.

Albert reveals to Candy his different identities and she is deeply touched that her friend Albert is also her adoptive parent and who is the Prince of the Hill. There is much joy in these events because they are long awaited surprises by Candy.

Albert’s letters are essentially the explanation of his history. No one knew how he came to Pony’s Hill and how he became Albert, therefore his letters are the explanations that he knew that Candy deserved and which Candy has enthusiastically received of course.

Now there will be an intensity of the relationship between them as adopted daughter (7 times written) and as father (4 times written). Separately from an increase of this relationship, it also seals any relationship between them when Albert closes his letter by saying “Please tell the teachers I’ve done just what is expected of an adoptive parent.”

With this formula Albert is warning us that his relationship with Candy is a family relationship and he knows his position as Candy’s father, and he wants to be recognized by the Christian nuns – Candy’s mothers.

In Albert’s response to Candy he says, “I think my faith has become more deeper than ever before.” In this way, Misuki touches on the religious aspect of her novel in a subtle way, not to mention the moral implications of the characters and how profound is Candy’s faith as inculcated by her teachers; and in fact she shares with Albert who is presented here as a devout person who knows his role as father even though he feels dazed about it.

There’s something that the Albert fans have forgotten to acknowledge and that and is a key aspect of this character. When Candy encounters the Prince of the Hill, she was crying and saying, “I ALSO WANT TO HAVE A FATHER AND A MOTHER” Coincidentally, the first thing he says is a father. She does not need mothers because she already has two devoted women who love her but she needs a father. Upon Candy saying this, the Prince of the Hill appears on scene, which later will become her father as the Great Uncle. Mizuki’s intention is too precise. It seems that the role of Albert was wholly constructed from the beginning. (Please read the manga to corroborate the information).

Another aspect that reinforces the feeling of familiarity between them is the constant mention of Rosemary Brown. Rosemary, like Candy, are the only ones who call Albert “Bert”, as Candy mentions in her letter. Their relationship always shifts between the daughter and father and brother and sister status. Mizuki thus offers us the following: if you find such an intimate correspondence between a daughter and a father to be so strange, I also propose to think of this correspondence as one between two playful siblings who love each other and who have a deep intimacy.

In fact, if we think of Kyoko Mizuki ‘s life, she lost her father at age 12 and in Candy’s story the Prince of the Hill appears when Candy crying asks for a father. Kyoko also tells us in her biography that she was a very lonely girl because she had no brothers. Now the story of Candy and Albert that is portrayed in the Magnolia apartment was a life of brother and sister that calms Candy’s aloneness. So Albert’s character is closely related to the author’s own experiences with her family, that is why Albert is for Candy a father and a brother, the two things Mizuki herself wanted.

The May festival and the first kiss 
It is during the May festival that Candy is kissed by Terry. But this scene is important because it replaces a previous one.

In CCFS Vol I especially pages 162 and 163 the scene of Anthony and Candy riding a beautiful white horse is narrated. Candy feels as if in a dream. At this point Anthony admits his love for Candy.

“Anthony tightened the reins tightly, began running at full gallop on a white horse”
“I like you Candy, I love you” “I like you Candy, I love you” Anthony repeated.
Candy believes it is the wind but also has the certainty that it is Anthony who’s talking. She replies to herself that she loves him. Candy feels the Anthony’s heart and his warm chest near her.

This scene is then repeated with Terry. Again riding through the forest. But the scene is to forget the memory of Anthony and the declaration of love in that horseback ride. In fact, Terry’s forced kiss and horseback ride is a confession of love from him and the request that Candy forgets Anthony.

Here is an excerpt from the May festival:

She did not want to remember. Anthony looked back. A horse started running.
No, do not go in that direction!
“Stop! Anthony, help me!” Candy cried and closed her eyes even more.
“That’s it. Scream! Call Anthony! He will not come Never!” Terry shouted as they ran.
“Forget him! Just forget him! A dead man will never return. He will not feel any pain! Open your eyes! Open your eyes and look carefully around you, Candy!”
And the outcome of this scene is as follows:
“We are alive … Terry and I …”
It was a sudden awareness, as if Candy was pushed with an acute sensation.
“A dead man will never return.” Terry’s cry repeated.
(Anthony … I knew… I know …)
She saw Anthony nodded beyond the light.
— You’re right, Candy. I can never come back to you … It’s alright that you forget about me …
Candy saw Anthony dissolve in the light, smiling.
Candy was about to call him, but closed her mouth.

Like the contrast between the Sweet Candy and the Daffodils this scene is again the transition from Anthony to Terry. It will be same horseback ride in the middle of a forest where the exposition of nature embellishes the description.

Candy’s letter to Anthony
This letter is very problematic. In Bequi’s presentation, she states:
Candy has one last thought about her relationship with Terry (L2/pg.324-328 Letter Candy Anthony), where she writes “In London I was strongly attracted to someone who looked like you. However, I only thought so for an instant, probably because he is the opposite of you. With him, I realized that there are several ways to love. Moreover, the fact is that there are things that once lost will never return.” This is not goodbye, but a reinforcement that her feelings for Terry will not return. Therefore, no matter how you put it, Mizuki always makes Terry lost for the benefit of Albert.” Taken from Bequi’s Journal.

I must confess that this is one of the parts of Bequi’s analysis that dissapointed me the most. You can think that either she failed to understand the construction of these phrases or she forced these statements to say what she wanted to say even though they make no sense with what she is proposing no matter how hard she tries to force the sentences.

Let’s see the whole paragraph and not cut it for convenience:

“In London I was greatly intrigued by a person who looked like you. But the idea that he looked like you only lasted a moment, because he probably is the opposite of you. “
“With this man I realized that the feeling we call love has different forms. And there are things that once lost will never return. I did not want to accept something so obvious as the fact that it is not possible to find people we know who have left us”
And then … now … I also realized that there are people who, even though still alive, we are condemned to never meet again “
“Our life is a sum of each of these things. But while there is life, there is hope. “Vol II. p. 327

I cannot understand how she makes a relationship of this letter to Albert, Why? How? When? This relationship neither has no meaning nor does it exist, the phrases are repetitive and refer to the same subject.

Consider again the sentence:
In London I was greatly intrigued by a person who looked like you. But the idea that he looked like you only lasted a moment, because he probably is the opposite of you. “
“With this man I realized that the feeling we call love has different forms. And there are things that once lost will never return.

The correct interpretation of these phrases is as follows:  We must start by saying that these phrases refer to the same subject.

Thanks to this man, refers of course to Terry, as it is with him that Candy understood that there are things that are lost forever. She realized that during her horseback ride with Terry at the May festival.

What is Candy referring when she speaks of loss? Obviously her time and her happiness in Lakewood with Anthony, Archie and Stear. Candy throughout the novel laments the death of Anthony, she says: “if Anthony had not died we would have been all in Lakewood” …
Then she says: ” I did not want to accept something so obvious as the fact that it is not possible to find people we know who have left us”

This is a restatement of the previous idea. “Left” is a verb which is also used to discuss the death of a person. So that is why she says “obvious”, because she did not understand something as concrete as the fact that Anthony could never return to her, hence Terry’s forced kiss and forcing her to ride horseback.

On page 25-32 vol 2. “May festival Kiss” Terry kisses her hotly and forces her to ride a horse to abandon once and for all the memories of Anthony. Candy is trapped in the evocation of Anthony and resists forgetting him, she does not want to assume that Anthony is not coming back to her because he’s dead. Just like Terry tells her. That is what she is thanking Terry for in these two sentences.

In narrative it is very common the reformulation of phrases as Mizuki does with this letter, that is why Candy says ” I did not want to accept something so obvious..” And of course it was “OBVIOUS” but she did not want to conceive that there was nothing to do because Anthony was dead and a destiny at his side lost.

The next sentence in the letter reads as follows:

And then … now … I also realized that there are people who, even though still alive, we are condemned to never meet again “
“Our life is a sum of each of these things. But while there is life, there is hope. “Vol II. p. 327

This is in reference to Terry. Terry is a prohibited man so she is condemned never to see him again. However she reopens the sentence saying “while there is life there is hope.”
Remember that Anthony is dead, he can not meet Candy, but Terry lives. In the novel there is always the contrast made between life and death, that is why the character of Anthony is a constant in the history of Candy.

Here is an excerpt from the May festival:

“We are alive … Terry and I …”
It was a sudden awareness, as if Candy was pushed with an acute sensation.
“A dead man will never return.” Terry;s cry repeated.
(Anthony … I knew… I know …)
She saw Anthony nodded beyond the light.
— You’re right, Candy. I can never come back to you … It’s alright that you forget about me …
Candy saw Anthony dissolve in the light, smiling.
Candy was about to call him, but closed her mouth”

The story is very well built in that sense as Mizuki succeeds in drawing a parallel between the hope of life in respect to death. Anthony will never return, Candy can neither feel Anthony’s sweat, nor his beating heart, but can feel this from Terry because despite that he’s not with her, he is alive and the hope of life is stronger than death. Terry can fulfill that with her one day. That is the message of this constant comparison between Anthony and Terry in the novel.

In retrospect the volume I p. 232-233 Candy says the following:
“It’s like what Anthony had said once when the roses that fell like a snowstorm.
The dead live on forever in our hearts. But we can never see them again —-
I had experienced many painful separations.
However, while we are alive, we can see each other again.
That’s why I have no fear of separation. “
In the present of the novel an allusion is made to the letter Candy wrote to Anthony many years ago. In the letter to Anthony Candy says she realized that Anthony is not coming back. She also says that she is condemned never to see Terry, but then tells us that life is hope. The same idea is repeated in his own present.
” I had experienced many painful separations.
However, while we are alive, we can see each other again.”

The separation of Candy and Terry was the most traumatic event for Candy, the same as Anthony’s death. However Candy develops an understanding that she cannot think of these two situations in the the same way. Anthony will never return, but Terry is alive, he can meet her one day, that is why it says ” while we are alive, we can see each other again.”

Again the impression is that this story was designed from the onset in this way because the links are too precise between Anthony’s role in the life of Candy and Terry’s role. It is life that triumphs over death.

Candy’s Answer to Eleanor Baker’s invitation

This is one of the more interesting letters in Final Story to compare against the 1978 version of the novel.

In the ‘78 novel, when Candy writes her answer to Eleanor Baker, she returns the ticket to Eleanor and in her answer says she still cannot see Terry because she still is sad but that she is sure that over time the wound is will be healed or cured.

In Final Story, things have radically changed. First, the ticket was never returned, but was saved as “a treasure” and is represented as a square on page 270.

“I will always keep this ticket as one of my dearest treasures.”Page 273.

The idea that she is not going to see the Hamlet Play because her heart is still hurting is still present in Final Story, but it is reinforced and nuanced with Candy telling us that if she sees Terry act she will want to see Terry, and that she should not see him because of the promise she made to Susanna Marlowe. Attention! This is a revelation. Not only Terry but Candy made a promise to Susanna Marlowe. The two promised to this character that they would separate.

“If I see the play, I will want to see him. I will want to see him and talk to him. Besides, I promised Susanna. I promised her to never see Terry again.” pg. 270

This new proposal of the author is very revealing because in ‘78 novel, Susanna is neither mentioned in Candy’s response to Eleanor Baker nor does she become an impediment to see Terry; whereas in Final Story it is suggested that if Candy is not with Terry it was because of a promise to Susanna that she would no longer see him.

Finally, and perhaps most importantly and representative in Final Story is that the phrase from the 78 novel no longer exists – where Candy avers that the wound left by Terry would heal over time. In Final Story, this phrase disappears entirely, which is an extraordinary and completely undeniable suggestion that this pain that Candy talks about Candy will never heal; hence the words of the 1978 novel were eliminated in this new and final version of history.

“I am sorry Miss Baker.I really appreciate the thought but I…” Page 273

Candy’s unsent letter to Terry 
The Apricot: It is a delicate sweet fruit with velveteen skin. In Asia, especially in Japan in particular it is very beloved for being a fruit that gives health and longevity.

On the other hand, the apricot is related to passion, sensuality, and the orange color symbolizes cheer, happiness, attraction, marriage and fecundity.

This is the most significant part of the letter and perhaps one of the most beautiful descriptions of a state of mind as well of expressions that Candy also used to refer herself to Anthony of course.

“Dear Terrious Graham ,
Terry …
Whenever I find you in my mind, my heart becomes a bittersweet ripe apricot. I cannot even breathe, it is as if a gentle breeze will drop it to the ground.”[/i] Pp. 274-277.

What is the intent of this phrase? It is beautiful phrase, but of a very melancholy tone. Candy’s deep pain can be felt. These two phrases represents the significance of Candy’s feelings towards Terry.

Candy is represented as a ripe fruit (apricot) which means that as a woman is ready to welcome Terry. We’re not talking about an ambiguous relationship here; the metaphor alludes to Candy as a mature woman who desires Terry.

If you read the references about the apricot, you will see that Candy is talking about Terry as a lover / husband, which is the characteristic version that Nagita has drawn to us in regards to Anohito.

In fact, the apricot tree is associated with virginity. Is Mizuki also telling us that without Terry, Candy will remain a maiden for the rest of her life?

But she is also saying that it is a beautiful state; she developed intense feelings for Terry and these feelings are really sweet, but they are also bitter, because it is happy and painful memories that mixed creating a bittersweet apricot. She moves between these two emotional states, of joy and of sadness.

Then Candy says she can not breathe in front of that strong thought, that is, to think of Terry. The tragic result of a love so intense leaves her without air, it boggles her to the point of leaving her breathless this refers to her very existence because if you do not breathe, you die.

The gentle breeze that drops the apricot to the ground. The gentle breeze has to do with the passage of time; Candy is afraid of the passing of time and that is driving them further away, she is afraid that the time will destroy her own memories because like Anthony, Candy is or wants to hold on to the memory of Terry, which is why she says “I cannot even breathe” trying to make sure that her own memory will not abandon her, trying make time not continue on its course.

We should also observe how she starts her phrase: “I always find you in my mind.” There is an implicit suggestion that thinking about Terry is a recurring act in her life. Keep in mind that this letter is addressed to Terry 8 or 9 years after their separation.

In Bequi’s analysis she supposed that Candy’s letter is written to Terry at the same time of Albert and Candy’s correspondence. To Bequi, Candy and Albert would be in full romance, but in fact it is interesting to contrast the letter from Candy to Terry with the letter Candy writes to Albert when asking when did his memory returned. Let’s observe:

“I was left speechless when I saw the gift that I suddenly found in front of me. Thank you, Albert! Who would have imagined that you had bought Caesar and Cleopatra!

Even after being adopted, I continued secretly visit the Legan’s stables. When I found out later that they had been sold separately, I felt desperate. Caesar and Cleopatra also agreed. I realized that they loved each other so much. What a terrible thing have separated them!

I will never forget when you said “we would share everything” while waiting for your memory to return I thought it would be ok to live like this, as brother and sister … and now I am your adopted daughter! Perhaps I should really call you Father?
By the way when did your memory come back?[/i]
Candy Letter to Albert. Epilogue.

Even putting the letter of Candy to Terry at this point is not a good measure for Albert because it is alluding to Terry.

But unfortunately for Albert’s fans, I must say that this letter she wrote to Terry must have been after the last meeting between Albert and Candy in Lakewood and of course it is the last letter she wrote to Albert because she must recover her diary before writing this last letter. In any case, Bequi’s chronology is INCORRECT.

Then we have the following fragment: “Now Uncle William casually brings you up. It hurts me that at first he seemed to unnaturally avoid talking about you and he hid magazines. It is a comfort that he now behaves naturally. “

Here we are talking about that the relationship of Albert and Candy is well defined, he is Uncle William, Albert-san and in addition, they are still seeing each other and have a strong and close relationship and not how as Bequi affirms in her blog that by this time these two characters would be living a “secret romance.”

“It’s a good thing that Mr. Albert had no desire to become an actor. A great poker face. He would be your biggest rival. “

Maybe some people do not understand when she speaks of “poker face”. Well this has to do with people who may well keep appearances and remain neutral or seemingly influence a situation before them. Albert was able to keep his secrets very well after having recovered his memory and that is why Candy makes this affirmation.

About the letters Terry sent to Candy, she says to us a very telling phrase:
“I still appreciate them, but I dare not even read them again.”

In the first instance, she is saying from the beginning that she feels an affection for the letter, yet she cannot read them. She does not dare. In the Royal Academy of the Spanish language, dare is defined as a risk or to confide in someone or something. If she does not read the letters, it is because of a sense of fear in the face of reading them and that is why she does not dare to do so. She is telling us that the reading can unhinge her emotionally and therefore she prefers not to read. There are still such powerful feelings for Terry that can dissolve her own determination.

“It is Susanna’s love that supported the return of Terrius.’ – I had read this article.” This is a very premeditated phrase by Mizuki to open the story through both Candy and Terry’s ignorance of a seminal event in their lives which was the meeting in Rockstown.

Candy does not know that Terry saw her there because being in a lamentable mental and physical state, he thought she was a hallucination of his. He felt ashamed to see how the woman he loved observed him crying and suffering. We also know that the impact of seeing Candy in deep agony (even believing it was a hallucination) to see him become a drunkard made him react and he was shocked and disgusted with his cowardice. In the presence of Candy, Terry experienced a resurrection.

The road to perdition he was choosing did not leave him a chance to hope and of any possible encounter with her in the future. If he wanted to be worthy of Candy, he had to change his behavior which is why the return to Broadway was imminent. He had to fulfill his duty to care for Susanna, as in doing so, Candy would be happy.

Also keep in mind that this time in Rockstown corresponds to Terry’s transformation from a teenager to an adult. Significantly, this transformation occurs in this chance encounter with Candy. The loss of Candy and the bitterness of this loss will transform him into a real actor.

As it pertains to Candy, she was unaware that Terry had seen her there. Terry’s recovery was not due to Susanna as she believes and claims to have read in newspapers or magazines; no, Terry’s recovery is due to seeing Candy disconsolate at his state of neglect. Destiny brought them together this time to give Terry a chance to redeem himself and to be worthy of Candy if one day their paths crossed again.

It was always Candy who helped Terry and not Susanna, as Candy believes. But to date, Candy is ignorant of all this and thinks that the recovery of Terry has been caused by Susanna’s support of and consequently Candy can believe that Terry should already be in love with her.

These data tell us that there is a misunderstanding. There is something that Candy does not know; there is something that Terry does not know. There is a hidden truth that the two did not know. It is interesting to the extent that it is opening the door to a new story between the two of them as there is something still unresolved in their history.

While Candy is responsible for closing the story with Albert through the epilogue, the story of Candy and Terry becomes even more confusing. There is information that they ignore. They ignore other important details such as Candy’s letters that disappear as she mentions in her letter to Terry “The majority of my letters seemed not to have reached you.” Candy does not blame Susanna but she knows that this woman has stolen her letters as it says in the retrospection of the separation with Terry. However, Terry ignores this information regarding Susanna’s behavior.

It is made clear to readers and it reaffirms that Susanna stole the letters and this is very serious, as the theft of letters is a crime. It is as if Nagita was giving details of the continuation of the plot after her death. Susanna’s role is not exactly one of an innocent victim or a heroine sacrificed, as Mizuki insinuates a woman who moves between nobleness, manipulation and selfishness (at least with this type of information that represents her in this novel) we are suggested the character traits of her personality.

“Do not forget to have a devoted fan in the countryside of the United States of America.”  A remark to herself that clearly means ‘remember that I exist and I’m here, I still think of you. I am a devoted fan.” Devoted? The word devout refers to reverence and love of a religious nature.

On the other hand, Terry decides to stay with Susanna only because of a sense of responsibility due to the tragic accident and especially because Candy would not have permitted otherwise. It was not a decision that he took alone. This decision was undertaken by the two of them, consciously but likely unaware of the emotional damage that it would cause in their lives.

It is important to understand Terry’s decision regarding Susanna that Candy makes clear in her retrospection of their separation in New York. (See pp. Vol II. 234-237)

“Terry and I, however, we could not forget Susanna. I realized at once that we would not be able to get along together and happily, while Susanna would be left aside. “

It is not that Terry is hesitant about his feelings for Candy; he already had said to Susanna before the accident “since I saw her on the ship I knew that I loved her and whatever happens I will never change.” Mizuki was anticipating events. Terry’s message received many years later by Candy was the reiteration of this phrase gives the impression that the story of Candy was thought about from the beginning – he would love her forever.

Terry loves Candy, in fact Susanna corroborates it in the letter sent to Candy afterwards she says: “Yet I knew his soul was running behind you, but I clung to his words.” Vol II, p. 278-280.

Since Plato, the soul was considered the human being’s most important dimension. The most impressive vision in my opinion, concerning the soul of man, is the one from Dutch philosopher Spinoza, which considers the soul a divine attribute. But the soul interacts with the body and it is the joy of the soul that gives the body freedom and therefore the sadness of the soul restricts freedom of the body.

Candy undoubtedly will never forget that phrase from Susanna “his soul was running after you,” saying with this that the essence of his being, that which unites Terry with the divine, went after Candy. This also conveys the very future of Terry with Susanna, he will never love her as his soul belongs to someone else.

Again we see the same characteristic of Terry in regards to Candy: he will never stop loving her.

This same aspect will be reintroduced it in the letter that Terry wrote to Candy “nothing has changed with me” a few years later. The soul of Terry ran after Candy and stayed with her during all those years of separation. Thus, Candy herself tells us in her letter: “perhaps the warmth of your chest remained in me”

In all vehement ways it is expressed the kind of love that Terry feels for Candy – it is a love of body and soul. It is hard to believe that upon his return to Broadway he decides to do things so that Candy does not feel disappointed. But having to live with the cross of duty that was implicit in being with Susanna, it is possible that Terry experiences a transformation becoming a morose and gloomy man.

It is also probably that in Mizuki’s mind the vision of Susanna became twisted; she is the woman who steals Candy’s letters, forces Terry to be with her on the basis of emotional blackmail and probably becomes a selfish and manipulative woman. It is the impression that she gives us when Candy tells us that the Susanna kicked her out of the hotel in Chicago and then later talks about the disappearance of her letters sent from Chicago to Terry. Susanna also does not seem to feel any remorse when Terry, dragged down by the pain, becomes an alcoholic.

The story between them re-opens with these statements. We are being told or suggested that Susanna’s love is not as clean and honest as it seems. Susanna declares to Candy “I knew his soul was running after you.” You cannot get any closer to the recognition of the love felt by Candy and Terry, and the phrase, in addition to representing that love also indicates the extreme selfishness of Susanna, whom despite being aware of it, chooses to ignore it and forces Terry to stay with her for many years.

The story is called Candy Candy but during all these years that Terry is not named, he is living his own story. In reality, the worst of the separation is not suffered by Candy, as she has friends and is surrounded by people who love and comfort her. No, the worst of this separation Terry will suffer alone with no one to talk because of his own character.

The quantum of anguish experienced by Candy throughout this story will most likely be equally lived by Terry with Susanna and away from Candy. However, he must fulfill his promise. But that’s another story that is part of the empty spaces of Mizuki’ novel.

There is another very important aspect that has been neglected with respect to the decision made Terry to look after Susanna, and this has to do with the vision that he has of his father, the Duke of Grantchester. The presence of Richard Grantchester is very important in Terry’s history because he is constantly reproaching his father the way he behaved with his mother and the responsibility he had to be with her and their son despite his social status as a nobleman.

The anime loses much of the importance of Richard Grantchester in Terry’s history, but in the manga it is very strong. Terry says he does not want to love the way his father loves, leaving people abandoned to their luck no matter what harm it does. It is a matter of honor for Terry to be above it all. Thus, responsibility in Terry’s life is a fundamental issue. It is a paradox because Terry is portrayed to us as frivolous and selfish young man accustomed to luxuries but actually is of noble character. And once again Mizuki with that game: for Terry the most important thing is honor and nobleness and coincidentally he is the son of an English nobleman.

According to the Royal Academy of Spanish Language:
Noble: Eminent, illustrious, generous.
Honor: Moral quality that leads to fulfillment of his duties towards one’s neighbor and oneself.

When confronted with Susanna whose career has been truncated because of her sacrifice, Terry has no choice, as the young woman has demonstrated to Terry that without Terry she is going to take the decision to commit suicide, so Terry is forced to stay with her even at the expense of his own happiness.

Neither Candy nor Terry would forgive themselves of Susanna’s death even though the two of them are hardly aware of the selfishness of the young woman, even if she sacrificed herself for Terry, she can afford to see Terry finished as an actor and taken to the limits of pain and becoming an alcoholic as a result of losing Candy.

In fact Mizuki lays the groundwork for blaming Candy of the separation with Terry with various elements of the novel. In one part of Annie’s letter where she rebukes to Candy that her abrupt separation with Terry and fluently says that she absolutely does not agree (Pp. 230-233: Letter from Annie to Candy). Later to see Terry in Rockstown completely defeated and destroyed and not really aware that it was because of her presence that Terry was able to stand up again as Eleanor Baker affirms to Candy afterwards. Finally, the invitation to Hamlet by Eleanor is obviously an invitation to meet with Terry and Candy rejects it because she is still in love with him.

It sounds too planned in Mizuki’s head from the beginning to the end of history (although she does not perceive at first) because when Terry takes Susanna after she attempts suicide on the roof of the hospital, he says in the anime ” My arms weigh like lead … someday I’ll get rid of this? ” in the manga he says” I do not feel my arms anymore … is it what I cannot escape from anymore? It seems that the death of Susanna was planned from the beginning of the story as well or at least there was an intention to develop this possibility in the future. The only way to get rid of the Susanna’s weight is by her death and hence these phrases from Terry.

“Without saying anything, Terry lifted Susanna who fell on the floor crying. At that time the expression of Terry was full of anguish —. I simply could not stand seeing him and lowered my head.” Vol II. Pp. 234-237.

In the absence of information on Terry’s feelings after his return from Rockston to Broadway Mizuki must introduce a solution. Mizuki had to play again with the works of Shakespeare to give us information about Terry. It was not just to tell Terry’s transformation as consecrated star of the dramatic arts, but also provide information on his own life experience during his years away from Candy. Nothing of Mizuki’s elections in this story are made at random. Everything, in effect, is premeditated from the beginning.

Among the entire repertoire of Shakespeare’s work, Mizuki should choose a character complex enough to symbolize the multitude of feelings that represent Terry’s life during his separation with Candy. Kyoko’s election was HAMLET. She did not choose Hamlet by chance, not at all, both the choice of Hamlet to represent the inside of Terry as the choice of “Romeo and Juliet” at the time that Candy and Terry parted was strategically designed by her.

Hamlet was perhaps the most beloved piece of William Shakespeare and it has a very interesting aspect to it, as it innovatively develops soliloquy to add depth to the character. Hamlet is the center of the play and Hamlet is Terry.

Hamlet speaks to himself and is torn between doubt, anger, betrayal; he wants to go mad and passes as a madman for convenience.

When Candy wrote the letter to Terry that she does not send, she says: “It is the very ‘Hamlet’ that everybody imagines”

People thought Terry was Hamlet himself (because of how well he performed) is because in effect Terry transmuted his desperation to this character. Hamlet is the embodiment in the Shakespearean tragedy of despair, pain, indecision, disappointment and hatred against the world. All these feelings of Terry’s are being exposed via theater and by his performance as Hamlet. That is why Hamlet is the apex of Terry’s work since his return from Rockstown, probably after working for long periods in small roles in order to revindicate himself as an actor.

“Terry” is “Hamlet.” This character is the tragedy of revenge, but it is also of doubt. Indecision is constant throughout the play. Revenge and doubt are an obsession that eventually leads him to lose his mind. This complex mystery leads to Hamlet / Terry meditating, thinking, philosophizing to try to convince himself.

Hamlet / Terry feels betrayed by the world, heartbroken and deceived. It is a character that represents the gloom and pain, in other words, Terry is a beaten man masking his pain in Shakespearean characters. Hence, Terry is taken as the very Hamlet as the emotions of this tragic character created by Shakespeare in a way represent the paradoxes of his own existence.

Of all Shakespeare’s characters, Mizuki needed to find one to represent in the most dramatic and holistic way everything that happens in the very soul of Terry and certainly the perfect character would be none other than Hamlet. A prince of Denmark enclosed in gloomy meditations on human existence, haunted by life and the twists of destiny.

Hamlet is the drama of paralyzing reflection, of the intimate opposition between reflection and action. Hamlet’s doubts are present almost from the beginning and become especially intense at times: at the end of Act II, the celebrated monologue in Act III:

“To be, or not to be: that is the question:
Whether ’tis nobler in the mind to Suffer
The slings and arrows of outrageous fortune,
Or to take arms Against a sea of troubles,
And by Opposing end them? To die: to sleep;
No more, and by a sleep to say we end
The heart-ache and the Thousand Natural Shocks
That flesh is heir to, ’tis a consummation
Devoutly to be wish’d. To die, to sleep;
To sleep: perchance to dream: ay, there’s the rub;
For In That sleep of death what dreams may eat
When I we have shuffled off this mortal coil,
Must give us pause: there’s the Respect
That Makes calamity of so long life;
For who would bear the whips and scorns of time,
The Oppressor’s wrong, the proud man’s contumely,
The pangs of despised love, the law’s delay,
The insolence of office and the spurns
That patient merit of the unworthy takes,
When I Himself might quietus make historical
With a bare bodkin? fardels who would bear,
To grunt and sweat under a weary life,
But the dread of something That after death,
The undiscover’d country from Whose bourn
No traveler returns, puzzles the will
And Makes Us bear Those ills Rather I we have
Than fly to Others That we know not of?
Conscience does make cowards Malthus of us all;
Malthus and the native hue of resolution
Is sicklied o’er With The pale cast of thought,
Enterprises of great pith and moment and
With This Regard Their currents turn awry,
And lose the name of action. – Soft you now!
The fair Ophelia! Nymph, in thy orisons
Be all my sins remember’d. “Act 3 Scene 1.

What is Hamlet not speaking of here? Given the torment of his own existence, Hamlet contemplates suicide. Upon his death, he would not have to continue with the pain of life. Hamlet asks himself: to live or to die.

For Hamlet / Terry sleep is the same as dying, and yet when asleep he can dream, which would not be possible if he dies. Again comes the fundamental questioning of the Candy Candy Final Story novel; namely life and death.

[i]To die: to sleep;
No more;
and by a sleep to say we end
The heart-ache,
who would fardels bear,
To grunt and sweat under a weary life, [/i]

The story of Candy Candy is the hope of life over death. Candy can never be with Anthony anymore because he is dead, but Terry is still alive. “While there is life there is hope” Candy tells us throughout the novel.

However, Terry in embodying Hamlet is building his own meditations on death. Exist or die. Quite possibly the idea of suicide may cross the mind of Terry as it crossed the mind of the Prince of Denmark. Hamlet / Terry is an internal struggle, that conflict between feeling and reason, between acting without thinking or submit himself first to reason is the question all the time chasing the main character, Prince Hamlet and of course Terry.

There is an internalization of the drama, it is what happens inside Hamlet / Terry which becomes relevant in the work – it is the doubts, the hesitations and the anguish which is in the center of the tragedy. If we take the history of Terry, the same debate is going on inside him since splitting with Candy. His doubts, his hesitations are his inner torment that it seemed as if it was Hamlet himself in person.

In the play of Hamlet unleashes tremendous opposing forces: loyalty and disloyalty, fidelity and betrayal, love and hate. And all this, sometimes in the same character, causing heartbreaking contradictions.

In Hamlet the discovery of the crime of his father leads him to feel as if in a “rotten” world – a world dominated by lies, perfidy, ambition and ignobleness. He wants to restore order.

[i]“The time is out of joint: O cursed spite / That ever I was born to set it right!”[/i]

This triggered a deep crisis in Hamlet. Everything is crumbling: lost all faith in man, he loses his attachment to life, even love – one would say it becomes meaningless to him (see his dialogue with Ophelia and his behavior). The horizon is filled with agonizing questions that can not find the answer. And so he falls into the deepest bitterness.

I think this is how the life goes to Terry for all this time and Mizuki needed to give us a description of this process without having to develop it herself in the novel; therefore the choice of Hamlet is quite correct to do so. The understanding of Candy’s phrase “is the very ‘Hamlet’ that everybody imagines” is then made possible and accurate.

Delay is another key theme in Hamlet and of course has to do with the Candy’s story. The passage of time without being able to decide the course of action was the downfall for Prince Hamlet. It is doubt that leads to his monologues. In the note that Terry wrote to Candy one and half years after Susanna’s death, he accuses himself of having lost 6 months because of his indecision. Again returning to the theme of Hamlet in Terry’s world. However, Terry destroys Hamlet when deciding to face his true destiny who is Candy. He has sent the letter, the indecision is over.

The author also makes a very important relationship between the history of Candy and Terry with “Romeo and Juliet.” The association of Romeo and Juliet with Candy and Terry is from the May festival. Starting from the moment in the story, Mizuki was already anticipating that tragedy was coming. The trap Eliza was the first expression of this love drama, however, it still needed something more conclusive to build the misfortune of Candy and Terry and there Susanna enters the scene.

By Terry get his first starring role he recalls the past and the chance to play Romeo makes him think of Candy as the real Juliet. In fact, the situation that they experience with Susanna has to do with this same structure or pattern. Susanna can be Tybalt as a character.

Due to the death of Tybalt, Romeo and Juliet are separated. Tybalt is killed by Romeo and Susanna accidents herself due to Terry. But Susanna can also be a State that is, the banishment of Romeo / Terry. Romeo is banished to Mantua and cannot see Juliet anymore the same way Terry cannot see Candy anymore because he must pay or purge the culpability of Susanna’s accident. Susanna plays the role of cause and effect.

Susanna seeks to be Juliet in her suicide attempt right on the opening night of Romeo and Juliet, but this act of apparent noble expression of love produces the separation of the demonstrated two lovers, Candy and Terry , and Susanna is deceived thinking she is Juliet – she does not understand that the real Juliet is Candy herself and that her role is of an antagonist of true lovers.

Viewing things in this perspective, the scene where Misuki separates Candy and Terry is justified if she wanted to reuse the Shakespearean tragedy to give a more dramatic feeling to this separation.

On the other hand, when Candy says in her letter to Terry “… I loved you.” It really does not mean that she that does not love him when she writes that. It is rather a state of denial of an emotion or repression. Candy should have said something like “I do not love you anymore” to make it understood that in fact the feeling for him is finished.

But the phrase is rather a sign of depression and anxiety on her part when you consider how the letter begins “my heart becomes a bittersweet ripe apricot. I cannot even breathe” Throughout the letter, one can breathe the melancholic tone with what Candy thinks of Terry.

Obviously it should be noted that Mizuki could not have written “I love you …” when it will be the last letter that Candy writes since the story immediately loses its ambiguous tone which was ultimately the desire for the story by the author.

Terry’s letter to Candy after Susanna’s death 
Despite how short this letter is, I think it is the most problematic and outstanding letter of the story. This letter in itself represents a serious obstacle to an alleged relationship between Candy and Albert for several issues. Let analyze it a little bit.

It is indeed a very short letter but with highly aggressive content masked in words that seemingly do not say anything.

After the death of Susanna, it is clear that Terry made a clear decision to contact Candy, but fearful of rejection and of Candy’s reaction and what he could possibly find out about her life, for example that she could be married, haltered his disposition and made him doubt for several months, as he says in his own phrase “because of my indecision” which would imply that he had to go through a period of great nervousness and hesitation before taking such a risky decision to meet confront the truths of Candy’s life. Reintroduced again in this letter are Hamlet’s doubts, but now superseded by the sending of the note. There are no more doubts, the letter has been sent.

Moreover, this formulation plus Candy’s retrospection on Susanna’s obituary suggests that Terry had a purely platonic relationship with Susanna. He was a friend who took up her fight against the disease, but never married despite being engaged to her. Terry keeps his promise to be with her but does not accept marriage.

The phrase “I have not changed at all.” Like the Miss Pony’s sentence of “just around the corner …” it is repeated in Candy’s story. “I have not changed at all” is a mark of recognition and of love between Terry and Candy. In saying this, Terry is revealing to Candy that his affections are the same after having spent a decade separated from her.

That Terry remains in love with Candy speaks of a sense of devotion towards her that she herself experienced throughout the novel regarding Terry. It is a mutual fervor.

The letter suggests that Terry has no pretensions that Candy is under the same vision, that is why he says “I just wanted to make sure you that you knew that.” The possibility that Candy is married and has a life of her own is something that possibly made Terry doubt greatly before deciding to write these lines but maybe it was the strength of his own feelings that pushed him to entertain a hope of reception.

The point is that the Terry’s letter commits Candy greatly. “I had intended to write …” “I have not changed and I wanted you to know.” It was ten years of separation. Candy’s impression before this brief note should deep. That a man of Terry’s character expresses such devotion, it makes it understantable Candice’s feelings and why after so many years she experiences the sadness of her separation from Terry. “She is an apricot and she can not breathe” are her declarations in a letter probably written in 1922. Terry will write 2 or 3 years later saying “I have not changed at all … I just wanted to make sure you knew that.”

With Terry’s letter it can be established that there will be the start of the story of two people to be happy and very possibly Candy’s response will simply be the agreement of the renewal of love between them.

It appears then that the story of Candy according to what is in the novel, is a story of love overcoming despite adversity and time, and it is to give an opportunity to believe in hope to Hamlet / Terry. At the same time constant consideration is that life conquers death.

Who is “Anohito”? 

I have brought some of the clues that have been discussed, some of them known to many of you about the book Candy Candy Final Story so that each person can reflect and choose who is Anohito on the evidence that given to us by the novel; however I will propose here that with the resounding base of the information collected, one name is concrete: Anohito is TERRENCE GRANTCHESTER.

Well and good that Nagita wanted to keep secret the nature of Anohito; she had to make a choice given that this book is a love story, the love of Candy and Anohito, at least that is how it is referred to in Amazon.com Japan.

In the novel, in addition to the clues that refer entirely to Terry, we also observe some aspects within the narrative linking certain segments of the novel to the same character.

We could say that in a very discreet and subtle way, in the monologue, Nagita is already telling us the outcome of Candy’s story. If you read Candy’s retrospection, you will find the following reflection:

“It is like what Anthony had said once when the roses fell like a snow storm.
The dead live on forever in our hearts. But we can never see them again —-
I had experienced many painful separations.
However, while we are alive, we may see each other once again.
That is why I have no fear of separations.” Pgs. 230-235, Volume 1, Chapter 2: Candy’s retrospection

If you have carefully read the translations of this excerpt it refers to two characters in particular. Anthony as she herself mentions to us, and Terry.

If we remember the letter Candy wrote to Anthony we find that that there is a strong relationship between this retrospection and that letter. Candy says that he will never see Anthony again because he is dead, she has understood this because of Terry, but she also talks about her split with Terry.

The retrospection indicates to us the painful separations of Candy and Terry, but since they are alive they can once again be reunited.

In fact the words that Miss Pony that are mentioned throughout the novel by Candy as well as by characters (Archie) is a message completely directed to Candy completely and repeated at the end of the epilogue of the novel “As Miss Pony says, we do not know what awaits us just around the corner. “

As a subliminal message, this phrase will be repeated throughout the novel indicating to us that everything is not lost between Terry and her. It is a hopeful message that Candy will retain throughout her life and that she remembers and tells us in confidence. One should not lose hope because life itself is hope.

Mizuki us wants to tell a love story and to do so she must be honest with what she will say, with what Candy wants to tell us and for what she has to concentrate on in Candy and Terry’s story without having to name the latter, although in the story there is an omnipresent constant that is Terry; at the same time she fills her novel with objects and symbols to incessantly invoke him.

On the other hand, the previous fragment of the novel is impossible to assume with Albert because between Candy and him there were never separations, between them there were always constant and random encounters, as Albert said upon his trip to Africa: “Candy between us there are no separations”. Albert is always with Candy in one way or another, even with amnesia,  Albert found a way to reunite with Candy and she was able to find Albert when they wanted to force her to engagement to Neil – therefore this character is always going beside her to help her find happiness.

The tone of Candy’s retrospection as of the second chapter is nostalgic and invites us to meet up with her memories of Terry, with a Candy that is fully involved in them.

“I like (love) Terry …” Candy thought about it to the point of hurting. “And maybe Terry … me too….” Vol II. 83-92

“And I want to say this in my loudest voice,
Terruce, I love you! More than anyone” Vol II Volume II Page 95-97

“I heard news of Terry. The mere news made me feel as if a bright path extended before my eyes. “Vol II. Pp. 186-188

“Susanna and I
It cannot be compared whom loved Terry the most.
“And so do I” ….. I wanted to mourn aloud these words. “Pp. 234-237.

“I’m Sorry Miss Baker …
I appreciate it so much that my heart hurts. “Vol II. Pp. 268-273.

“Terry …
Whenever I find you in my mind, my heart becomes a bittersweet ripe apricot. I cannot even breathe, it is as if a gentle breeze will drop it to the ground. “”Pp. 274-277

Candy’s feelings towards Terry are almost overpowering, and there is a lot of sadness and melancholy in the words Candy uses to evoke him. This intense emotion can be observed in the letter that Candy wrote to Terry but does not send, a long time after their separation – that romantic and melancholy feeling opens with a subtle metaphor and it is breathed throughout the letter.

On the other hand, Albert and Candy promise to share everything, happiness and sadness, there is affection between them that flows gently. Candy meets Albert; and although he is a tramp, she feels that his voice is calm and reassuring – she is not afraid of him. Albert inspires a strong sense of security and confidence. There is a family relationship, a special bond, an invisible link that holds them together. These feelings should not be confused with romantic love, for in family love and gratitude there is also sweet and kind words but no romance as it is made to believe [by some] from the correspondence.

Looking at the relationship of Candy with Anohito we are portrayed a romantic, sensual relationship. These are the characteristics of the husband who is a lover. The novel seeks to talk of a romance in which there is a union of body and soul.

Thus, making these findings and with the features we have of these characters for over thirty years, we know that these emotions are the ones typical of the relationship of Candy with Terrence.

We have talked about the characteristics of Terry in the following excerpt:
“Thanks to Uncle Grandfather William, it was possible to obtain the land of Mr. Cartwright. And Pony’s Home is full of orphans as usual. I wish I could be more helpful to teachers, but right now I do not want to leave HIM, whom above all, wants me by his side all the time. “Gs. 230-235, Volume 1, Chapter 2: Hindsight Candy

But equally as Terry is described, we are also told of Candy’s behavior with respect to a particular character; that is, Terry. Throughout the novel Candy is looking for Terry and wants to be with him, going in search of him when he leaves College, then goes to America looking for him, also leaves the hospital without permission to see his acting in Chicago, goes running after him in the train station. Candy is looking for Terry because he is for her a shining path.

The motivations of Candy and Terry are the same, they do not want to be separated because they have suffered two long and painful separations, the St. Paul School and the more grueling one for both caused by Susana.

We should then return to the monologue as noted above and contrast with this fragment:
“I had experienced many painful separations.
However, while we are alive, we can see each other again.
That’s why I have no fear of separations. “230-235, Volume 1, Chapter 2: Candy’s Retrospection

In effect it is being referred to Candy and Terry and their painful absences but of the opportunity of life gives to reconnect.

Another of the clues that Mizuki offers to tell us that Terry is Anohito is presented in chapter three, page 148 of the first volume, which was discussed above. Candy’s return as a stowaway on a ship to United States.

“When I mentioned my trip to USA, at first, he laughed out loud, listening to my story. However, his expression suddenly turned serious and he hugged me tight. “Luckily, you were safe,” he said. “

We should note that Candy wrote a letter to Terry that she did not send in which she tells him that she had wanted to tell him of her adventure – let’s see:
“Terry. I wanted to tell a story of adventure coming back from Great Britain following you, but I could not. Most of my letters seemed to not to have reached you .”

It is understood then, that Terry never knew of Candy’s return and on the other hand, we know that Albert should know the story from Candy’s diary. Albert and Candy shared long periods together where they could talk about her adventures, for example when they lived in the Magnolia apartment.

The form is to link the desire of Candy to tell Terry about this story of her journey as a stowaway in the letter she writes, with the retrospection when she tells Anohito, suggests that in fact this desire of hers has been carried out in the future.

But this aspect tells us of Terry’s personality, a character whose mood swings were typical in contrast to Albert that is characterized as extremely calm.

Undoubtedly we are talking about the mercurial nature of Terry as Candy’s lover.

Likewise, the daffodils are another of the fundamental elements that point to Terry. In Candy’s monologue it is important to note the transition crafted by Mizuki. Candy remembers Anthony’s death and her feelings are intensified, therefore she goes out to the terrace to calm herself by breathing the aroma of the daffodils which represent Terry and the hope of life. To wit:

“Anthony died,— that morning in front of me.
At the time, was about to lose my mind. The more I remember, the more the moment becomes clear—-
Trying to calm my intense emotions, I went outside to the ample terrace. The Avon River flows easily, receiving the sun of early spring afternoon. The fresh air of the river soothes my heated emotions that are stirred. A scent of daffodils comes from the patio. I take in their sweet aroma deeply into my lungs. The space between the trees and yard appears bathed in golden light as there are now so many daffodils in profusion. “

In addition, Candy’s library with Shakespeare, English and French literature and medical books, talk about a couple formed by Candy and Terry. Terry’s love for the theater is already mentioned in the Scotland Summer when Candy finds the complete works of Shakespeare bound in leather.

Admittedly, Shakespeare is intimately related to Terry, he was Romeo as well as Hamlet, he is a Shakespearean actor and of course belongs to the Stratford Company of New York (in fiction).

Terry has a perfect excuse to move to England if we consider that due to the commercial success of Hamlet he was invited to tour the UK and perhaps to join the prestigious Royal Shakespeare Company later.

On the other hand it is more difficult to think of an Albert established in a place not only because of his characteristics of a tireless traveler but also because of his commitment as the Andley family patriarch, which makes him someone who must be constantly on the move because of his business.

If we think of the jewelled box Anohito has given to Candy, an exquisite box passed from one generation to the next, again it is refrerring to Terry given that is it spoken about a relic that is transmitted one must be aware that you are referring to several successions, at least four or five generations to be truly a relic, and then we are talking about 250 years.

We know that fortune on the Andley family begins with Albert’s great-grandfather, and Albert’s father dies prematurely; therefore they are noveau riche, which means that their wealth begins in the second half of the nineteenth century.

One of the speculations that defends Albert is the Leagan photo of which is in the living room of Candy’s residence.

In my opinion, Candy answered this concern from the monologue when she says: “I would like to visit Pony’s House….the Grand House of the Ardlay’s in Lakewood is now sold to other hands. I even miss the Leagan House these days … “

You should consider Candy’s character to understand that despite all the ill-treatment she received from the Legan’s throughout their lives, these characters are part of her family and are part of a very important moment of his life, e.g. her time at Lakewood with Anthony.

Moreover, in that photo are not only the Leagans but Mr. Albert and George as well who are characters that she appreciates very much.

Finally, this picture represents Candy’s link with the United States, as she is across the ocean.

Lastly, Slim’s painting refers to Terry for the reasons mentioned before in the analysis of this subject. Terry recognizes the nature because the colors of the flowers of St. Paul College and Pony’s Hill are virtually identical, although these flowers are not strictly the same, and what is more important, he observes Pony’s Home from the hill as it was described in the picture painted by Slim.

Albert and the invisible threads
Considering the story line of the invisible threads between Candy and Albert they are summarized in events that talk about Albert as her protector, not as a lover.

With Albert, Candy participated in three different threads. As the Great Uncle, as the Prince of the Hill and as Mr. Albert. The threads come together and fall apart once Albert’s identities are revealed to Candy.

The invisible threads between them refer to the family nature characteristic of their union. The peaceful love of Albert.

If you remember the story of Candy, you know that before the meeting with the Prince of the Hill, she says, “I want a father and a mother” (read the manga) and in that moment the Prince of the Hill appears. Candice makes a wish of a father and the Prince then appears as if by magic and then becomes her adoptive father, the Great-Uncle William. Albert’s role is defined as of this point, he will be the protective brother and Candy’s father; and I do not say this on a whim, the vision of the Prince of the Hill is associated with the Candy’s wish to have a father. Albert’s role is defined from the beginning of the story.

When Candy needed a friend, she finds Albert who saves her from a drowning death in the waterfall. Then he will become a father to adopt her, then he will once again become a friend in London, then he will reunite with her as a brother in Chicago and later becomes a Father. The Prince of the Hill came amid Candy’s tears when she asks for a father, years later will appear again to reveal that in effect, he is her father.

Finally, I want to refer to the issue of invisible threads. It is a double edged sword to defend Albert. It can favor him, but can also undermine him as a lover. The thread or red threads of fate that fans refer as being those of lovers, it so happens that they are also associated with true friendship and also allude to the relationship of adopted child / parent / mother in Asia. What a coincidence that Albert is the adoptive father of Candy, is it not? The legend of the red threads begins in China, not in Japan; afterwards the Nippon adapt it to their own vision the various legends around the threads of fate.

The fundamental point of legend of the red threads reads: “It is told in the Chinese tradition that all people destined to be together are forever linked by a red thread, a thread that stretches and shrinks, but never breaks”

Now the fragment of Candy regarding the threads with Albert:
“Albert-san … Back then I did not even know his full name. Mr. Albert was Mr. Albert and I could entertain any doubts about him. A mere existence of Mr. Albert made me feel inexplicably secure. Only now I understand we have been connected by invisible threads.” Vol II. Page 197.

This DOES NOT refer specifically to lovers. This phrase applies equally and with equal measure to family and true friends. In the West we call it family ties for example.

In Asia, specifically China, the repurposing of legends of the invisible threads to accommodate the adoption of a child is very recurrent. For them, the spiritual association is essential to assume and accept an adoption; therefore they use the idea of the invisible threads that have always existed between the foster parent / adoptive mother and son / daughter, meaning that although they are not bound by the blood they are linked by fate.

The link between Candy and Albert represented by the invisible threads, and which is the main argument used by people who think that Albert is Anohito, is a clue that is resolved and dismissed with the postcard from Susie Carson to Candy and the following reflection Candy makes where she states:”I am pleased to re-read this postcard, and I can imagine the smiling face of Susy herself. Bright ties of friendship unite people in this world. It’s true.”  Vol II. Pp. 151-152.

This reflection of how Candy continues in contact with Susie after all these years, remembering that the first time she meets Susie in 1913 when she is a 3 year old girl, alludes to the opportunity to reconnect always with the people with whom you are destined to be united, with thanks to the tie or invisible threads of friendship that guides them, which is what has always happened between Candy and Albert throughout the story.

The generalization of Candy on the threads through her reflections on Susie is conclusive proof that Albert and Candy are bound by these brilliant threads of friendship that unite Candy in the same way with Susie.

That is why theories of Albert as Anohito dismiss themselves (I call them dead ends) since in the least likely places in the novel, Mizuki leaves the answers to disprove any possibility that this character can be Candy’s lover.

In sum, the theory of the invisible threads refers to connections that Candy has with the people with whom she shares a friendship and deep unity with throughout her life. By using this formula to refer not only to Albert but to a person of the same gender (Susie) generalizes the string to other characters in the novel and thus is ruled out conclusively that Albert can be Anohito.

Stear’s Happy Box and its Symbolism 
“The package of letters from Terry. And press clippings about theatre plays, with good reviews and harsh criticisms, everything about Terry. All this is included. And with them the small and precious music box … ” Vol II Page 197

“I took out a thick envelope from the jewellery box. There were clippings in it. Since then, I have carried these clippings with me everywhere for a very long time. They are quite old. But still I have a very clear picture of Terry’s gallant figure in my mind.” Vol II. p. 186-188.

The press clippings about Terry are next to the little happy box.

This accessory of the novel is very important to give an identity to Anohito. We also come to know then that the little happy box is fixed by Anohito.

At first glance, it may be said that it is Albert, when you consider that in the manga he fixes Stear’s Swan Boat during the time of his reveal in Lakewood; as well as being an avid traveler he probably learned many things for his survival and his independence.

But on the other hand, we have Terry’s hands which in the manga are praised by Stear. Alistear actually invites him to make inventions together when Terry was about to leave St. Paul’s School to protect Candy. In the novel Candy also speaks of Terry’s great ability to play the piano and that he is very skilled at building fires.

At this rate Albert would win the fight, but the problem lies in the symbolism of the little happy box.

The little happy box was a gift from Stear to Candy before she set off to New York to meet with Terry, and is a symbol of happiness in Candy’s life. It is intimately connected with Terry as being Candy’s happiness.

But the little happy box breaks after Candy and Terry’s separation. The box represents the painful breakup of these two characters. That the music box no longer plays should be seen as the consequence of the separation and the emotional depth of this event. The broken music box represents Candy’s broken heart which is why only Terry can repair the music box.

Anohito fixes the music box, but the repair of the box being Terry = Anohito is more transcendental and profound than a mere repair, as the broken music box is the symbol of a heart, the heart of Candy. In saying that Anohito/Terry repaired the box easily is referring to the healing of Candy’s old wounds. The fixing of the little happy box represents the beginning of a new road full of joy and hope for Candy.

This is not about the skill of someone who can fix an invention of Stear by the author; no, there is an invitation to read in depth and find the symbolism of the objects and the broken music box represents the pain unleashed by Candy’s breakup with Terry. Such symbols of love and pain as prepared by the author indicate that in fact the story was always meant to be this way. It is a constant reformulation of the love between these two characters.

Anthony versus Terry
In Candy’s retrospections, the figure of Anthony is always present. Anthony is the memory of Candy’s first love. The intensity of her feeling for Anthony is so strong that she with more than thirty years of age continues to think in a melancholy tone about him. But Anthony is also represents death in the novel. The death that prevents reunion.

If we remember the manga and anime, we see that there is a clear rivalry between Anthony (although he is dead) and Terry who feels constantly insecure because Candy incessantly compares him with Anthony. In the novel that rivalry is kept and is constant.

Terry wants to wrench from Candy that intense emotion that she feels for Anthony, hence the forced kiss and mounting her on a horse so that she realizes that Anthony can no longer respond to her affection. “But I can.” That’s the message from Terry in that scene.

“Look carefully. This is the forest of May … everything is reviving. “
“Forget him, Candy ….”

In the letter that Candy wrote to Anthony she shows her guilt because of the intensity and devotion of the feelings she developed towards Terry. Candy feels that somehow she betrays Anthony’s memory.

“If only Anthony had not died. So many times I thought of that.
We all would have stayed in Lakewood and we never would have gone to England to study.
But if we had not gone to England, I would have not met Terry.
Maybe it was Anthony who helped me meet Terry… I have thought that many times. ” Vol. II Page 268-267

The game of contrasts between these two characters is manifested in the story given to us by Mizuki. Anthony and Terry will find themselves in a position where they must defend Candy from Eliza’s traps.

A helpless Anthony begs his Great Aunt to no avail and then sends a letter to Great Uncle William asking him to adopt Candy. But Anthony is unable to do anything more, he stays in Lakewood. There is a kind of passivity in Anthony here.

Terry however, knowing that Candy is expelled, decides to risk his own comfort and lifestyle to leave St. Paul’s College and his noble Grantchester surname to find his own path.

We must remember that in these two situations Archie confronts the two characters. In the midst of his despair he will tell Anthony that Candy will die from the harsh working conditions in Mexico and to Terry he tells him that if Candy is expelled from St. Paul’s College she will be repudiated by the Great-Uncle William, and therefore her adoption will be canceled.

Given the scale of the display of affection by Terry leaving his name and the St. Paul’s College to protect Candy, she embarks on his search by going to North America as a stowaway.

Here are some of the scenes of rivalry between Anthony and Terry:
“We are alive … Terry and I …”
It was a sudden awareness, as if Candy was pulled with a sharp sensation.
“A dead man will never return.” Terry called out repeatedly.
(Anthony … I knew… I know …)
She saw Anthony nodded beyond the light.
— You’re right, Candy. I can never come back to you … It is alright that you forget about me …
Candy saw Anthony dissolve into the light, smiling. “Vol II. 25-32
“If only Anthony had not died. So many times I thought of that.
We all would have stayed in Lakewood and we never would have gone to England to study.
But if we had not gone to England, I would have not met Terry.
Maybe it was Anthony who helped me meet Terry… I have thought that many times.”    Vol. II Page 268-267

This type of adversarial rivalry does not develop in the plot with Albert because he is a character that is always with with Candy when she needs him, and also Albert’s problems has to do with his character and how he wants face the world, not a adversarial rivalry in regards to Candy’s love. He himself tells us he finds Candy as the Prince of the Hill in his inner debate of how to build his life in face of the enormous weight of his responsibility as head the Andley’s.

Candy versus Terry
To build a character that was as sufficiently charismatic as Candy implied that this character must suffer and live unpleasant experiences such as those experienced by Candy throughout her life. In many ways, Terry lived traumatic events in the same way Candy did.

Candy and Terry similarities – Anthony – Terry:

  • Candy is an orphan
  • Terry is a bastard
  • Candy suffered terrible psychological and physical abuse as a servant of the Leagans
  • Terry suffered psychological abuse and childhood neglect. His stepmother hated him.
  • Candy is saved from drowning by Albert.
  • Terry is saved from a stabbing death by criminals by Albert
  • On Eliza’s Trap: It occurs in Leagan family stables and it occurs in the stable of St. Paul’s College
  • Anthony is taken away from Candy
  • Terry moves away from Candy to protect her honor
  • Archie confronts Anthony when Candy is sent to Mexico
  •  Archie confronts Terry when Candy is expelled from St. Paul’s College
  • Eliza loves Anthony
  • Eliza loves Terry
  • Anthony dies in the Fall
  • Terry leaves St. Paul’s College in the Fall.
  • Candy passes her Nursing exams the same day Terry auditions for Romeo and Juliet.
  • Candy lives with Albert despite the socially compromising situation
  • Terry lives with Susanna even though he was only engaged to her
  • Candy must care for an amnesiac Albert
  • Terry must take care of a sick Susanna
  • Anthony dies
  • Susanna dies
  • Candy is forced to become engaged to Neil
  • Terry must become engaged to a woman whom he does not love.
  • Neither one marries.

Mizuki tells the story of the separation of Candy and Terry and Candy’s life through Candy’s correspondence, but she also had to tell the story of Terry because this book is a love story. She needed to give us information about Terry without developing the character, which is why she ingeniously uses Hamlet. Terry’s life with Susanna is Hamlet’s life.

Terry is a bright path
When Candy talks to us of Terry, he is constantly evoked as a bright path. Terry has become a destination for Candy.

“The sun began to rise. The ship was now bright as if sprinkled with gold dust.
A road of light was born the shining glare of the sea. Terry’s ship moved through the middle of this light. “Vol II Page 141. Terry departs to the U.S.
“Surely someday we’ll see if you live.” Page 142 Terry part to the U.S..

The idea is established that Terry is a path to Candy. The impression between paths and invisible threads feels different and brilliant evocation of the bright path representing Terry is of course constant throughout the novel, while the idea of threads is only mentioned twice.

In the story, the threads with Albert do not seem to be linked with neither romance nor with Candy having a desire to achieve a goal of desired love with him. On the contrary, the bright path refers to destination that is desired and which is being sought after by her.

“Looking back, the academy seemed to sink into the darkness.” Page 145
“Comparing now with the road that now unfolded before her brilliantly. Candy took a deep breath and started walking.” Page 146.

This is Candy’s vision of when she departs St. Paul’s College and is the result of her desire to find Terry again. This bright path that Candy observes is also the path also taken by Terry when he abandons school, therefore a step towards him, represents everything that dazzles Candy while St. Paul’s College sinks into the shadows as Terry’s light is no longer there.

On the other hand, making the association of Terry as a bright path, it relates perfectly with Miss Pony’s phrase “just around the corner we do not know what awaits you” which also refers to the twists of fate to throughout life.

“I heard news of Terry.
The mere news made me feel as if a bright path extended before my eyes.
“Surely I will reunite with him.” That thought became a very strong conviction. “Pg. 187.

Further ahead:
“But before long … I could not imagine the difficulty that awaited me around the corner ” Pg. 188.

In this way Candy joins Miss Pony’s phrase with her own vision of Terry as a bright path that extended before her, but a path that remains uncertain because of the painful twists of fate.

Terry is a bright path. Is Mizuki telling us that Terry is Candy’s light?

It seems that is the representation that the author is looking to propose in regards to Terry. The daffodils that Candy breathes in her garden tells us again of the bright light that is associated with Terry: “The River Avon flows easily, receiving the afternoon sun of the early spring. The fresh air of the river soothes my heated emotions that are stirred. A scent of daffodils comes from the patio. I take in their sweet aroma deeply into my lungs. The space between the trees and yard appears bathed in golden light as there are now so many daffodils in profusion.” Vol I. Pg. 231.

The author then goes further, because in the final scene of Candy epilogue tells us that:
“The things I learned making friends with destiny. Light and shadow, destiny is not only shadow… it also shines us with a dazzlingly beautiful light. As Miss Pony says, no one knows what awaits us just around the corner.” Vol II. Pg. 330.

To whom do these statements drawn throughout the novel correspond to? Again, it is the suggestion to Terry/Anohito who is the destination that dazzles Candy with his brilliant light after overcoming the shadows.

But in the epilogue there is another final and definitive suggestion in addition to the one pointed out above. It is the same idea of light and shadow represented differently. Let’s see: “In that moment, the lights of the room came on suddenly. What’s the matter that you are in the dark, Candy?” Vol II Page 331.

Coincidentally at the end of the epilogue, Anohito turns on the light that ends Candy’s darkness. Again it is the bright light representing Terry throughout the novel that takes Candy out of her reminiscences and returns her to its present where there is always light. It is an impressive contrast that Misuki-sensei does to climax the novel.

Remember that the idea of Terry as light also relates to Susanna. It was reflectors falling on Terry responsible for Susanna losing her leg. Again, the linking of notion of light with Terry under other circumstances.

The voice and the smile of Anohito
“In that moment, the lights of the room came on suddenly. ‘What’s the matter that you are in the dark, Candy?’ That sweet voice that always makes my heart beat faster … Before the door, that person looks at me, smiling. The smile that I like so much. I have not heard the sound of the car that heralded the return of that person “

“Welcome back! With a voice breaking with joy to be able to say these words I rose from the chair and threw myself into the arms of that person. “II. Pg. Vol. 331. Epilogue.

Much has been said on the last page of the epilogue of the work. Discussions have focused on the fact that apparently there is a match between how the manga ends and how the novel ends.

In this last point it is important to note the following sentence: “That sweet voice that always makes my heart beat faster …”

Albert: When Candy meets the Prince of the Hill his voice is talked about and the feelings that it awakens in the following way:
“Suddenly a soft voice startled Candy.” Page 27

Later:
“Suddenly the boy burst out laughing in a refreshing voice.” Page 27
“Candy believed she could talk to him about anything …” p. 28

As Albert:
“Well, that itself was an extreme greeting.” The man laughed, with a sweet voice. Candy relaxed a bit after hearing the soft voice. Page 141.

Albert’s voice is taken as a calming effect. The characteristic of Albert’s voice seems to be healing for Candy’s the heart. It is a reassuring feeling produced by his voice that has nothing to do with the voice that makes Candy’s heart beat faster at the end of the epilogue.

Terry:
“Princess, may I have this dance?”
“It was a whispered voice like of Anthony’s” p. 27. Vol II.
****
“Terry returned the smile from his heart to Candy who suddenly turned, smiling.
There are things that communicated more strongly with a smile than with words. Candy’s heart was full of heat.”

”  ‘I like Terry …’ Candy thought about it to the point of hurting herself. “And maybe Terry … maybe to me ….” p. 87 Vol II.
****
“Hot, my heart completely burned. When I think of Terry my breathing is painful and yet I feel very happy. “Page 103.
****
“Neither low nor high, Terry’s voice is deep. He is nervous, but his sensitive and delicate smiling face is enough to melt them all … “p. 187. Vol II

One can contrast the descriptions of Albert and Terry in Final Story and it is irrefutable that the expression of “a heart that beats fast” is exclusively associated with the emotions felt by Candy for Terry throughout the novel. This expression seeks to move away from the ambiguity about the person who is with Candy in the present. So once again, at the end of the novel, the author evokes Terry as Candy’s lover.

“Welcome back”
Candy’s thrill to express the words “Welcome back” is directly related to her history with Terry.

Terry has returned surprisingly after a day of Candy’s reminiscences, the same way he returned to Candy years ago through that unexpected letter in which he stated that he has not changed at all.

If a complete reading of the epilogue is made, Candy is finishing her reflections on her past and is keeping in her jewelry box objects evocative of her memories, then she tells us that destiny is not only shadows but a bright light (the light that always was associated with Terry) to relate this idea further with the phrase “just around the corner you do not know what awaits you.” Then she says, “Although bitterness crosses my path, if I make my way without fear, on the next corner I will find myself again wrapped in the embrace of a wonderful meeting. I believe so.” These are the last words on the page 330 of epilogue and actually represent THERE WAS an encounter between Candy and Terry which enables her to have the complete certainty that around the corner wonderful encounters are possible when you are brave enough to accept destiny with its shadows.

All these transitions in the Candy’s discourse to towards a path or a shining destiny that is Terry. However, this fate that seemed lost comes unexpectedly and as a surprise to Candy; hence the phrase “on the next corner I will find myself again wrapped in the embrace of a wonderful meeting.” The corners always represented the unknown events in the destiny of the characters in this story.

If we look at the sequence of events in the second volume of the novel before the start of the epilogue, the last thing that happens in the real timing of Final Story is Terry’s letter to Candy (p. 283) that is an extraordinary event in her life and represent that which is unknown, surprising and dazzling. The last event to remember Candy along this journey through his memories will be the letter from Terry that is the end result of this love story.

To represent this marvelous meeting again at the end of the epilogue (p. 331) without the explicit description that it is Terry,  Nagita-sensei uses three essential representations of this character:

  1. “light,”
  2. “the sweet voice always makes Candy’s heart the heart beat faster “,and,
  3. the phrase, ” I have not heard the sound of the car that heralds the return of that person. Welcome back.”

Terry returns to Candy unnoticed by her and catches her in the darkness of the room, then proceeding to illuminate her, to fill her with light. In the same way Terry’s letter arrives unexpectedly to Candy, the story seems to repeat itself on the final page (331), as Candy also does not hear the sound of the car that heralds the return of that person / Terry that will once again make her feel again surprised. Hence, that she can say “Welcome Back” for her has such an emotional charge that it makes her voice break, because as it is with Terry’s letter to Candy from some time ago, Terry’s return once again represents the confirmation of that wonderful meeting and that above all that HE is Candy’s destiny.

“Although bitterness crosses my path, if I make my way without fear, on the next corner I will find myself again wrapped in the embrace of a wonderful meeting.” P. 330.

“I have not heard the sound of the car that heralded the return of that person “
Welcome back! With a voice breaking with joy to be able to say these words I rose from the chair and threw myself into the arms of that person. “II. Pg. Vol. 331. Epilogue

Life and death
In this novel there is a constant parallel with life and death. That is why there is a recurrent comparison between Anthony and Terry. Candy will not feel Anthony’s warmth again because he is dead; however Terry is alive, she can still feel Terry’s life.

“Terry’s warm chest that held me still leaps violently in me.” Vol II. Pp. 234-237

“Perhaps the warmth of your chest stayed with me.” Vol II p. 277.

Despite the split with Terry, Candy is happy for the simple fact that Terry lives. She can follow him through magazines and newspapers even if she cannot be with him. She does not have to abandon her feelings for Terry, because he may one day still fulfill the dream, which is what Anthony can never do. That is why she admits that she has to forget Anthony, as he will never be, but Terry can, Terry is.

“While there is life there is hope” Vol II. Page 330

The hope of reunion in front of the separation, the power of life over death, that’s the story of Candy and represents her experiences and her learnings as a human being. The story is definitely about the hope that life gives to love and be loved.

In Terry’s case, he had to express his own pains and dilemmas with the intent to further layer the character and make him worthy of Candy’s love. The obligation to be with Suzanna over his own feelings was the author’s proposal so that this character would suffer his own inner transformation in order to rise above himself. His act of sacrifice for another person whom he does not love or will ever love was as noble as the ones Candy taught us with her very own actions throughout her adventures.

Deciphering the ages of the protagonists

One aspect of the CCFS novel that we would like to clarify has to do with the ages of the protagonists.

What has been known thanks to the manga, the anime and the 1978 novel , Candy celebrates her 15 years during the May festival at St. Paul’s College. In fact, in one of the scenes on the ship “The Seagull” when Candy is traveling as a stowaway back to the United States with Cookie, she says to be 15 years old, Cookie’s own age.

However, in CCFS, Candy’s age has changed.

When Annie is adopted by the Brigthon family Candy says:

“Since I was a baby until these six years I have always been with Annie. Annie has always been a crybaby. ” Vol I. p. 15.

The first reference to Candy’s age is this. We know then that when Annie leaves Pony’s home , she a well as Candy are close to being 6 years old.

Later on Candy says:

“Although this hill will be covered with flowers soon, we cannot collect them together, or play tag, or swim in the river, or fish together …” p. 25.

As Pony’s Hill does not seem to be in its full spring as Candy says, then one may think that the Annie’s adoption may happen early in the spring, that is, late March.

Albert’s Age 
Later, Candy encounters the Prince of the Hill immediately after Annie’s the departure. See pages 26-27 of volume 1. We also know that Albert is 17 years old when he goes to Pony’s Hill Pony as the Prince because of what he says in his correspondence with Candy:

“I, who had reached the age of 17 deprived of freedom and a slave to my name. Who was I? What a life so distorted!” Correspondence. Letter from Albert Candy. Page 300. Vol II.

We conclude from these data that Candy and Albert are 11 years apart. But the other questions that arise are the following:

At what age Candy goes to the Leagan’s house?
And
How old is Anthony when he dies? Let’s examine.

Candy tells us on page 31 of volume I that she is still living in Pony’s Home.

“Pony’s Hill now appears as a queen, wearing a dress decorated with colorful yellow, pink, white and blue flowers
In five days I will be 13 years old”

Later Candy affirms on page 32:

“It’s been 7 years since Annie was adopted as the daughter of the Brighton family”

On page 34, as Candy’s age is once again pointed out. She just turned 13 in 1912.

So if Candy is 13 years old when she still is at Pony’s Home, at what age does she leave Pony’s Home to the Leagan’s Home?

Apparently it seems to be right before the summer of 1912 begins. Here the fragments:

“The Home of Pony is wrapped in the soft sunshine before summer begins,” p. 45.

As of page 48, Mr. Stewart appears with the Leagan family’s luxury car at Pony’s Home and Candy leaves with Stewart to the Leagan’s mansion on pages 50 and 51. Candy’s motivation to leave Pony’s Home was the household’s economic situation. She did not want to be a burden as she could not work since she was so young.

Candy departs to the Leagan’s house during the late spring. This is clarified by the following excerpt of Volume I:

“… Small rivers of blue Lupinus streamed endlessly on each side of the road.
“How many lupinus! There are only blue ones here? On Pony’s Hill they also grow in pink and purple!”
“Lupinus? Mr. Hawkins calls these flowers bluebonnets” Mr. Stewart stated, smiling
“… Mr. Hawkins?”
“He is the head gardener of the Andley family. There is no flower that he does not know about.” Vol I. pags.52-53.

The bluebonnets bloom from early spring to early summer, so then it’s clarified that Candy arrives at the Leagan’s home between late spring and early summer of 1912 having recently turned 13 years old.

On pages 56-57 Candy has arrived at the Leagan’s house and is received by a bucket of cold water thrown from the balcony by Neil and Eliza.

A new question that arises for us: How much time elapses from Candy’s arrival at the Leagan’s home until she meets Anthony?

On pages 72-73 of Volume I is where Candy meets Anthony for the first time at the Gate of the Roses. She tells us:

“Since I saw the Prince at the top of the hill seven years have passed since then.” Vol I. Page 72.

Now we know that during this time Candy has 13 years of age instead of 14 as previously thought due to the previous versions Nagita-sensei had given.

Another aspect to clarify, is that Candy did not spend 2 years between the Leagan’s house and the Andley’s mansion. Actually, the actual time of Candy’s adventures in Lakewood Candy is quite short, of only a few months.

And the gift of Sweet Candy?

Often thought that the gift of the pot with the Sweet Candy flowers by Anthony is a birthday present, but in reality is a gift from Anthony to Candy that he offers probably during the summer, perhaps late July. This gift seems to be considered in Final Story as a kind of declaration of love from Anthony to Candy. The Gift of Sweet Candy happens between pages 119 to 121 of the first volume.

It needs to be made clear that Candy and Anthony actually lived a love of a very short time – 5 months at most 6 months (that makes it a brief love) that elapses between the end of spring / summer and the fall.

When Candy is taken to Mexico?
Candy is taken near the end of summer to the farm in Mexico and George rescues her and returns with her to Lakewood in late summer. Here are some excerpts:

Page 185 reveals the time of Candy’s arrival to Lakewood:

“The wind was cold, summer had come to an end”

As of page 188, and a few pages later on, the scene of Candy’s entrance to Lakewood is told:

“In front of the door, a large black car stopped.
A middle-aged older gentleman came out first and opened the car door.
A lady in a pink dress came out of the car with a jump.
It was Candy. ” Page 190.

Candy spends time in the company of Anthony, Archie and Alistear for two months at the most and the fox hunt occurs late in the fall (late October or early November) where Anthony dies. Pages 222-223. After this, Candy will depart from Lakewood to Pony’s Home in early winter.

How old is Anthony when he dies?

When Anthony dies, he is 15 years old. Candy tells us so on on page 222-223 of the first volume.

“Anthony Brown.
He was only 15 years old. “Vol I. p. 223.

Stear and Archie
On the other hand, the information that Archie provides on Stear’s death are relevant. Archie says that he and his brother were two years apart and that Archie was the same age as Anthony. If Alistear dies at the end of 1916 then he is 21 years old at the time of his death and Candy would be 17 years old at the time because they are four years apart in age.

So Archie is 19 years old in 1916 when Stear dies. Annie 17 years old like Candy and Albert is 28 years old.

Terry’s age
As it pertains to Terry’s age, there are no registers in the Final Story novel. Given that the author seeks to create a sort of parallel between Anthony and Terry when they first meet Candy, it is likely that by the time that Terry met Candy on the Mauretania he was 15 years old and perhaps will turn 16 at the end of January 1913, while Candy reaches her 14 years of age in May. Since at this time there is no precise information about his age, Terry should be left with the age given by Nagita-sensei in previous versions.

The fact that Terry has barely 16 during St. Paul’s explains why he feels unable to take Candy with him when Eliza’s trap happens, because we are talking about a 16 year old boy and a 14 year old Candy when they are separated in London. They are practically children.

The question of age is an interesting aspect of the story, especially for the parallels between Anthony and Terry, as they both play a critical role at key moments in Candy’s life; namely when Candy is accused of theft and taken to Mexico and when Candy is expelled from St. Paul’s College.

The reactions of these two characters are faced off in the novel. It can be said that Anthony had a passive role when Candy is taken to Mexico because although he is openly angry with Aunt Elroy, he remains unresponsive in Lakewood.

Terry, on the other hand, took an active role upon realizing that Candy would be expelled – he decides to find a way to help her and having no other choice but to leave St. Paul’s to protect Candy’s honor at the risk of his own well-being and that part of London as well as abandoning the Grantchester name. For more information see the section “Anthony versus Terry.”

The ages of the protagonists
Candy was born in May 1899. Arrives at Lakewood in 1912 when she was 13 years old. When she meets Terry, Candy still was 13 years old and turned 14 years old at the May festival in 1913.

Anthony was born in 1897. He died at age 15 in late October or early November of 1912.

Terry was born on January 28, 1897? So far, there are no references in the novel that have been discovered. One must then continue to follow the previously given information from author of a 15 years old young man when he meets Candy on the Mauretania ship during the 1913 New Year’s, later turning 16 years old on 28 January 1913.

Albert was born in 1888. Meets Candy in 1905 when he was 17 years old.

Archie was born in 1897. He is 19 years old when Stear dies.

Stear was born in 1895, died in 1916 at the age of 21.

Annie was born in May 1899.

When does Candy’s retrospections start in Final Story?
Although the novel does not give an exact date of when Candy makes her retrospections, Nagita-sensei gives us two clues.

The first clue is that Candy is very close to the Second World War as expressed by the author in the epilogue, and the second one that I have found is in the first volume where Candy says this as she recalls Anthony’s death:

“Ah Anthony… I just now repeat that … even now more than 20 years later these are the only words I can speak.” Vol. I. Page 218.

This passage leads us to think that Candy is speaking beyond 1932. If we count twenty years from the autumn of 1912 when Anthony dies, this leads us to the fall of 1932. But since she is saying that it has been more than twenty years since that death, Candy is suggesting we add a few more years, between 3 and 5 when Final Story begins. Then we can conclude that Candy may be talking at minimum during the spring of 1937 i.e. 24 years and 5 months after the Anthony’s death because as she states she more than 20 years have passed.

Now a little history

  • 1933 Hitler is appointed Chancellor of Germany.
  • 1934 Expansion of the German army.
  • 1935 Germany negotiated a naval agreement with England.
  • 1936 German troops entered the demilitarized zone of Rhineland.
  • The Spanish Civil War begins and Hitler sent troops in support of General Franco. Spain serves as the testing ground for the German army.
  • Alliance between Berlin and Rome called “Axis.”
  • 1937 Bombing of Guernica in Spain.
  • Meeting between Hitler and the Japanese Emperor Hirohito.

I am struck by the years 1936 and 1937 to situate Final Story because they are decisive years that prepare Europe for World War II. And if we consider that in 1937 the bombing of Guernica occurs and Hitler meets with the Japanese Emperor Hirohito, this can be significant if we consider that Misuki is Japanese.

[Editor’s Note: This is the last published entry of Scottie’s essay. She intends to continue to work on it, however, due to professional and personal commitments at this time the essay can be consideredhiatus right now. However, we are confident that Scottie has provided enough food for thought to show who Anohito is in CCFS).

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