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CCFS Anohito


Candy Candy Final Story

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:

  1. - 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.
  2. -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)
  3. -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.
  4. -Final Story is a literary construction known as hypertext. It has to be recognized that it is a fragmented form of writing.
  5. -Final Story is also an epistolary novel.
  6. -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.
  7. – 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.
  8. -Knowledge of the identical or the given. The DNA of Shakespearean tragedy in CC Final Story.
  9. -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.
  10. -Understand what is a prologue and an epilogue.
  11. -The blank pages are time spaces in the novel, but they are also arbitrary cuts proposed by the author to create a hypertext narrative.
  12. -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.


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”, 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 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.


The return of the Candy’s Diary
“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
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


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