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Several months later, the narrator has dinner with Tomas and Xavier at the same restaurant where she met Xavier at the beginning of the novel. They are celebrating the success of the play, now titled Rivers, which has repeatedly sold out shows and extended its run. Much of the success is attributed to the strength of the narrator’s performance. The narrator similarly feels that her part is the deepest role she’s ever played, and her approach makes for a dynamic performance in every show. She now regularly looks forward to performing the scene that she previously doubted, as it is the only time she ever feels a sense of alignment between her private self and her performed self. Meanwhile, Anne, Xavier, and Max have begun to prepare for their next projects, but the narrator is wholly committed to Rivers until it ends its run.
Xavier is also taking on a more creative role in Anne’s next project. The narrator misses him because his presence helped her to get her performance under control during the final days of rehearsal. During that time, she became emotionally dependent on Xavier, who supported her through the opening of the show. After the show, the narrator and Xavier usually meet Tomas for dinner, though Anne sometimes joins them. The narrator remains cautious of Anne, who is serving as Xavier’s mentor, though the narrator also knows that it is important to give Xavier the space to learn from Anne. The narrator recalls that during a previous dinner, Anne monopolized Xavier by asking if she could sit beside him to discuss their work.
At this point in her story, the narrator willingly refers to herself as “Xavier’s mother,” and she talks about Xavier as though she has maintained a relationship with him throughout his life. The narrator feels that Anne is competing with her for Xavier’s attention, even though Anne always concedes to the narrator. In any case, Tomas and the narrator are both glad that their “son” is finding his footing in the theater world through his collaboration with Anne.
Tomas proposes a toast to Xavier, celebrating his independence as an adult and a fledgling artist. Xavier shares the news of his next project with Anne: he will be working as an assistant director on her debut film, which will require him to defer his last semester of graduate studies. Tomas encourages him to prioritize school, but the narrator defends Xavier’s decision, and Tomas eventually concedes.
Xavier shares that his apartment lease is about to end. He asks if he can move into the narrator and Tomas’s apartment for a few months, just so that he has a place to stay when he is in the city. Tomas lets the narrator decide. The narrator agrees, offering to let him stay for as long as he wants. Xavier asks if he can move in over the weekend so that he can prepare for the end of his lease while continuing to meet Anne’s expectations. Although Tomas grows conflicted at this request, the narrator doubles down on her choice. Tomas agrees—on the condition that Xavier finishes his degree.
The narrator now thinks of the second bedroom in her apartment as Xavier’s “old” bedroom, creating a false backstory in her mind and growing saddened by the fictional idea that the bedroom was converted into a spare room after her “son” Xavier moved out. The narrator spends the next week preparing the apartment for Xavier’s arrival, but Tomas cautions her not to make the apartment feel too comfortable, or else Xavier will want to stay permanently.
Xavier arrives early on Saturday morning. Tomas helps Xavier to carry his bags into his “old bedroom.” Xavier has so many belongings that they barely fit into the room, so Tomas offers to put some of Xavier’s things in basement storage. However, Xavier insists on keeping all of his belongings in his room. Suddenly, the sight of Xavier moving in compels the narrator to leave the apartment. As she goes to pick up breakfast, she reflects on the sudden end of the intimacy that she and Tomas have shared. However, she encourages herself to focus instead on the fact that Xavier is coming “home”; she tells herself that they have always had enough space for him.
The narrator returns to find Xavier and Tomas in conversation in the kitchen. The narrator is taken aback by how intimate they appear as “father” and “son.” Xavier excuses himself from breakfast and goes to help Anne at work. His departure disappoints the narrator, so she gives him some of the pastries that she bought so that he can share them with Anne.
After Xavier heads out, the narrator observes that he left his scarf behind. She initially assumes that the scarf is a gift from Anne, but the longer she looks at it, the more she is able to convince herself that Xavier has owned this scarf all along. The narrator goes back to bed to rest for her upcoming performance. She passes by Xavier’s room and looks at his scattered belongings, then grows concerned that he must feel cold without his scarf.
The narrator, Tomas, and Xavier all settle into a new domestic, faux-familial routine. Xavier always gets up early to prepare for work. He usually picks up breakfast for everyone and does the dishes and his laundry at every given opportunity. Tomas and the narrator feel a sense of pride in Xavier’s independence, especially when the narrator recalls how dependent he had been as a child. Nevertheless, the narrator also observes that Xavier does not appear to be fully comfortable in their living space. This manifests when Xavier constantly keeps asking where things are in the kitchen, as though he does not remember their placement from his childhood.
Xavier keeps his room neat. He has a number of books that “remind” the narrator of his reading habits as a child (although in reality, she is merely tricking herself into “performing” the role of his mother—complete with memories and backstory.) Immersed in this mindset, she wonders why Xavier no longer carries books around like he used to when he was a child. When she confronts him about it, Xavier looks confused. He responds that he is too busy with work to find any time for reading. The narrator’s question weighs heavily on Xavier, and soon he starts filling his room with more books, which he shuffles through for the benefit of the narrator, even though he never visibly reads them.
The narrator does not initially share her observations and contemplations of Xavier with Tomas because she knows that they sound ridiculous. One morning, after Xavier has left, Tomas comments that he sometimes listens in on Xavier as he comes home or gets water to drink. This strikes the narrator as a tender admission, prompting her to share her concern that Xavier doesn’t feel comfortable around them. Tomas turns the observation back on her, pointing out that she was the one who appeared uneasy when Xavier moved in. He adds that Xavier has been so cautious because he doesn’t want to offend his hosts or do anything to lose their approval. Tomas encourages the narrator to affirm Xavier’s presence. The narrator is distraught and rebukes Tomas.
Tomas reassures the narrator that they are still adjusting to Xavier’s presence; he suggests that they let go of their intimate rituals, such as having breakfast together in the morning. The narrator feels scorned by the suggestion, having willfully forgotten the fact that this ritual began when she sought a way to assuage her guilt over her past infidelity. Tomas assures her that it is fine to let go of the breakfast ritual for the sake of enjoying Xavier’s company.
Tomas expresses his concern that Xavier doesn’t have a place in the apartment to work on his writing. The narrator is surprised, as she has never heard Xavier express any ambition for writing, but she accepts this development, which she perceives as aligning with Xavier’s reading habits. Tomas reveals that he has already ordered a work desk for Xavier. Once again, the narrator is surprised, given the size and cost of the desk. Tomas reminds her that they can afford it and that it will support Xavier’s goals and ambitions. The narrator observes that Tomas enjoys Xavier’s presence. They agree that he should be around them more.
Tomas has the desk placed under the large apartment window so that Xavier can have a scenic view as he works. Tomas has also ordered an expensive office chair for Xavier’s use. Xavier takes quickly to his new work area, moving his books to the desk. He works during the odd hours when he is at home, and this new dynamic puts both Tomas and the narrator at ease. Tomas is inspired to work at his own desk more often during the week, finding companionship in Xavier’s presence as the two work simultaneously. The impact of Xavier’s presence makes the narrator aware of how unhappy Tomas was before Xavier moved in. Now Tomas is happier and more energetic.
The narrator reflects on the irony that she had long been perceived as the threat to their marriage because of her infidelity and impulsiveness. Now it is clear that Tomas had jumped at the chance to admit new opportunities from outside their marriage and restore his spirit.
The second part of the novel begins by resetting the status quo that the narrator, Xavier, and Tomas have been inhabiting thus far, and it is clear that nearly all the tensions that marked the end of Part 1 have been resolved; the narrator’s performance is a success, she feels fully committed to the role she is playing, and Xavier and Tomas have met and are getting along well with one another.
However, Part 2 also introduces a significant change in the group’s already unusual dynamics, for the narrator has started openly referring to Xavier as her “son” and to Tomas as Xavier’s “father.” Given the objective impossibility of these relationships, Kitamura’s portrayal of the narrator’s sudden reorientation is designed to be deliberately jarring, as the second part of the novel almost seems to take place in an entirely different reality than the first. However, the author injects strategic hints that the narrator is merely immersing herself in this fictitious alternate reality in order to play the role of Xavier’s mother to the hilt. From this perspective, her efforts to incorporate Tomas into this highly unusual arrangement highlights The Uncanny Dynamics of Family Life, particularly since this particular “family” is the result of a bizarrely collaborative performance on the part of all three characters. In Chapter 8, for instance, the narrator engages in willful self-deception when she picks up Xavier’s scarf and begins to create false memories around it, actively deepening her immersion into this fictional life role. Her thoughts reveal the depths of a performance that she executes for an audience of one: herself. As she muses, “It must have been a gift […] And yet the material was pilled and worn with use, and I now recalled that I had seen Xavier wearing the scarf before, many times in fact […] How had I not recognized it earlier?” (120). Later, in Chapter 9, the narrator laments Tomas’s willingness to abandon their breakfast ritual, and her admission that she can “no longer remember how the ritual of the breakfast had begun” (133) contradicts her narration in Chapter 4, when she explains the origins of the ritual as a way to compensate Tomas for her infidelity. In this moment, because the narrator’s history of infidelity contradicts the false reality of being Xavier’s mother, she overwrites this metaphorical plot hole with forgetfulness.
Because the novel’s primary focus is to examine The Challenges of Performing the Self within the context of The Uncanny Dynamics of Family Life, Kitamura deliberately declines to explain just how the narrator manages to convince Tomas to enter into this odd arrangement with her. Instead, the novel glosses over this practical snag and skips ahead to an in-depth examination of Tomas’s increasingly devoted “father-son” dynamic with Xavier. As the two antagonize each other and softly vie for each other’s respect, Xavier provides Tomas with a way to live out his stymied desire to experience fatherhood. Thus, the three characters form a strange quasi-family that is deeply maladaptive even if its dynamics meet a range of unaddressed emotional needs. This premise also highlights the narrator’s tendency to think of performance itself as a way of communicating her real identity to Xavier and Tomas. As the three perform the imposed roles of mother, father, and son, they all reveal sides of themselves that the narrator couldn’t perceive before.
This unusual approach to self-discovery informs the tension that drives Part 2, which jumps forward in time to feature the moment that Xavier asks to move in with the narrator and Tomas. Kitamura’s stylistic choice not to depict the plot beats that are implied to have occurred between Part 1 and Part 2 creates a more deeply jarring contrast between the social realities that define each half of the novel. By moving in with the narrator and her husband, Xavier deliberately breaches their intimacy and affects their dynamic, even when he is physically absent from their home. While the narrator’s concerns are driven by the need to preserve comfort and stability for all three members of this atypical household, Tomas becomes wholly devoted to encouraging Xavier’s aspirations, fully embracing the fiction of his own fatherly role.
This shift inadvertently reveals the effect that the narrator’s marriage has had on Tomas in the past. Tomas wants Xavier to feel comfortable enough to see the apartment as a welcoming, creative space, and Tomas also gains personal inspiration from Xavier’s industriousness in this arena, rekindling his own creative endeavors. Watching him blossom in Xavier’s company, the narrator realizes that Tomas has felt stifled in their marriage all along, and Xavier is now helping to resolve this unaddressed issue in his new role as a member of their household. In Chapter 7, Tomas initially showed hesitation over the idea of Xavier moving in, but in the context of his marriage to the narrator, that hesitation could be read as an extension of his concern for the narrator and the way that she valued their intimacy. Xavier’s presence thus continues to threaten the established dynamics of the narrator’s life and marriage. If Xavier’s presence exposes the frailties of their marriage as it was before his arrival, then it follows that only his continued presence will be able to keep the marriage together. In the novel’s final chapters, the narrator must reckon with this looming psychological dilemma.



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