Strange Houses

In the novel, houses function as a prominent motif related to The Struggle to Make a Better Life. The introduction of the Tokyo house in the first chapter occurs within the context of Yanaoka’s search for a home that will suit his growing family. Yanaoka does not trust the house because of its dead space. Thus, his rejection of the house at the end of Chapter 1 signals his commitment to his family’s well-being.

While the initial association of the Tokyo and Saitama houses with murder appears to undercut their relationship with hope for the future, the novel ultimately upholds the pattern by revealing the houses to be part of a plan to liberate people from a sinister tradition. Indeed, much as it is a floor plan that sparks the suspicions of murder, it is the design of the houses that eventually illustrate the Katabuchis’ struggle to break free from their traditions. In Chapter 3, Yuzuki explains that one of her ancestors was involved with a religious cult fixated on symmetry. This manifests in the design of Shigeharu’s house, which is perfectly symmetrical and oriented toward the hallway altar. When Keita asks permission to move outside the estate, he and Shigeharu collaborate on the design of the house, but its asymmetrical shape reflects Keita and Ayano’s growing resistance to the Katabuchi family legacy. When Shigeharu forces them to move to Tokyo, he reinforces his control by making the house’s external shape symmetrical once again. However, the internal layout of the house is asymmetrical, representing the couple’s continued resistance. The fact that the second floor is laid out around the child’s room also points to the central place Momoya and Hiroto occupy in their lives, inspiring their efforts to break free.