If you read this novel a level deeper, it actually appears to be a work that depicts the emotional changes of the protagonist, Sakuya, rather than the events themselves.

At first glance,

it is a "story about a boy who fell ill and returns to school."

But it is.

But in reality,

a weakened self → being supported by someone → regaining confidence → possessing a slightly precarious sense of omnipotence

it depicts the mental progression of.

We will read through it in order.

1. The initial scenery represents "Sakuya's state of mind"

At the beginning.

It's hard to understand what it's saying, isn't it?

But this is not an explanation; it is a **mental landscape (a technique of expressing feelings through scenery)**.

The points are,

• wet

• pale

• withered

• giving water

the words.

In other words,

Sakuya is not yet fully recovered.

It is a state of having lost a bit of vitality.

But then,

Watering the soil.

The flowers sway.

This can also be read as,

an image of life gradually returning to a heart and body that were dying

.

The author does not write directly that he "got better," but expresses it through the scenery.

2. The talk of laundry might be a desire to "wash himself anew."

This part is quite important.

Saku suddenly says,

It's strange, isn't it?

Why laundry?

Laundry is,

the act of removing dirt, cleaning something, and making it usable again

.

Saku himself,

may have been sick, weakened, or mentally exhausted in some way.

Therefore,

Becoming a laundry worker

＝

wanting to wash away and renew oneself

—it can also be seen as an unconscious wish.

Iyo-san doesn't take it seriously.

But for Saku, it might be a surprisingly genuine desire.

3. The failed legal professional is both a "butler" and a "parent" figure

This character is incredibly interesting.

He does things for Saku like,

hanging up clothes
buttoning buttons
grooming his appearance

—these are his actions.

Reading just this part, he's a butler.

But psychologically, he is much closer.

This is,

the role of a guardian sending him back out into society once more

is what it is.

Furthermore,

—those words.

This isn't just about clothes.

In terms of meaning,

"It's okay to go outside now."

It is also a form of permission.

Saku accepts this and feels a little proud.

In other words, this scene is,

a scene where one receives self-affirmation from others

exactly.

4. Brown rice after two days is "proof of coming back to life"

This is a quiet but iconic scene.

Saku says,

he says.

If you read it normally,

"He must have been hungry."

is where it ends.

But if you read between the lines, it's different.

When you're sick,

you don't even have the energy to eat.

You can't even taste anything.

That's why,

The food is delicious

＝

the feeling of being alive has returned

is what it means.

For the first time here, Saku

has returned to the side of those who enjoy the world.

5. The final "devil" is not truly evil

This is the most difficult scene.

Seeing the gatekeeper,

it's a little scary.

But for some reason, it feels good.

A sense of being in control.

From there,

happens.

What is this?

Perhaps,

it is the dangerous sense of exhilaration felt by a person who has recovered

.

When he was weak, he was defeated by the world.

But when you start feeling better, suddenly,

"I can do this."

you think.

Then you look down on people a little, or feel like you are special.

Everyone has this.

That is why the devil is,

not evil.

It is just yourself with an inflated sense of self-consciousness.

Saku is standing at that entrance right now.

The true theme of this novel

This story is,

not a story about "recovering from an illness."

is not it.

To put it more deeply,

when a weakened person returns to the world, they regain not only gratitude, but also pride and even arrogance.

is what it is about.

That is why the ending is refreshing but slightly unsettling.

It is not a perfect happy ending.

Saku has recovered.

But what kind of person he will become from here on is not yet decided.

It can be read as a work that depicts the entrance to such a slightly precarious youth.