46 pages • 1 hour read
Kanae Minato, Transl. Stephen SnyderA modern alternative to SparkNotes and CliffsNotes, SuperSummary offers high-quality Study Guides with detailed chapter summaries and analysis of major themes, characters, and more.
Summary
Background
Chapter Summaries & Analyses
Character Analysis
Themes
Symbols & Motifs
Important Quotes
Essay Topics
Tools
Content Warning: Confessions depicts extreme bullying, child abuse, murder, mental health crises, a bombing, and murder-suicide. The text contains some stigmatizing language surrounding HIV/AIDS and the misgendering of a character; this guide reproduces such language only through quotations.
Perception is a key aspect of the novel, one of the cornerstones of both the plot and the structure. Only the reader has access to the full story. The story unfolds in piecemeal fashion, reflected in its multi-narrator structure; thus, as characters’ actions are reactions to the limited information they possess, the novel highlights the ways initial perceptions of characters can change with added context, the multiple lenses through which individuals can view the same situation, and the control of information each character exhibits. Moriguchi sets up this theme in her speech in Chapter 1: “Now that I’ve told you it was an experiment, your feelings about the milk have suddenly changed. Am I right?” (5). Just as the students perceive their milk differently when they know that it isn’t simply a free treat, characters—as well as the reader—must adjust to new context and information.
The author’s careful exposition via multiple narrators creates an unstable sense of characterization in the novel. Moriguchi herself is initially depicted as a tragic figure whose daughter was senselessly murdered by Shūya and Naoki. Her vengeance—tampering with the murderers’ milk in an attempt to transmit HIV—is extreme, but her relative strengths as a mother and justification for her actions—a lack of trust in the justice system—serve to cultivate sympathy for her early in the novel. By the end of the novel, however, the depth of Moriguchi’s vengeful nature is revealed: She was the architect of the classroom bullying, via her manipulation of Werther, and she indirectly murders Shūya’s mother via Shūya’s bomb. Shūya himself undergoes a shifting arc—outed as a murderer in the first chapter, he then becomes a victim of bullying, which garners sympathy from Mizuki. However, by Chapter 5, his lack of a moral compass and identity as an unrepentant murderer are evident. Werther, meanwhile, seems oblivious yet dedicated as he navigates the chaos of his new classroom. While Mizuki’s narration depicts him as self-serving, she is unaware of Moriguchi’s manipulation.
Chapters 3 and 4, narrated by multiple members of the Shitamura family, represent the most direct and simultaneous parallels of opposing perceptions. Naoki’s mother blames Moriguchi for Naoki’s distress, but her contempt for Moriguchi is evident. She perceives herself as blameless for Naoki’s actions, when in fact the combination of her spoiling him, meddling in his life, and disappointment in him pushes him to extreme actions. Naoki’s narration, in turn, highlights his mother’s impact on his self-esteem and self-perception. While he may once have been a “nice” boy as his mother calls him, the push to be successful instead turns him into a killer: He killed Manami simply to “succeed” where genius Shūya “failed.” The ambiguity surrounding Mrs. Shitamura’s death further highlights the limits of perception, as Naoki’s and his sister’s recounting of the events contradict one another: Kiyomi knows Mrs. Shitamura intended to kill both herself and Naoki, but Naoki’s mental state prevents him from recalling what truly happened.
The control of information also affects perception, best represented by Moriguchi. As the narrator of both the first and final chapters, Moriguchi’s omniscient viewpoint bookends the narrative, both giving her the power of influencing first impressions of characters—and thus how readers perceive them until new information comes to light—and also giving her the “final say” regarding the events of the novel. Notably, her final act of revenge is withholding Shūya’s mother’s response to the information Moriguchi shares with her about Shūya. Mizuki also controls information: Her chapter does not mention her obsession with the Lunacy Incident, which Shūya details in Chapter 5. She also does not divulge her knowledge that Naoki and Shūya do not have HIV as an attempt to control the bullying in the classroom.
Confessions is centered on vengeance, and part of that vengeance is casting blame. Sparked by the revelation of Manami’s murder and Moriguchi’s blame of Naoki and Shūya, the novel explores the cyclical nature of blame and revenge as characters seek to shirk responsibility for their actions and exact vengeance for perceived slights, resulting in escalating acts of vengeance.
Moriguchi is the most direct mastermind of the “evil mind games” present in the text (106). Blaming Shūya and Naoki for their murder of her daughter, Moriguchi initially gets revenge by placing Sakuranomi’s blood in their milk. While the true odds of transmitting HIV in this fashion are, as she acknowledges, low, the intended effects are psychological: Ignorant of facts about HIV, the class treats the boys as pariahs and engages in relentless and violent bullying. After Sakuranomi switches the milk, Moriguchi continues her revenge by exploiting Werther’s idolization of Sakuranomi and manipulating his teaching methods to exacerbate their pariah status. However, it is not until Shūya and Naoki both commit matricide that Moriguchi considers her revenge complete. By eliminating their own mothers, she finds closure for the loss of her daughter.
Mrs. Shitamura initially blames Moriguchi for her son’s suffering, declaring a single-parent teacher a bad role model for her son and victim-blaming Moriguchi for her daughter’s murder. In this way, she attempts to absolve herself of any wrongdoing, when in fact Naoki blames her for much of his suffering—too much academic pressure, too much meddling, and too much spoiling him rather than teaching him responsibility. Naoki’s mother’s idea of vengeance is writing letters to the school to complain of slights to her son, eventually succeeding in nominating Werther as Moriguchi’s replacement. In the end, however, Mrs. Shitamura turns the blame on herself for “failing” as a mother, believing the only way forward is to end both her life and Naoki’s.
Naoki assigns blame for his actions first to the tennis coach, whose blunt advice is perceived instead as an insult; then to Moriguchi, who helped him when asked, but not in the form he wanted; and finally, Shūya. Shūya is more complicated for Naoki because Naoki believed in their friendship and was hurt when Shūya rejected him. Manami thus becomes Naoki’s tool for revenge—initially to seek revenge against Moriguchi but also against Shūya. By taking away Shūya’s press coverage (accidentally), Naoki’s vengeance was more successful than he anticipated. However, as their game of one-upmanship continues, Shūya—who blames Naoki for messing up his perfect murder—eventually “wins” by going to school and enduring the bullying that Naoki could not, the knowledge of which further deteriorates Naoki’s mental state.
Shūya assigns blame most readily—to his father’s family for being dull, to Moriguchi for not supporting his inventions, to Naoki for messing up his murder plan, and to the Lunacy girl for stealing his spotlight—but, notably, not to his mother. Though she abused and abandoned him, he still desires her attention, to the point that he kills Mizuki when she is frank about his mother’s abandonment, which he perceives as an “attack.” Shūya’s vengeance against his bullies, Naoki, and Mizuki is straightforward because he has no stakes in it—he is dismissive of all of them and cares little when he succeeds, even unintentionally. It is only his mother that he can’t bear to hurt, Moriguchi points out, and so he hurts everyone else instead. Therefore, when she moves the bomb from Shūya’s school to his mother’s laboratory, she simultaneously completes her vengeance and assists with his own. In this way, the cycle of blame and revenge ends, even if the general suffering does not.
A key theme in Confessions is the failure to anticipate consequences. Werther is a key example: An inexperienced, easily impressionable teacher, he seeks to emulate his idol, Sakuranomi, but only succeeds on a surface level. He tries to befriend his students, but by being overly close to them, he disrespects them. He attempts to end the bullying but only exacerbates it, and his home visits to Naoki fail because he has no real plan to help him. Most importantly, his refusal to read Moriguchi’s notes about the class, if well-intentioned, ultimately seals his fate with the class, as all his subsequent failures stem from this inaction. While the author later reveals Moriguchi’s role in manipulating him, his actions still suggest he did not weigh the merits of following her “advice.”
Naoki’s mother also fails to see the consequences of her actions—specifically, how they affect her son. She spoils him, emulating her own mother, but also expects success—this proves to be an impossible combination given that she never taught him the tools he needs to succeed in life when facing setbacks, only to feel shame when he inevitably fails. Naoki, in turn, does not think of the consequences of murdering Manami, only of the immediate gratification of one-upping Shūya, who had just rejected Naoki’s friendship. Indeed, even when Naoki kills his mother, it results from an emotional outburst.
Shūya is similarly single-minded in his goal to reunite with his mother, though his lack of consideration of consequences stems more from disdain for other people. The fact that none of his classmates—including Naoki—understand the science of his inventions only proves his genius and their stupidity; he distances himself rather than stooping to their level. He therefore feels no remorse in using Moriguchi as a test subject for his shocking coin purse, even though doing so decreases her willingness to sponsor him for the science fair he wants to attend. He doesn’t consider Naoki’s hurt feelings when he rejects the friendship, resulting in his spotlight being dashed via Naoki’s vengeance of dropping Manami in the pool; nor does he consider Moriguchi’s grief or capacity for vengeance when he kills her daughter. He comes close to considering Mizuki’s feelings when he attempts to console her after their forced kiss by proving that he does not have HIV, but he becomes disdainful when she equates her love for him with that of her love for Naoki and pushes too close to the truth about Shūya’s mother. Shūya kills her impulsively but doesn’t plan what to do with her body afterward. While Shūya is brilliant, his inability to understand people or what they are capable of thus contributes to his downfall.
Moriguchi is perhaps the only person to truly consider the consequences of her actions, as she plays the long game, rather than depending on direct, short-term results. While her initial plan fails due to Sakuranomi’s interference, Moriguchi changes tactics by manipulating Werther and, finally, moving the bomb. She expresses regret for the suffering Mizuki faced, however, suggesting that even careful control sometimes results in unintended consequences.
Through multiple depictions of mother-child relationships (or the lack thereof) in Confessions, the novel explores the nature of motherhood and the effect a mother can have on her child(ren), both positive and negative.
Naoki’s mother reflects a stereotypical trope of the ideal Japanese woman—the “good wife, wise mother.” Having experienced the early loss of her own parents, she emulates her mother’s parenting style because “nothing can go wrong” with this strategy (109). Just like her mother, she is strict with herself and her daughters but spoils her son and brother. Her husband is mostly absent and always at work to support their comfortable lifestyle, and he remains emotionally unavailable—perhaps on purpose. Although Mrs. Shitamura clearly cares for and loves Naoki, he is the weakest of her children—her daughters are either married and expecting or in university, living independently. Naoki is both spoiled and pressured to succeed, to the point that his mother blames his failures on the school rather than teaching him how to overcome obstacles. Naoki’s crimes and mental deterioration, to a certain extent, stem from this coddling and pressure. By refusing to see and accept Naoki as he really is, Naoki’s mother dooms them both.
Shūya’s mother is the opposite of Naoki’s mother in that regard. Although she may have cared about Shūya initially, her love for her son was not enough to keep her present in his life—she reflects the “errant mother” trope, who shirks her maternal duties (as dictated by society) to live her dreams as a career woman. While she is starting over with a new husband and is pregnant, suggesting that she is in a place to manage both a career and motherhood, her life is destroyed when her son inadvertently blows up her laboratory and kills her. The novel draws a clear line from the abuse and abandonment of Shūya to his callousness toward human life and lifelong search for true connection.
Moriguchi, on the other hand, represents a balance of the two: She is both an attentive and nurturing mother, as Naoki’s mother strives to be, and she has a successful career in a STEM field, like Shūya’s. However, her parenting style stands in contrast to that of Naoki’s mother, as she refuses to spoil Manami the way Naoki’s mother spoils Naoki, and she grants Manami the independence to explore the school. Notably, however, Moriguchi’s refusal to buy the pouch at the mall and Manami’s unsupervised exploration of the pool area both indirectly contribute to Manami’s death. In this sense, the novel suggests that motherhood—even when delivered with the best of intentions—can have unpredictable results.
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