Fusagi's Travel Magazine Notes (Symbol)
The travel magazine notes that Fusagi makes symbolize his desire to hold on to memories of his wife. When first introduced to the reader, Fusagi is described as a man sitting alone and jotting down notes while looking through travel magazines. The purpose of his notes remains a mystery until midway through the novel when the narrator reveals that he is making notes about places he and Kohtake have visited together. Kawaguchi writes that the "notes were the last hand-hold for Fusagi, who was gradually forgetting who she was." With this revelation, the reader understands that Fusagi has continued the behavior even after he no longer recognizes Kohtake because he is committed to retaining his connection to her.
Three Clocks (Motif)
Throughout the novel, the narrator references the three antique clocks that hang in the cafe. Perplexingly, the clocks each display a different time, leading customers to lose track of time while they are at the cafe. Later in the novel, the motif arises when Kei travels forward in time only to look at the middle clock and realize she hasn't arrived at ten a.m., as planned, but rather three in the afternoon. The narrator reveals that the people who work at the cafe know that only the middle clock shows the right time, suggesting that they purposefully leave the other clocks wrong to contribute to the impression that the cafe doesn't abide by the outside world's temporal and spatial boundaries.
Hirai's Appearance (Motif)
From Kawaguchi's first description of Hirai, the author directs the reader to take note of Hirai's exaggerated attire, citing her hair curlers, makeup, and leopard print clothing, all of which fit with her job as a hostess-style bartender. Contrasting with this initial description, when Hirai returns from her sister's funeral she appears to be a different person, dressed in conservative mourning clothing and wearing her hair in a simple bun. The motif of Hirai's clothing continues with her final appearance in the novel: Pictured in a photograph alongside her parents, Hirai wears a pink kimono that designates her as the manager of her family's inn. Ultimately, these changes in appearance speak to Hirai's inner feelings as she moves from being a resentful, disorganized bartender to a grieving sister to a satisfied daughter.
Paper Cranes (Symbol)
The origami cranes that Nagare folds symbolize hope for survival. On the night when his wife, Kei, decides whether or not she will go through with her pregnancy, Nagare sits alone at the bar after closing and solemnly folds paper napkins into cranes. These cranes symbolically reference the Japanese folkloric belief that folding 1,000 paper cranes will bring the folder good fortune and grant a wish. Sadako Sasaki famously attempted to fold 1,000 cranes after being diagnosed with Hiroshima bombing–caused leukemia, believing she would be granted her wish to continue living. However, she died before folding enough cranes. In the novel, Nagare folds the cranes as an expression of his unspoken wish for Kei to continue living.
Peace Sign (Motif)
Early in the novel, Kawaguchi shows Kei flashing a peace sign with her fingers to people who ask about her health. Although she is dealing with a weak heart and facing an impossible decision over whether to go through with her life-threatening pregnancy, Kei always maintains a level head and peaceful demeanor, encapsulated by her simple peace sign. Toward the end of the novel, Kei travels into the future to meet Miki, her daughter. Worried about leaving Miki without a mother, Kei is relieved when Miki shows her a peace sign, having unwittingly inherited her mother's favorite gesture. With the resolution of this motif, Kawaguchi establishes that despite the fact Kei can't be there for Miki physically, her spirit lives on in Miki.
