One of the most notable elements of "Kitchen" is its calm and subtle portrayal of Eriko’s gender identity. When Mikage first meets Eriko, she is struck by her beauty. This admiration suggests a hint of sexual attraction, but as Mikage describes her newfound understanding of the word "charm," it becomes clear that her attraction is not merely physical but almost enchanting. When Yuichi reveals that Eriko is actually his biological father who has transitioned, Mikage is momentarily taken aback—“I just stared at him in wide-eyed silence. I didn’t know what to say”—yet she is not overwhelmed. Her initial surprise quickly fades as she begins discussing Yuichi’s family background.

Yuichi, who was raised by Eriko, is kind and thoughtful, as shown in his interactions with Mikage and her grandmother. However, he stands out as an exception among the few male characters in the book. The others include Mikage’s ex-boyfriend Sotaro, who appreciates the beauty of plants but is oblivious to Mikage (his parting words to her are “Chin up, kid!”), and the unnamed stalker who tragically kills Eriko, “screaming that he has been made a fool of.” Yuichi’s blend of masculine and feminine qualities is a result of Eriko's groundbreaking journey; similarly, Mikage’s balanced nature comes from her experiences of suffering and solitude, which have revealed to her the harsher sides of masculinity.

Referring to death as a catalyst for transformation in this narrative is an understatement. This is most clearly illustrated with Yuji/Eriko Tanabe, who, overwhelmed by his wife's prolonged illness and eventual passing, decides to transition into a woman to escape his past identity and to feel closer to her.

Mikage’s reaction to her grandmother’s passing is somewhat similar, though not as drastic. She falls into a state of inertia, unable to interact with the world or make even basic decisions. When Yuichi visits her, offering a fresh start in a new environment and the chance to reinvent herself, she readily accepts with little convincing.

The immediate effect of Eriko’s death is that Mikage and Yuichi feel marked by loss and surrounded by misfortune. “So I’ve become an orphan,” Yuichi observes, and Mikage responds, “That goes double for me.” Their mutual grief draws them closer, as Mikage, having recently lost her grandmother, assumes the role of caring for Yuichi. She does this by preparing meals and providing a comforting presence. This nurturing dynamic conceals their deeper romantic feelings until the end, when their separation makes their emotions more evident.

The central theme of this narrative revolves around whether Mikage and Yuichi will evolve into lovers or if their distinctive connection will remain a deep friendship. This question emerges during the story's first pivotal scene when Yuichi arrives at Mikage's door, inviting her to live with him. Despite having no prior relationship, she is intrigued by the bond she feels with him. Reflecting on their initial encounter, she notes, “I saw a straight road leading from me to him.” She describes Yuichi as radiating “white light,” which profoundly affects her.

Subsequently, Mikage feels a similar pull towards Eriko, Yuichi’s parent, and the happiness they share suggests a strong friendship. She dismisses her ex-boyfriend’s suspicions of an affair with Yuichi by highlighting that his parent lives with them, implying their living arrangement is non-romantic. Yet, the mystical nature of their bond suggests it transcends mere friendship, even though Mikage refuses to acknowledge any supernatural aspect. After they share the same dream, she admits its improbability but denies any mystical interpretation: “While what had happened was utterly amazing,” she...

In both "Kitchen" and "Moonlight Shadow," certain characters exhibit an almost magical presence, serving as catalysts for connection. This role is crucial for Mikage, Yuichi, Satsuki, and Hiiragi as they navigate their grief and subsequent loss. In "Kitchen," Yuichi's mother, Eriko, embodies this magical role. Throughout the novella, Eriko is linked with light—a mystical glow or gentle radiance that appears to shine from within her. She is portrayed as having a natural charm and an immediate ability to connect with others. Eriko becomes a surrogate mother to Mikage, filling the emptiness left by her lost family. Some critics suggest that Eriko's ability to instantly connect with people is apparent in the original Japanese text but is somewhat diminished in the English translation. For example, during her initial meeting with Mikage, Eriko uses informal language, while Mikage begins with a formal tone. Eriko's manner eventually prompts Mikage to relax her formality, deepening their bond.

During Mikage's taxi ride, she crosses into the world where Yuichi has isolated himself. In "Moonlight Shadows," a more significant gap must be bridged: the divide between life and death. The narrator, Satsuki, feels empty after her boyfriend Hitoshi's passing. To escape the silence and painful memories, she merely goes through the motions of social interaction. Like Mikage, Satsuki cannot face her pain and, therefore, struggles to grieve properly. Her frantic, aimless activities, symbolized by her early morning runs, serve as her escape. It is only through a fortuitous encounter with Urara, a mysterious figure with a magical glow similar to Eriko's, that Satsuki learns about the Weaver Festival Phenomenon. This rare, once-in-a-century event allows those who have lost loved ones to see them again. It is said to happen only at midnight on a bridge over a vast body of water and is intricately connected to moonlight, as suggested by the novella's title. Throughout Kitchen, the magical quality of moonlight alludes to the possibility of happiness following suffering and the enhanced ability to experience joy through accepting pain. In "Moonlight Shadows," moonlight bends time and space on the bridge, allowing Satsuki to see her deceased lover Hitoshi one final time. This meeting enables her to say goodbye and grieve more healthily.

Eriko's allure becomes even more captivating to Mikage due to her breathtaking appearance. Upon her initial encounter with Eriko, Mikage is mesmerized by her almost otherworldly aura:

This was his mother? I couldn't look away. Her hair flowed like silk to her shoulders; her long, narrow eyes sparkled deeply; her well-defined lips and a nose with a high, straight bridge—the entirety of her seemed to emanate a brilliant light, pulsating with vitality. She didn't appear human. I had never encountered anyone like her.

Yoshimoto highlights Eriko as an embodiment of an almost fantastical Western standard of feminine beauty, heavily romanticized in Japan through Western media and films. When Yuichi discloses to Mikage that Eriko is actually a man, he finds amusement in her astonishment. This reaction is shared by the author, who intentionally challenges the reader's assumptions. Yoshimoto clearly separates the concept of femininity from biological womanhood, illustrating it as a performance—an ideal that Eriko attains through surgery. This depiction of transsexuality without moral condemnation marks Yoshimoto's break from traditional conservative Japanese literature, which often shows hesitance about sex and sexuality and criticizes "deviant" sexualities.

Through Eriko, Yoshimoto questions the link between appearance and reality, opening new avenues for self-expression. However, she also underscores the risks of challenging societal conventions and taboos. Eriko encounters physical violence when she is attacked and killed by an obsessed fan at her club. This fan's rage reflects an extreme response from conservative patriarchy to the perceived threat of transsexuality. By choosing to become women, transsexuals contest the idea of male dominance. Additionally, Eriko's striking beauty as a woman disrupts the heterosexual norms that support patriarchal power structures. Yoshimoto shows that the fan's attraction to Eriko fuels his anger and disgust, which he directs at Eriko instead of confronting his own repressive attitudes toward sexuality.

Eriko's murder might initially seem to complicate Yoshimoto's portrayal of her as a catalyst for connection, a role crucial for the characters' acceptance of grief and deeper experience of joy. "Truly great people emit a light that warms the hearts of those around them. When that light has been put out, a heavy shadow of despair descends. Perhaps Eriko's was only a minor kind of greatness, but her light was sorely missed." Following Eriko's death, readers observe Yuichi withdrawing from Mikage and eventually isolating himself from the world, locking away his emotions: Eriko's light is indeed "sorely missed." However, it seems Eriko's influence transcends her death, offering guidance to both Yuichi and Mikage through a letter she included with her will. "Yuichi, think about what I'm about to say. If I should die, you will be left all alone. But you have Mikage, don't you?" Despite this, Yoshimoto illustrates that building such a connection is not simple. The distance between Mikage and Yuichi is more than just physical; even when they are in the same space, they feel worlds apart. To bridge this divide, Yoshimoto has Mikage take a taxi to deliver Yuichi a gift of food. The symbolic meaning of a food offering is evident in a narrative where kitchens represent safe havens, symbolizing peace and the continuation of human bonds and interactions.

Similarly, Mikage's venture into Yuichi's world in "Kitchen" enables them to connect and share their grief. Yuichi admits that his emotional detachment was self-destructive. With this realization, both he and Mikage are able to remember the joyful moments, especially those with Eriko, that had been buried in their memories. They no longer fear the pain these memories might bring. They understand that these recollections will support them. As Mikage leaves, she notices a glimmer in Yuichi's expression, signaling that their encounter has touched something within him, dispelling the darkness of his earlier guarded demeanor.