At this point however, it’s still largely conjecture on my part. Here’s what I have to go by:

About dysfunction, here’s how it usually plays out:

Characters are good, functioning, and at times amazing individuals.

But,

…they are terrible together/they bring out the worst in each other. The relationships are either what holds them back in life, or the things that are missing in their lives.

In Honeymoon Salad,

the characters are embattled individuals, they are limited by their hang-ups and their circumstances.

But,

…they are awesome together; they are awesome for each other. They bring out the best from each other. In their own lives they are unable to be there for another person in a significant way, but for each other they only give the best of themselves… the very best of themselves.

So, the construct of the dysfunctional relationship is functional individual/non-functional in relation to an other individual. This is the binary that holds the thing together, gives it meaning.

Honeymoon Salad takes that apart and puts it together in an opposing binary: non-functional individual/highly-functional in relation to another individual.

It is also important to note that this re-construction is not necessarily privileged as superior functionality. I may read it as such, but it is not necessarily so. The deconstructed love triangle makes for an interesting and entertaining dynamic, but this is not to say that all conflict is resolved. Rather, the triangle creates a different problematic circumstance: co-dependency of the individuals while holding/repressing competing desires (for each other).

Ichika can’t fully handle genuine, non-hostile/non-controlling desire from another man, and so she shows willingness to give Minori away to Yoko. Yoko clearly wanted to get back with Minori, but is wholly respectful of his relationship with Ichika, and fully acknowledges the opportunity she squandered by repressing her intentions.

But clearly, they are better all of them together. Minori lacks the creative ambition of Yoko, and suspects that Ichika has the same kind of ambition only without the self-confidence. He re-constructs himself (that is, plays the role of) the Father Provider so that Yoko can fulfill her dreams as a writer. Ichika’s existence is not merely Minori’s fuck-buddy/quasi-girlfriend. She has re-constructed herself as Yoko’s Mother Nurturer.

The deconstructed love triangle is reconstructed as family, with Yoko as the prodigal daughter, ironically delicious in that she is the eldest among the three.

This makes for some interesting dynamics. The concept of the friend zone, wherein intimacy misses the window of opportunity for romance and settles into that of comradeship, is presented here as settling into a familial kind of relationship; a family zone, if you will.

Lastly, I am tempted to read Honeymoon Salad as a deconstruction of the things it applies itself to, because of the theme so lovingly presented that is so consistent with the goal or function of deconstruction as a methodology:

The truth is more than one thing.