The aim of this article is to explore the symbiotic relationship between the Lacanian Other and the imaginary other in E.M. Forster’s Howards End by using Lacanian and Braidotti’s epistemology. In doing so, it explores the binary oppositions, such as rational/irrational, wo/man, culture/nature, mechanic/chaotic, inside/outside, other/nonother by referring to Lacanian topology of Moebius band. The loop of the band suggests the binary patterns are never oppositions but reversed images of one another in the novel. The two families, the Schlegels, and the Wilcoxes act on this trajectory of the Moebius band structure so their images are reversed due to a twist, trauma, by which the linearity of the structure is broken because of the lack of a shared Other. This leads to the ambivalence of the characters in the novel. Paul’s mission, which reincarnates as the authority or the Other, obstructs the continuity of his relationship with Helen. Helen’s sinthome, in other words, art and literature, coheres the rising tension with “panic and emptiness” within her psychodynamics but the Wilcoxes and the Schlegels are never O/other for each other in the novel.