Jealousy and In The Labyrinth by Alain Robbe-Grillet Page B

patch, there is a man crouching: a native, wearing blue trousers and a colorless undershirt that leaves his shoulders bare. He is leaning toward the liquid surface, as if he were trying to see something at the bottom, which is scarcely possible, the water never being transparent enough despite its extreme shallowness.
    On the near slope of the valley, a single patch runs uphill from the stream to the garden. Despite the rather slight declivity the slope appears to have, the banana trees are still easy to count here from the height of the veranda. As a matter of fact, the trees are very young in this zone, which has only recently been replanted. Not only is the regularity of the planting perfect here, but the trunks are no more than a foot and a half high, and the tufts of leaves that terminate them are still quite far apart from each other. Finally, the angle of the rows with the direction of the valley (about forty-five degrees) also favors their enumeration.
    An oblique row begins at the log bridge, at the right, and reaches the left corner of the garden. It includes the thirty-six trees in its length. The alternate arrangement makes it possible to consider these same trees as being aligned in three other directions: first of all, the perpendicular to the first direction mentioned, then two others, also perpendicular to each other, and forming angles of forty-five degrees with the first two. These last two rows are therefore respectively parallel and perpendicular to the direction of the valley—and to the lower edge of the garden.
    The garden is, at present, only a square of naked earth, recently spaded, out of which are growing perhaps a dozen thin young orange trees a little shorter than a man, planted at A . . .'s orders.
    The house does not occupy the whole width of the garden. Therefore it is isolated on all sides from the green mass of the banana trees.
    Across the bare ground, in front of the west gable-end, falls the warped shadow of the house. The shadow of the roof is linked to the shadow of the veranda by the oblique shadow of the corner column. The balustrade here forms a barely perforated strip, whereas the real distance between the balusters is scarcely smaller than the average thickness of the latter.
    The balusters are of turned wood, with a median hip and two accessory smaller bulges, one at each end. The paint, which has almost completely disappeared from the top surface of the hand-rail, is also beginning to flake off the bulging portions of the balusters; they present, for the most part, a wide zone of naked wood halfway up the baluster, on the rounded part of the hip, on the veranda side. Between the gray paint that remains, faded with age, and the wood grayed by the action of humidity, appear little reddish-brown surfaces—the natural color of the wood— where it has been exposed by the recent fall of new flakes of paint. The whole balustrade is to be repainted bright yellow: that is what A . . . has decided.
    The windows of her bedroom are still closed. However the blinds which replace the panes of glass are opened as far as possible, thus making the interior of the room bright enough. A ... is standing in front of the right-hand window, looking out through one of the chinks in the blinds toward the veranda.
    The man is still motionless, bending over the muddy water on the earth-covered log bridge. He has not moved an inch: crouching, head lowered, forearms resting on his thighs, hands hanging between his knees.
    In front of him, in the patch along the opposite bank of the little stream, several stems look ripe for harvesting. Several boles have already been cut in this sector. Their empty places appear with perfect distinctness in the series of geometrical alignments. But on closer inspection it is possible to distinguish the sizeable shoot that will replace the severed banana tree a few inches away from the old stump, already beginning to spoil the perfect regularity of the alternate