Jealousy and In The Labyrinth (7 page)

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 planting.

From the other side of the house can be heard the noise of a truck coming up the road on the near slope of the valley.

A . . .'s silhouette, outlined in horizontal strips against the blind of her bedroom window, has now disappeared.

Having reached the level portion of the road, just above the rocky outcrop that marks the end of the plateau, the truck shifts gears and continues with a less muffled rumble. Then the sound gradually fades as it drives off east, through the scorched brush dotted with motionless trees, toward the next plantation—Franck's.

The bedroom window—the one nearest the hallway— opens outward. The upper part of A .. ,'s body is framed within it. She says "Hello" in the playful tone of someone who has slept well and awakened in a good mood; or of someone who prefers not to show what she is thinking about—if anything—and always flashes the same smile, on principle; the same smile, which can be interpreted as derision just as well as affection, or the total absence of any feeling whatever.

Besides, she has not awakened just now. It is obvious she has already taken her shower. She is still wearing her dressing gown, but her lips are freshly made up—the lipstick color the same as their natural color, a trifle deeper, and her carefully brushed hair gleams in the light from the window when she turns her head, shifting the soft, heavy curls whose black mass falls over the white silk of her shoulder.

She goes to the heavy chest against the rear partition. She opens the top drawer to take out a small object and turns back toward the light. On the log bridge the crouching native has disappeared. There is no one visible around the house. No cutting crew is working in this sector, for the moment.

A ... is sitting at the little work table against the wall to her right that separates the bedroom from the hallway. She leans forward over some long and painstaking task: mending an extremely fine stocking, polishing her nails, a tiny pencil drawing. . . . But A . . . never draws: to mend a run in her stocking she would have moved nearer the daylight; if she needed a table to do her nails on, she would not have chosen this one.

Despite the apparent immobility of her head and shoulders, a series of jolts disturbs the black mass of her hair. From time to time she straightens up and seems to lean back to judge her work from a distance. Her hand rising slowly, she puts into place a short curl that has emerged from this shifting mass. The hand lingers as it rearranges the waves of hair, the tapering fingers bend and straighten, one after the other, quickly though without abruptness, the movement communicating itself from one to the other continuously, as if they were driven by the same mechanism.

Leaning over again, she has now resumed her interrupted task. The lustrous hair gleams with reddish highlights in the hollow of the curls. Slight quivers, quickly absorbed, run through the hair from one shoulder to the other, without its being possible to see the rest of the body stir at all.

On the veranda in front of the office windows, Franck is sitting in his customary place, in one of the chairs of local manufacture. Only these three have been brought out this morning. They are arranged as usual: the first two next to each other under the window, the third slightly to one side, on the other side of the low table.

A . .. has gone to get the glasses, the soda water, and the cognac herself. She sets a tray with the two bottles and the three big glasses down on the table. Having uncorked the cognac she turns toward Franck and looks at him, while she begins making his drink. But Franck, instead of watching the rising level of the alcohol, fixes his eyes a little too high, on A . . .'s face. She has arranged her hair into a low knot whose skillful waves seem about to come undone; some hidden pins must be keeping it firmer than it looks.

Franck's voice has uttered an exclamation: "Hey there! That's much too much!" or else: "Stop! That's much too much!" or, "Ten times too much,"

"Half again too much," etc. ... He holds up his right hand beside his head, the fingers slightly apart. A . . . begins to laugh.

"You should have stopped me sooner."

"But I didn't see . . ." Franck protests.

"Well, then," she answers, "you should keep your eye on the glass."

They look at each other without adding another word. Franck widens his smile, which wrinkles up the corners of his eyes. He opens his mouth as if he were going to say something. But he doesn't say anything. A . . .'s features, from a point three-quarters of the way behind her, reveal nothing.

After several minutes—or several seconds—both are still in the same position. Franck's face as well as his whole body are virtually petrified. He is wearing shorts and a short-sleeved khaki shirt, whose shoulder straps and buttoned pockets have a vaguely military look. Over his rough cotton knee socks he wears tennis-shoes coated with a thick layer of white shoe polish, cracked at the places where the canvas bends with the foot.

A ... is about to pour the soda into the three glasses lined up on the low table. She distributes the first two, then, holding the third one in her hand, sits down in the empty chair beside Franck. He has already begun drinking.

"Is it cold enough?" A . . . asks him. "The bottles just came out of the refrigerator."

Franck nods and drinks another mouthful.

"There's ice if you want it," A . . . says. And without waiting for an answer she calls the boy.

There is a silence, during which the boy should appear on the veranda at the corner of the house. But no one comes.

Franck looks at A ..., as if he expected her to call again, or stand up, or reach some decision. She makes a sudden face toward the balustrade.

"He doesn't hear," she says. "One of us had better go."

Neither she nor Franck moves. On A . . .'s face, turned in profile toward the corner of the veranda, there is neither smile nor expectation now, nor a sign of encouragement. Franck stares at the tiny bubbles clinging to the sides of his glass, which he is holding in front of his eyes at very close range.

One mouthful is enough to tell that this drink is not cold enough. Franck has still not answered one way or the other, though he has taken two already. Besides, only one bottle comes from the refrigerator: the soda, whose greenish sides are coated with a faint film of dew where a hand with tapering fingers has left its print.

The cognac is always kept in the sideboard. A . . who brings out the ice bucket at the same time as the glasses every day, has not done so today.

"It's not worth bothering about," Franck says.

To get to the pantry, the easiest way is to cross the house. Once across the threshhold, a sensation of coolness accompanies the half darkness. To the right, the office door is ajar.

The light, rubber-soled shoes make no sound on the hallway tiles. The door turns on its hinges without squeaking. The office floor is tiled too. The three windows are closed and their blinds are only half-open, to keep the noonday heat out of the room.

Two of the windows overlook the central section of the veranda. The first, to the right, shows through its lowest chink, between the last two slats of wood, the black head of hair—at least the top part of it.

A ... is sitting upright and motionless in her armchair. She is looking out over the valley in front of them. She is not speaking. Franck, invisible on her left, is also silent, or else speaking in a very low voice.

Although the office—like the bedrooms and the bathroom—opens onto the hallway, the hallway itself ends at the dining room, with no door between. The table is set for three. A ... has probably just had the boy add Franck's place, since she was not supposed to be expecting any guest for lunch today.

The three plates are arranged as usual, each in the center of one of the sides of the square table. The fourth side, where there is no place set, is the one next to about six feet of the bare partition where the light paint still shows the traces of the squashed centipede.

In the pantry the boy is already taking the ice cubes out of their trays. A pitcher full of water, set on the floor, has been used to heat the backs of the metal trays. He looks up and smiles broadly.

He would scarcely have had time to go take A . . .'s orders on the veranda and return here (outside the house) with the necessary objects.

"Missus, she has said to bring the ice," he announces in the singsong voice of the Negroes, which detaches certain syllables by emphasizing them too much, sometimes in the middle of words.

To a vague question as to when he received this order, he answers: "Now," which furnishes no satisfactory indication. She might have asked him when she went to get the tray.

Only the boy could confirm this. But he sees in the awkwardly put question only a request to hurry.

"Right away I bring," he says.

He speaks well enough, but he does not always understand what is wanted of him. A . . ., however, manages to make herself understood without any difficulty.

From the pantry door, the dining-room wall seems to have no spot on it. No sound of conversation can be heard from the veranda at the other end of the hallway.

To the left, the office door has remained wide open this time. But the slats of the blind are too sharply slanted to permit what is outside to be seen from the doorway.

It is only at a distance of less than a yard that the elements of a discontinuous landscape appear in the successive intervals, parallel chinks separated by the wider slats of gray wood: the turned wood balusters, the empty chair, the low table where a full glass is standing beside the tray holding the two bottles, and then the top part of the head of black hair, which at this moment turns toward the right, where above the table shows a bare forearm, dark brown in color, and its paler hand holding the ice bucket. A . . .'s voice thanks the boy. The brown hand disappears. The shiny metal bucket, immediately frosted over, remains where it has been set on the tray beside the two bottles.

The knot of A . . .'s hair, seen at such close range from behind, seems to be extremely complicated. It is difficult to follow the convolutions of different strands: several solutions seem possible at some places, and in others, none.

Instead of serving the ice, A . . . continues to look out over the valley. Of the garden earth, cut up into vertical slices by the balustrade, and into horizontal strips by the blinds, there remains only a series of little squares representing a very small part of the total surface—perhaps a ninth.

The knot of A . . .'s hair is at least as confusing when it appears in profile. She is sitting to Franck's left. (It is always that way: on Franck's right for coffee or cocktails, on his left during the meals in the dining room.) She still keeps her back to the windows, but it is now from these windows that the daylight comes. These windows are conventional ones with panes of glass: facing north, they never receive direct sunlight.

The windows are closed. No sound penetrates inside when a silhouette passes in front of one of them, walking alongside the house from the kitchen toward the sheds. Cut off below the knee, it was a Negro wearing shorts, undershirt, and an old soft hat, walking with a quick, loose gait, probably barefoot. His felt hat, shapeless and faded, is unforgettable and should make him immediately recognizable among all the workers on the plantation. He is not, however.

The second window is located farther back, in relation to the table; to see it requires a pivoting of the upper part of the body. But no one is outlined against it, either because the man in the hat has already passed it, or because he has just stopped, or has suddenly changed his direction. His disappearance is hardly astonishing, it merely makes his first appearance curious.

"It's all mental, things like that," Franck says.