1914 by Jean Echenoz Page B

edges—unexpected in what should be a meticulously appointed bourgeois house— of this faded wallpaper in which the bouquets are wilting as well, or from the astonishing variety of furniture woods: one wonders at first how so many different materials can get along together. And then one quickly senses that they do not get along at all, they cannot even stand one another, which probably explains the strange ambience: that must be it.
    Until Blanche gets up, this furniture waits patiently to play its role. The night table—of beech—bears a lamp resting atop a few books, including Marc Elder’s The People of the Sea , a volume Blanche dips into occasionally, not so much for its stalwart capture of the previous year’s Goncourt Prize from a field including Marcel Proust as for her family’s friendship with the author, a local man whose real name is Marcel Tendron, and because this work reminds her of past Sunday excursions into the countryside to see the fishermen of Noirmoutier or barges moored for the estuary fishing of eels, lampreys, and elvers at Trentemoult, a village of fishermen and sailors on the left bank of the Loire.
    Once out of bed the first thing Blanche did wasdecide what she would wear, selecting from the bonnetière a light short-sleeved blouse of batiste, from the armoire a suit of gray tweed, then stockings and undergarments from the drawer of the chest, on which a couple of perfume bottles sit forgotten. Hesitating between two pairs of shoes—lower or higher heels?—but not over her hat, a rice-straw affair trimmed with black velvet. After a scant hour in the bathroom, freshly bathed and dressed, she consulted the mirror on the bonnetière with a critical eye, smoothing a lock of hair, adjusting a pleat. As she left her bedroom she passed the writing desk, which had played no part in this morning’s activity; the desk is used to this, serving simply as a repository for the letters Charles and Anthime each regularly sends separately to Blanche and which lie bound by ribbons of contrasting colors in two different drawers.
    Ready now, Blanche went quietly downstairs and on her way through the hall to the front door, made a detour to avoid the dining room. There—harsh grating of the bread knife against crust, clinking of teaspoons amid the aroma of chicory—her parents were finishing their breakfast: little audible conversation between Eugène and Maryvonne Borne; rumbling ingestionfrom the factory owner, melancholy sighs from the factory owner’s wife. Pausing at the front door by the wicker umbrella stand lined with waterproof canvas, Blanche chose a parasol of checked cretonne.
    Once outside, she went toward the street entrance to the garden, the main walk of which—white gravel, carefully raked—branches out into lesser paths leading past the shrubberies, pond, arbors, and ornamental trees, including a worn-out palm that has been holding on for too long in this climate. Blanche has also avoided, but with fewer precautions, the hunched figure of the lame gardener—who is as deaf as the palm tree and busy watering the grass borders and flower beds—by simply walking more softly on the crunching gravel until reaching the cast-iron front gates.
    Outside, the sounds of Sunday: everything is quieter than on weekdays, the way it is on any Sunday but it’s not just that, not the same silence as usual, it’s as if a residual echo has remained of the clamor and fanfares and ovations of recent days. Early this morning the oldest municipal employees still left in town finished sweeping up the last bedraggled bouquets, rumpled rosettes, tattered banners, and dried-out tear-stainedhandkerchiefs before hosing down the pavements. A few errant items have been placed in the lost-and-found department: a cane, two torn scarves, and three dented hats, tossed in the air with patriotic fervor and whose legitimate wearers have not yet appeared but are