Download La Jalousie PDF Author Alain Robbe-Grillet

  • Paperback
  • 221
  • La Jalousie
  • Alain Robbe-Grillet
  • French
  • 09 August 2018
  • 9782707300546

Alain Robbe-Grillet Û 2 Summary

Read & download La Jalousie La Jalousie Free read ✓ 102 Read & download Ü PDF, DOC, TXT, eBook or Kindle ePUB free Û Alain Robbe-Grillet Ide au coeur du monde un creux au milieu des objets Mais comme toute ligne part de lui ou s'y termine ce creux finit par être lui même aussi concret aussi solide sinon plus L'autre point de résistance c'est la femme du narrateur A celle dont les yeux font se détourner le regard Elle constitue l'autre pôle de l'aimant La jalo. JalousieThe word jalousie the French title of this novel has two meanings one being jealousy which was given to the English title the other being shutters or louvres a blind with adjustable horizontal slats for admitting light and air while excluding direct sun and rainBoth French meanings are eually vital to the appreciation of the novel To some extent they ve been lost in translationA louvre is a shutter or blind We look through louvres They selectively submit and admit the objects of the outside world to our scrutiny They limit and shape our gazeLouvres and lovers share their etymology Just as a louvre might be a blind so might a lover be blind As Shakespeare said Love is blind and lovers cannot see The pretty follies that themselves committipedes and LouvresThe power of this novel is in the set up rather than the character development or the plotWe see a colonial plantation farm house in almost forensic detail There s even a plan showing the location of rooms doors windows even the furniture not to forget the dark stain left by a centipede suashed on the wall of the dining room The book could almost be stage directions for a theatrical workRobbe Grillet places the characters in this house around meal time or cocktail hour We seem to observe them through the louvres However someone appears to be missing There s a vacant seat in the lounge room and an empty place at the dining table Does it belong to the husband of the female protagonist Is she even married Is the husband the omniscient third person narrator Is he the one apparently looking through the louvres Is he spying on his wife Does he suspect she is having an affair Is he jealous of his married neighbour Franck whose wife never appears because their young child is at home ill Does this ostensible illicit couple even do anything that suggests a relationship Do they only seem culpable because we as vicarious peeping toms attribute blame to themOnset RepetitionRobbe Grillet carefully selects both the content and the seuence of his story telling to dramatise this set upWe read the half dozen most significant aspects of his story several times He plays with repetition But each iteration preserves the old perspective and adds a new one Thus meaning for the reader is cumulative a result of accretion even if at the end of the novel we re still not sure what really happened or what the real meaning waster Unconnected FragmentsRobbe Grillet gives us a clue to his intentions in the narrator s comment on a native song being sung by a road worker The singing is at moments so little like what is ordinarily called a song a complaint a refrain that the western listener is justified in wondering if something uite different is involved The sounds despite apparent repetitions do not seem related by any musical law There is no tune really no melody no rhythm It is as if the man were content to utter unconnected fragments as an accompaniment to his workBy the end of the novel these unconnected fragments have nevertheless cohered into a discrete workInevitably for a piece of metafiction there is also a story within the story or a novel within the novel an African novel or at least a novel set in colonial AfricaTwo characters the ostensible lovers comment on it while their own story seems to assume the shape of its narrative Franck describes the husband in the novel in a sentence that we don t hear in its entirety that ends in take apart or take a part or break apart break a heart heart of darkness or something of the kindThe novel is an exercise in style one of fragmentation and defragmentation Can the reader reassemble what the author has disassembledThe narrative isn t supplied to us pre digested and easy to consume or swallow Much is left unsaid Even is filtered out by the louvres the blinds la jalousie It is forever obliue raw and uncooked We have to do our own mastication We are like one of the characters peering into its meaning He seems to be looking at something at the bottom of the little stream an animal a reflection a lost objectThe novel doesn t so much tell a story as suggest one We re permitted to sit at the table We are silent eavesdroppers on the other side of the louvres What is absent and not described is just as important as what is present and described Inference is just as important as implication The imagination supplies what the senses don tA Proliferation of PossibilitiesLike the narrative and characters of the African novel the twists and turns of the primary story construct construct a different probable outcome starting from each new suppositionOther possibilities are offered during the course of the book which lead to different endings The variations are extremely numerous the variations of these still so They seem to enjoy multiplying these choices exchanging smiles carried away by their enthusiasm probably a little intoxicated by this proliferationRobbe Grillet s experiments proliferate in just over 100 short pages They re likely to appeal to fans of post modernism Readers have to tease out the meaning and even then we don t know whether we re right However if we remain open minded tolerant and patient we too can be intoxicatedew spoilerThe Letter The Pretty Follies During the novel the female protagonist receives and drafts a response to a letter from Paris We don t see either letter This is a fabrication of the letter she receivesDear Anne MarieWhile I ve been here alone in Paris for months desperately trying to negotiate the sale of our plantation for our substantial and mutual benefit as I m sure you will appreciate I continue to hear rumours that you have been taking Negro lovers in the port At least you re not indiscreet enough to bring them home with you What would the servants think I had hoped that your promiscuity would end when we left Paris and assumed the burden of managing the family s banana interests I also hoped that we could put your youthful affair with Franck behind us Little did I suspect that he d soon follow us with his new bride Fortunately he has been a true and loyal friend to me while we ve been in the colony I just wish I could say the same about you Frankly though it pains me to acknowledge it in writing I can t see any future for our marriage It s best we part company when we both return to Paris I am only grateful we have had no children I will deal with you fairly so you shouldn t ever have to worry about money I have always loved you but now I find that this letter is the only way I can and must express my loveYour husband hide spoiler

Read & download La Jalousie

La Jalousie

Read & download La Jalousie La Jalousie Free read ✓ 102 Read & download Ü PDF, DOC, TXT, eBook or Kindle ePUB free Û Alain Robbe-Grillet Le narrateur de ce récit un mari ui surveille sa femme est au centre de l'intrigue Il reste d'ailleurs en scène de la première phrase à la dernière ueluefois légèrement à l'écart d'un côté ou de l'autre mais toujours au premier plan Souvent même il s'y trouve seul Ce personnage n'a pas de nom pas de visage Il est un v. What the hell did I just read This is one of the most bizarre tense paralyzing novellas I ve ever experienced Lying in wait within these scant few pages are the noxious suffocation and claustrophobia inherent in jealousy manifested in an extremely original shockingly cumulative way The reader is insidiously imprisoned trapped in an endless circular labyrinth of stifling oppressive stillness This confinement however rapidly becomes a perverse pleasure It both enervates and intoxicates there is no desire whatsoever to leave The consuming addiction the taut closed loop of suspicion is allWhile reading this was exuisitely excruciating now that it s over I find that I m suffering even acutely from the withdrawal I need to get back into that singularly airless reality to submerge myself in that relentless inertia once To borrow a word from David Foster Wallace I m completely aghasted Often I m not entirely sure what to make of experimental literature but this I can safely say was a masterfully meticulous mind fuck of the first order The sensation I had upon finishing it reminds me of what I felt after viewing Eraserhead for the first timeRead at your own risk You may never truly escape But then you probably won t want to

Read & download Ü PDF, DOC, TXT, eBook or Kindle ePUB free Û Alain Robbe-Grillet

Read & download La Jalousie La Jalousie Free read ✓ 102 Read & download Ü PDF, DOC, TXT, eBook or Kindle ePUB free Û Alain Robbe-Grillet Usie est une sorte de contrevent ui permet de regarder au dehors et pour certaines inclinaisons du dehors vers l'intérieur ; mais lorsue les lames sont closes on ne voit plus rien dans aucun sens La jalousie est une passion pour ui rien jamais ne s'efface chaue vision même la plus innocente y demeure inscrite une fois pour tout. I was overwhelmed by this novel the tense repetitions disorienting looping plot descriptions suffused with seething emotion but anything I could say has already been captured by Tom McCarthy s brilliant introduction So I m pasting that below THE OBITUARIES Alain Robbe Grillet received in the British press depicted him as a significant but ultimately eccentric novelist whose work forswore any attempt to he believable or to engage with the real world in a realistic way In taking this line the obituarists displayed an intellectual shortcoming typical of Anglo American empiricism and displayed it on two fronts first in their failure to understand that literary realism is itself a construct as laden with artifice as any other and second in missing the glaring fact that Robbe Grillet s novels are actually ultrarealist shot through at every level with the sheer uiddity of the environments to which they attend so faithfully What we see happening in them again and again is space and matter inscribing themselves on consciousness whose task reciprocally is to accommodate space and matter As Robbe Grillet was himself fond of declaring No art without worldThis type of intense congress with the real can be seen even in the author s shortest offerings In the three page story The Dressmaker s Dummy which opens the collection Snapshots 1962 we are shown a coffeepot a four legged table a waxed tablecloth a manneuin and crucially a large rectangular mirror that reflects the room s objects which include a mirror fronted wardrobe that in turn redoubles everything Thus we are made to navigate a set of duplications modifications and distortions that are at once almost impossibly complex and utterly accurate This is how rooms actually look to an observer how their angles surfaces and sight lines impose themselves on his or her perception No other action takes place in the piece which nonetheless ends with a uite stunning twist as we are told that the coffeepot s base bears a picture of an owl with two large somewhat frightening eyes but due to the coffeepot s presence this image cannot be seen What waits for us at the story s climax its gaze directed back toward our own is a blind spotIn Jealousy 1957 this blind spot is the novel s protagonist Through a meticulously indeed obsessively described house set in the middle of a tropical banana plantation moves what filmmakers call a POV or point of view a camera and mic like node of seeing and hearing The one thing not seen or heard by this node is the node itself Phrases such as It takes a glance at her empty though stained plate to discover and Memory succeeds over in reconstituting beg the uestions Whose glance Whose memory The answer it can pretty easily be inferred from the novel s context is that it is the master of the house s glance and memory his movements and reflections that we are experiencing as he watches his wife identified only as A negotiate an affair with the neighboring plantation s owner Franck The effect of stating the hero s subjectivity negatively by implication rather than by affirmation is eerie and troubling His gaze becomes like that of The Shape in John Carpenter s Halloween or the entity in David Lynch s Lost Highway who stalks a maritally troubled house at night armed with a camera When we read that it is only at a distance of less than a yard that the back of A s head appears a certain way we realize with a shudder that her jealous husband is creeping up on her from behind He is observing her in this particular instance through the slats of a blind or jalousie in French and we through an ingenious if untranslatable linguistic duplication are watching her through two jalousies a double blindThe novel is saturated with a sense of geometry The house s surfaces reveal themselves to us in a series of straight lines and chevrons horizontals verticals and diagonals disks and trapezoids The banana trees as green as jealousy itself are laid out in uincunxes as are the workers who replace the bridge s rectangular beams Geometric order is pitted against formlessness and entropy On the far side of the valley toward Franck s house is a patch in which the narrator tells us using language reminiscent of Othello s that confusion has gained the ascendancy As A combs her hair the struggle between geometry and chaos is replayed With a mechanical gesture the oval of the brush and the straight lines of its teeth pass through the black mass on her head imposing order on it just as the mechanical cries of nocturnal animals shape the darkness beyond the veranda by indicating each one s trajectory through the night Geometry usually wins Even the tangled skein of insects buzzing around the lamp reveals itself when observed at length by the husband to be describing or less flattened ellipses in horizontal planes or at slight angles But an ellipse is not merely a type of orbit it also designates a syntactic omission a typographic gap What s missing from this geometry is A the character whose very name contains an ellipse During this particular scene she is off in town with Franck As the narrator waits for her to come home the lamp hisses like a green eyed monsterEnmeshed with the book s spatial logic is a temporal one The second time we see the shadow of the column fall on the veranda it has lengthened in a clockwise direction the geometry of the house effectively forming a sundial In a filmed interview last year with curator Hans Ulrich Obrist Robbe Grillet s influence on contemporary visual art is enormous the author ponders Hegel s paradox that to say Now it is day cannot be wholly true if a few hours later one can eually truthfully declare Now it is night and notes that for Hegel the only true part of the statements is the word now Why Because it persists The same word punctuates Jealousy like the regular chime of a clock Now the shadow of the column Now the house is empty until the day breaks nowThis is not to say that time moves forward in a straight line Like Benjy in William Faulkner s The Sound and the Fury Jealousy s narrator experiences time or times simultaneously For Robbe Grillet who also made films writing is like splicing together strips of celluloid to create a continual present There are prolepses analepses loops and repetitions a process slyly mirrored in the staggering of the plantation cycle through the whole year such that all its phases occur at the same time every day and the periodical trivial incidents also repeat themselves simultaneously but the time is always now A delightful exchange between the husband and the servant boy in which the latter answers a uestion as to when he was instructed to retrieve ice cubes from the pantry with an imprecise now discerning in the uestion a reuest to hurry carries this point home All the book s actions and exchanges swelter in a stultifying oppressive and persistent present tense what Joyce in Finnegans Wake calls the pressantThe only escape route from this pressant from its simultaneity its loops and repetitions would be violence for the narrator to perpetrate a crime passionel against A and by murdering her free them from the vicious circle of meals cocktails hair combing spying But this does not happen Only the centipede dies again and again and again The venomous Scutigera serves as a meeting point for associations so overloaded that if it were a plug socket it would be smoking During one of its many death scenes the narrative cuts from the crackling of its dying scream as its many legs curl to the crackling sound made by the many teeth of A s brush running through her hair then on to A s fingers clenching the tablecloth in terror from there to the same gesture played out across the bedsheet then finally to Franck jolting and driving violently a sexual image that resolves itself into a putative crash in which the plantation owner s burning car makes the bush crackle As with Franck s car crash posited and then erased it seems that A has finally met a violent fate when near the novel s end we re shown a reddish streak running from the bedroom window to the veranda But no sooner is it outlined than we are told that it has always been there and that A has decided it will not be painted out for the moment So the moment the eternal now persists and she returns to sit at her desk as beforeA is a fantastic creation a femme fatale to rival Lady Macbeth or Clytemnestra in terms of her castrating potency Throughout the book Robbe Grillet associates her with the color green green eyes green irises and coldness She serves ice cubes each of which imprisons a bundle of silver needles in its heart A twist rears its head when after she and Franck return from their night in a hotel she taunts Franck whose sexuality has been associated with car engines from the outset by saying You re not much of a mechanic are you words that cause him to grimace Later as they sit side by side our attention is diverted to the metal ice bucket its lustre already frosted over If A retreats from the narrator she retreats from Franck as well remaining inaccessible to both Perhaps the literary female she resembles most is another A Faulkner s Addie Bundren in As I Lay Dying who despite marriage and an extramarital affair abides refraining and recessional beyond the reach of both husband and lover and of words themselves As Jealousy nears its end A like Addie slips away into the blank areas of the book s geometry spending and time outside the field of vision as though commandeering the narrator s blind spot for herselfOne of A s main activities throughout the novel is to read and write She and Franck use a novel which they both have read and the narrator has not as a cover to discuss their own situation right in front of him They also exchange letters The small spasms and convulsions of A s hair as she sits at her writing table busy hands hidden from view lend the act of writing a sexual aura by implying that she could as easily be masturbating as erasing a stain or a badly chosen word In this respect there is something utterly perverse doubly perverse about her husband s perusal of her writing s residues the fragments of letters left on the writing case s blotter These too are geometric figures tiny lines arcs crosses loops etc but unlike the centipede whose form is marked so legibly across the wall before being erased and reinscribed over and over again here no complete letter can be made out even in a mirror the text remains illegibleIn the interview with Obrist Robbe Grillet claimed that whereas the novels of Balzac or Dickens do not reuire readers since they perform all the latter s work themselves his own writing calls for active readers who will piece everything together Each work is like an Airfix kit or precisely an IKEA one since there is always one vital piece missing The final letter we see A reading has come not from Franck but rather in the last post from Europe from an unknown correspondent As she sets a blank leaf on her green blotter removes her pen s cap and bends forward to start writing one twist emerges Within the self reflexive geometries of Robbe Griller s hall of mirrors the ultimate blind spot just might be the reader Who Killed Hazel Drew? est une sorte de contrevent ui permet de regarder au dehors A Whole New League (Briarwood High Book 2) et pour certaines inclinaisons du dehors vers l'intérieur ; mais lorsue les lames sont closes on ne voit plus rien dans aucun sens La jalousie Since I Died est une passion pour ui rien jamais ne s'efface chaue vision même la plus innocente y demeure inscrite une fois pour tout. I was overwhelmed by this novel the tense repetitions disorienting looping plot descriptions suffused with seething Not Pulling Out 2 emotion but anything I could say has already been captured by Tom McCarthy s brilliant introduction So I m pasting that below THE OBITUARIES Alain Robbe Grillet received in the British press depicted him as a significant but ultimately Driving on the Edge eccentric novelist whose work forswore any attempt to he believable or to El Socialismo Historico Altoaragones engage with the real world in a realistic way In taking this line the obituarists displayed an intellectual shortcoming typical of Anglo American Dont Call Me Coach empiricism and displayed it on two fronts first in their failure to understand that literary realism is itself a construct as laden with artifice as any other and second in missing the glaring fact that Robbe Grillet s novels are actually ultrarealist shot through at Obłok Magellana every level with the sheer uiddity of the Destinys Need environments to which they attend so faithfully What we see happening in them again and again is space and matter inscribing themselves on consciousness whose task reciprocally is to accommodate space and matter As Robbe Grillet was himself fond of declaring No art without worldThis type of intense congress with the real can be seen Gabe Alvarez Security #1 ends with a uite stunning twist as we are told that the coffeepot s base bears a picture of an owl with two large somewhat frightening Tony Alvarez Security #2 eyes but due to the coffeepot s presence this image cannot be seen What waits for us at the story s climax its gaze directed back toward our own is a blind spotIn Jealousy 1957 this blind spot is the novel s protagonist Through a meticulously indeed obsessively described house set in the middle of a tropical banana plantation moves what filmmakers call a POV or point of view a camera and mic like node of seeing and hearing The one thing not seen or heard by this node is the node itself Phrases such as It takes a glance at her The Simon Iff Stories Other Works empty though stained plate to discover and Memory succeeds over in reconstituting beg the uestions Whose glance Whose memory The answer it can pretty Polish English Bilingual Visual Dictionary easily be inferred from the novel s context is that it is the master of the house s glance and memory his movements and reflections that we are The Best Interface Is No Interface experiencing as he watches his wife identified only as A negotiate an affair with the neighboring plantation s owner Franck The James Fitzjames effect of stating the hero s subjectivity negatively by implication rather than by affirmation is Contemporary Poetry eerie and troubling His gaze becomes like that of The Shape in John Carpenter s Halloween or the Sweet 16 Never Been KissedWishes And DreamsThe Perfect Summer BOX SET entity in David Lynch s Lost Highway who stalks a maritally troubled house at night armed with a camera When we read that it is only at a distance of less than a yard that the back of A s head appears a certain way we realize with a shudder that her jealous husband is creeping up on her from behind He is observing her in this particular instance through the slats of a blind or jalousie in French and we through an ingenious if untranslatable linguistic duplication are watching her through two jalousies a double blindThe novel is saturated with a sense of geometry The house s surfaces reveal themselves to us in a series of straight lines and chevrons horizontals verticals and diagonals disks and trapezoids The banana trees as green as jealousy itself are laid out in uincunxes as are the workers who replace the bridge s rectangular beams Geometric order is pitted against formlessness and Chasing Vermeer each one s trajectory through the night Geometry usually wins Even the tangled skein of insects buzzing around the lamp reveals itself when observed at length by the husband to be describing or less flattened Something Wonderful ellipses in horizontal planes or at slight angles But an Men in Petticoats ellipse is not merely a type of orbit it also designates a syntactic omission a typographic gap What s missing from this geometry is A the character whose very name contains an Jungle Fever Jessicas Seduction #4 ellipse During this particular scene she is off in town with Franck As the narrator waits for her to come home the lamp hisses like a green Bride for a Night Avon Light Contemporary Romances eyed monsterEnmeshed with the book s spatial logic is a temporal one The second time we see the shadow of the column fall on the veranda it has lengthened in a clockwise direction the geometry of the house Atomic Design effectively forming a sundial In a filmed interview last year with curator Hans Ulrich Obrist Robbe Grillet s influence on contemporary visual art is Great Goddesses Life Lessons from Myths and Monsters enormous the author ponders Hegel s paradox that to say Now it is day cannot be wholly true if a few hours later one can Transference Countertransference Chiron Clinical Series eually truthfully declare Now it is night and notes that for Hegel the only true part of the statements is the word now Why Because it persists The same word punctuates Jealousy like the regular chime of a clock Now the shadow of the column Now the house is Linchpin Are You Indispensable? empty until the day breaks nowThis is not to say that time moves forward in a straight line Like Benjy in William Faulkner s The Sound and the Fury Jealousy s narrator The Shadow of Gods The Godling Chronicles #3 experiences time or times simultaneously For Robbe Grillet who also made films writing is like splicing together strips of celluloid to create a continual present There are prolepses analepses loops and repetitions a process slyly mirrored in the staggering of the plantation cycle through the whole year such that all its phases occur at the same time The Tropes of Fantasy Fiction every day and the periodical trivial incidents also repeat themselves simultaneously but the time is always now A delightful Doctor Strange exchange between the husband and the servant boy in which the latter answers a uestion as to when he was instructed to retrieve ice cubes from the pantry with an imprecise now discerning in the uestion a reuest to hurry carries this point home All the book s actions and The End of Everything exchanges swelter in a stultifying oppressive and persistent present tense what Joyce in Finnegans Wake calls the pressantThe only The Embrace Prose Series 55 escape route from this pressant from its simultaneity its loops and repetitions would be violence for the narrator to perpetrate a crime passionel against A and by murdering her free them from the vicious circle of meals cocktails hair combing spying But this does not happen Only the centipede dies again and again and again The venomous Scutigera serves as a meeting point for associations so overloaded that if it were a plug socket it would be smoking During one of its many death scenes the narrative cuts from the crackling of its dying scream as its many legs curl to the crackling sound made by the many teeth of A s brush running through her hair then on to A s fingers clenching the tablecloth in terror from there to the same gesture played out across the bedsheet then finally to Franck jolting and driving violently a sexual image that resolves itself into a putative crash in which the plantation owner s burning car makes the bush crackle As with Franck s car crash posited and then Madoc Vol 5 erased it seems that A has finally met a violent fate when near the novel s Humiliated by My Husband and Best Friend end we re shown a reddish streak running from the bedroom window to the veranda But no sooner is it outlined than we are told that it has always been there and that A has decided it will not be painted out for the moment So the moment the Heart of Darkness eternal now persists and she returns to sit at her desk as beforeA is a fantastic creation a femme fatale to rival Lady Macbeth or Clytemnestra in terms of her castrating potency Throughout the book Robbe Grillet associates her with the color green green Infatuation Underground Kings #4 eyes green irises and coldness She serves ice cubes Wim Crouwel each of which imprisons a bundle of silver needles in its heart A twist rears its head when after she and Franck return from their night in a hotel she taunts Franck whose sexuality has been associated with car Białe Zimna wyspa Spitsbergen engines from the outset by saying You re not much of a mechanic are you words that cause him to grimace Later as they sit side by side our attention is diverted to the metal ice bucket its lustre already frosted over If A retreats from the narrator she retreats from Franck as well remaining inaccessible to both Perhaps the literary female she resembles most is another A Faulkner s Addie Bundren in As I Lay Dying who despite marriage and an হারেম extramarital affair abides refraining and recessional beyond the reach of both husband and lover and of words themselves As Jealousy nears its Wolf Protector Federal Paranormal Unit #1 end A like Addie slips away into the blank areas of the book s geometry spending and time outside the field of vision as though commandeering the narrator s blind spot for herselfOne of A s main activities throughout the novel is to read and write She and Franck use a novel which they both have read and the narrator has not as a cover to discuss their own situation right in front of him They also My Horizontal Life A Collection of One Night Stands exchange letters The small spasms and convulsions of A s hair as she sits at her writing table busy hands hidden from view lend the act of writing a sexual aura by implying that she could as Pitu i Kudłata Dają Radę easily be masturbating as The Wounded King Vampire Victorian Age Book 3 erasing a stain or a badly chosen word In this respect there is something utterly perverse doubly perverse about her husband s perusal of her writing s residues the fragments of letters left on the writing case s blotter These too are geometric figures tiny lines arcs crosses loops Lords of Kobol Book Five etc but unlike the centipede whose form is marked so legibly across the wall before being Down a Notch erased and reinscribed over and over again here no complete letter can be made out Ass Goblins of Auschwitz even in a mirror the text remains illegibleIn the interview with Obrist Robbe Grillet claimed that whereas the novels of Balzac or Dickens do not reuire readers since they perform all the latter s work themselves his own writing calls for active readers who will piece Mounted by a Monster everything together Each work is like an Airfix kit or precisely an IKEA one since there is always one vital piece missing The final letter we see A reading has come not from Franck but rather in the last post from Europe from an unknown correspondent As she sets a blank leaf on her green blotter removes her pen s cap and bends forward to start writing one twist Torrent River of Time #3 emerges Within the self reflexive geometries of Robbe Griller s hall of mirrors the ultimate blind spot just might be the reader