A road leads from the house to a highway, which in turn, leads to the home of Franck, who is apparently A . . . ’s lover. This road, which cuts through the boundaries around the narrator’s home, constitutes then a means of escape for A . . . and Franck, who make at least one trip to a port city, several hours away by car.
The story’s three major characters spend much of their time on a veranda that surrounds the house on three sides. The narrator notes that the chairs of Franck and A . . . are always very close together, which facilitates conversation–and conspiracy. On the other hand, the narrator-husband’s chair is at the other end of a semicircle–separated from those of the others by a cocktail table and the empty chair reserved for Franck’s always-absent wife, Christiane.
The narrator’s garden, courtyard, and plantation represent his desire to carve out a civilized domain in a hostile environment–a triumph of humankind over savage nature. The garden and the courtyard separate the house from the groves of banana trees, from which shrill animal cries emanate.
Office. Principal vantage point of the narrator, from which he observes A . . . , Franck, and activities on his estate. He watches what goes on around him through jalousie blinds–whose name gives the novel’s title a double meaning. Physically therefore, the narrator’s view of things is never complete–just as his knowledge of what is in fact going on between Franck and his wife is fragmented.
A . . . ’s bedroom. Directly across a corridor from her husband/narrator’s office, the room in which A . . . primps before a vanity mirror, dresses, apparently writes letters to Franck, and stares out a window, in the direction from which Franck is most likely to approach the house. This room is referred to only as A . . . ’s bedroom, not the bedroom of husband and wife. The narrator apparently sleeps in a small bedroom separated from A . . . ’s room by a bathroom. The jealous narrator/husband can see what A . . . does in her bedroom when the doors to his office and the bedroom are ajar; however, her room has corners in which A . . . cannot be seen from outside.
At the end of the novel, when the narrator’s stress is critical, he sees spots and streaks of red (blood? ) on the windowsill of A . . . ’s bedroom and nearby. The incident leaves readers with the impression that the narrator has murdered his wife and/or Franck.
Living room. Main room of the home of the narrator and A . . . One wall of the room has a red stain left by a centipede that Franck has crushed during one of his visits to the house. Later, in the narrator’s anguished view, the stain on the wall curiously resembles the red stain on the windowsill of A . . . ’s bedroom.