Sarah Waters - The Night Watch

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The Night Watch: краткое содержание, описание и аннотация

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Sarah Waters’ fourth novel, The Night Watch, is set in 1940s London, during and after the Second World War, and is an innovative departure from her previous three lesbian Victorian historical fictions. Tipping the Velvet (1998), Affinity (1999) and Fingersmith (2002) depend on melodramatic scenes of excess and chicanery, with occasional references to postmodern thinking. In comparison, The Night Watch is more constrained in its telling of love stories and secrets. Its tone echoes the view we have, in the 21st century, of rationed wartime Britain and the use of the more distant third-person, rather than the confiding first-person, signals a further diversion from the earlier works.
The structure of The Night Watch is worth remarking upon as it begins at the end in 1947. The second section takes us back to 1944, and the third and final section is set in 1941. The decision to use this type of structure is brave, even foolhardy, because of the problems in pulling it off convincingly, but Waters’ subtlety and restraint in pulling back the layers reveals the extent of her authorial control.
This novel is essentially concerned with five main characters (Kay, Viv, Helen, Julia and Viv’s brother, Duncan) and their separate private lives. The connections between these people are also elemental to the narrative. Coincidence plays a significant role in the unfolding of past events as their lives are shown to overlap. This use of coincidence has been a feature of Waters’ previous novels, but this time she uses it casually, and as an extra element, rather than for the purposes of manipulating the plot out of hand as was deemed necessary in a melodrama such as Fingersmith.
The love stories of Kay, Viv and Helen are central and, as the narrative traces back to 1941, we learn how their present views of relationships have been shaped by these past events. As with her previous novels, Waters continues to use lesbian relationships as a main focus of the narrative, but shifts away to examine the affair between Viv and Reggie, and the horrific illegal abortion she undergoes to spare her father from further shame.
Repression becomes a touchstone as many of the characters keep a secret or carry a weight of shame. The converse of this theme of fear of discovery is the examination of bravery. This is most notable in the second and third sections which are, necessarily, concerned with the bombing of London. A re-evaluation of the definition of courage is undertaken and is perhaps most poignant in the prison scene, where Duncan ’s cell mate, conscientious objector Fraser, asks himself if he is ‘simply a – a bloody coward’ when he is overwhelmed by the fear of death. The deconstruction of received morality, of what is to be brave or selfish in this time of heightened emotions, is also examined when Helen considers the effect the war has had on her ethics: ‘In the first blitz, she’d tried to help everyone; she’d given money to people, sometimes, from her own purse. But the war made you careless. You started off, she thought sadly, imagining you’d be a kind of heroine. You end up thinking only of yourself.’
The reason for Duncan ’s imprisonment is one of the well-kept secrets of the novel and is only (partially) explained in the third section. This use of the hidden truth and the hints at the unspoken strengthen the evocation of the period, where loose lips could potentially sink ships, and walls had ears. When revelations are made, they are, more often than not, as subdued as the repressed tone permits and this allows the novel to maintain the same pace throughout.
Despite this steady pace, Waters still enables the readers to see how the war also had a liberating effect on women such as Kay. Her gallantry and masculine demeanour was of use during the bombings whilst she worked as an ambulance driver, but in the beginning of the novel, in 1947, it is clear that with the return to peace time her short hair and male clothing are once more worthy of ridicule.
As with all of Waters’ novels, The Night Watch has been praised by critics for the attention to detail and meticulous research. This work stretches beyond the limits of the previous three, though, and is certainly her most impressive to date. Her control in depicting the central characters gradually is in itself an indicator of skilful writing. As this is also combined with a believable and interested evocation of period and place, this novel must be recommended highly.

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'Miss,' he said. He'd taken off his cap. 'Do me a favour, will you? The guard's on his way. I've lost my ticket and he'll give me hell-'

'I'm just coming out,' she said, 'if you'll let me.'

He shook his head. Now he was keeping her from opening the door, as well as from closing it. He said, 'I've seen this bloke and, honest to God, he's a tartar. I heard him earlier on, tearing a strip off some poor devil who had the wrong sort of warrant. If he knocks and hears my voice, he'll still want his ticket.'

'Well, what do you want me to do about it?'

'Can't you just let me in till he's gone past?'

She looked at him in amazement. 'In here, with me?'

'Just till he's gone by. And when he knocks, you can slip your ticket under the door… Please, miss. It's a thing girls do for servicemen all the time.'

'I'll bet it is. Not this girl, though.'

'Come on, I'm begging you. I'm in an awful squeeze. I've got compassionate leave, only forty-eight hours. I've spent half of that already, freezing my- Well, freezing my feet off, on Swindon station. If he throws me out I'm done for. Be a sport. It's not my fault. I had the ticket in my hand and put it down for half a minute. I think some Navy boy saw me do it-'

'A minute ago you said you'd lost it.'

He touched his hair distractedly. 'Lost it, had it pinched, what's the difference? I've been dodging up and down this train like a ruddy lunatic, in and out of lavatories all the way. All I'm looking for is someone tender-hearted to give me a bit of a break. It'll be no skin off your nose, will it? You can trust me, I swear to God. I'm not-' He stopped and drew back his head; then his face reappeared, he gave a hiss-'Here he comes!'-and before she could do anything about it he had made a scuffling rush into the lavatory, bundling her back into it in the process. He shot the bolt and stood with his ear at the crack of the door-frame, his lower lip caught between his teeth.

Viv said, 'If you think-!'

He put his finger to his mouth: 'Shh!' He still had his ear pressed to the door-frame, and now began moving his head up and down it-like a doctor, desperately trying to find a heartbeat in the bosom of a dying man.

Then there was a smart, authoritative tap-tap-tap! on the door that made him jump as though he'd been shot.

' All tickets, please! '

The soldier looked at Viv and grimaced dreadfully. He went through a mad sort of pantomime, pretending to take a ticket from his pocket, stoop, and shove it under the door.

'All tickets!' the guard called again.

'This lavatory's taken!' Viv cried at last. Her voice was flustered, silly-sounding.

'I know it's taken,' came the reply from the corridor. 'I need to see your ticket please, miss.'

'Can't you see it later?'

'I need to see it now, please.'

'Just- Just a minute.'

What could she do? She couldn't open the door, the guard would take one look at the soldier and think the worst… So she got out her ticket, and, 'Move over,' she hissed, flapping her hand furiously. The soldier took a step away from the door so that she could stoop and slip the ticket under it. She bent her legs self-consciously-aware of the smallness of the space they were in; aware that she was making it smaller, by stooping; feeling, in fact, her thigh pass against his knee, so that the wool of her skirt clung momentarily to the khaki of his trousers.

Her ticket lay flat in the shadow of the door for a second and then, as if through some weird agency of its own, gave a quiver and slid away. There was a moment's suspense. She stayed awkwardly squatting, and didn't look up. But at last, 'Very good, miss!' came the call. The ticket was returned, with a neat little hole punched out of it; and the guard moved on.

She stood up, stepped back, put her ticket into her bag and snapped closed its clasp.

'Happy now?'

The soldier was wiping his forehead with his sleeve. 'Miss,' he said, 'you're an angel! The sort of girl, I swear to God, who restores a fellow's faith in life. The sort of girl the songs are written for.'

'Well, you can write one now,' she said, moving forward, 'and sing it to yourself.'

'What?' He put his arm across the door. 'You can't go yet. Suppose the ticket fellow comes back? Give it another minute, at least. Look-' He put his hand to his jacket pocket and brought out a crumpled packet of Woodbines. 'Just keep me company for the length of a smoke, that's all I ask. Give him time to get down to First Class. I swear to God, if you knew the journey I've had, the hoops I've had to jump through-'

'That's your look-out.'

He started to smile. 'You'll be helping the war-effort. Think of it that way.'

'How many girls have you used that line on?'

'You're the first. I swear!'

'The first today, you mean.'

But now he was almost grinning. His lips parted and she saw his teeth. Rather distracting teeth, they were: very straight and very even and white, and seeming to be whiter against the stubble of his chin. They made the rest of his face good-looking, suddenly. She noticed the hazel of his eyes, the thick black lashes. His hair was dark, darker even than her own; he'd tried to flatten it down with Brylcreem but individual locks were pulling against the grease, lifting back into curls.

His uniform, however, looked as though he'd slept in it. The jacket was stained and badly-fitting. The trouser legs were creased in horizontal bands like stretched-out concertinas. But he held out the packet of Woodbines, imploringly; and she pictured her own empty narrow seat in the crowded compartment: the Navy man making passes, the asthmatic WAAF, the horse-mad girl.

'All right,' she said at last. 'Give me a cigarette, just for a minute. I must want my head read, though!'

He smiled more broadly, in relief. His teeth were more distracting than ever, she thought, when seen all together like that… He lit a match for her, from a match-book, and she moved forward to the flame; but then she moved back and stood guardedly, with one arm folded across herself, the wrist of it propping up the elbow of the other, and the heel of her foot pressed tight to the wall, a brace against the lurching of the train. It was hard to ignore the presence of the porcelain lavatory-over which, after all, she'd recently stooped with her bottom bared. Then again, like everyone else she'd had to get used to sharing odd spaces with strangers recently. On another train journey, two months before, a raid had started up and all the passengers had had to get down on the floor. She'd had to lie for forty minutes with her face more or less in a man's lap; he'd been awfully embarassed…

This man, at least, seemed quite at his ease. He leaned on the counter which held the basin and started to yawn. The yawn became a low sort of yodelling groan, and when that was finished he put his cigarette between his lips and rubbed his face-rubbed it in that vigorous, unselfconscious way with which men always handled their own faces, and girls never did.

Then the train began to slow. Viv looked anxiously at the window. 'That's not Paddington, is it?'

'Paddington!' he said. 'Christ, I wish it was!' He leaned to the blind and drew it back a little and tried to look out; but it was impossible to see anything. 'God knows where we are,' he said. 'Just past Didcot, I should say.-There we go.' He'd almost staggered. 'They're throwing in a fun-fair ride, for free.'

The train had run quickly for a moment, then abruptly slowed; now it was moving with a series of jolts. He and Viv bounced about like jumping beans. Viv put out her arms, looking for hand-holds. It was impossible not to smile. The soldier shook his head, too, in disbelief. 'Has it been like this all the way? Where did you get on?'

After a little show of reluctance, she told him: Taunton. She'd been to visit her sister and her baby; they'd gone down there, she said, away from the bombs… He listened, nodding.

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