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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His voice was rising. 'Stop shouting!' said Duncan.

'They want to kill us!'

'Shut up, can't you!'

Duncan was thinking of the people upstairs, and of his father. His father was deaf as a bloody post; but he had a sort of radar in him, where Alec was concerned… Alec stopped talking. He kept on biting at his fingers, but started pacing around the room. Outside, the sounds of the raid had grown worse-had drawn together into a deep, low throb. The glass in Duncan's window started, very slightly, to vibrate.

'I'm getting out of it,' said Alec again, as he paced. 'I'm getting out. I mean it.'

'You're not running away,' said Duncan firmly. 'It's just not fair.'

'Nothing's fair any more.'

'You can't. You can't leave me in Streatham, with bloody Eddie Parry, and Rodney Mills, and boys like that-'

'I'm getting out. I've had it.'

'You could- Alec!' said Duncan, suddenly excited. 'You could stay here! I could hide you here! I could bring you food and water.'

'Here?' Alec looked around, frowning. 'Where would I hide?'

'You could hide in a cupboard, somewhere like that, I don't know. You'd only have to do it while my dad was here. And then on the nights when Viv was away, you could come out. You could sleep in with me. You could do it, even while Viv was here. She wouldn't mind. She'd help us. You'd be like-like the Count of Monte Cristo!' Duncan thought about it. He thought about making up plates of food-keeping back the meat, the tea and the sugar, from his own ration. He thought about secretly sharing his bed with Alec, every single night…

But Alec looked doubtful. 'I don't know. It would have to be for months and months, wouldn't it? It would have to be till the end of the war. And you'll get your papers, too, next year. You'll get them sooner, if they put the age down. You might get them in July! What would we do then?'

'It's ages till July,' answered Duncan. 'Anything could happen between now and July. We'll probably get blown up, by July!'

Alec shook his head again. 'We won't,' he said bitterly. 'I know we won't. I wish we would! Instead, it's kids and old ladies and babies and stupid people who die-stupid people who don't mind the war. Boys who are too stupid to mind being soldiers, too stupid to see that the war's not their war but a load of government men's… It's not our war, either; we have to suffer in it, though. We have to do the things they tell us. They don't even tell us the truth! They haven't told us about Birmingham. Everybody knows that Birmingham 's been practically burned to the ground. How many other towns and cities are like that? They won't tell us about the weapons Hitler's got, the rockets and gas. Horrible gas, that doesn't kill you but makes your skin come off; gas that does a thing to your brain, to make a sort of robot of you, so that Hitler can take you and turn you into a slave… He's going to put us all in camps, do you know that? He's going to make us work in mines and factories, the men all digging and working machines, the women having babies; he'll make us go to bed with women, one after the other, just to make them pregnant. And all the old men and old ladies he'll just kill. He's done it in Poland. He's probably done it in Belgium and Holland, too. They don't tell us that. It isn't fair! We never wanted to go to war. There ought to be a place for people like us. They ought to let the stupid people fight, and everybody else-everyone who cares about important things, things like the Arts, things like that-they ought to be allowed to go and live somewhere on their own, and to hell with Hitler-'

He kicked at one of Duncan's shoes; then went back to walking about and biting at his hands. He bit madly, moving his hand when one patch of skin or nail was gnawed, and starting on another. His gaze grew fixed, but on nothing. His face had whitened again, and his red-rimmed eyes seemed to blaze like a lunatic's.

Duncan thought of his father again. He imagined what his father would think if he could see Alec like this. That boy's bloody crackers , he'd said to Duncan more than once. That boy needs to grow up . He's a waste of bloody time . He'll put ideas in your bloody head, that boy will -

'Stop biting your fingers like that, will you?' he said uneasily. 'You look dotty.'

'Dotty?' hissed Alec. 'I shouldn't be surprised if I go off my bloody head! I got so worked up tonight I thought I was going to be sick. I had to wait for them all to go to sleep. Then I thought there was someone in the house. I could hear men, moving about-footsteps, and whispers. I thought my father had fetched the police.'

Duncan was appalled. 'He wouldn't do that, would he?'

'He might. That's how much he hates me.'

'In the middle of the night?'

'Of course then!' said Alec impatiently. 'That's just when they do come! Don't you know that? It's when you least expect them to-'

Abruptly, they stopped talking. Duncan looked at the door-remembering his mother's illness again; feeling weird again; half-expecting to hear the sound of people creeping about in the hall… What he heard instead was the steady throb of aircraft, the monotonous crump-crump of bombs, followed by the slither of soot in the chimney-breast.

He looked back at Alec; and grew more unnerved than ever. For Alec had lowered his hands at last, and seemed suddenly unnaturally calm. He met Duncan's gaze, and made some slightly theatrical gesture-shrugged his narrow shoulders, turned his head, showed his fine, handsome profile.

'This is wasting time,' he said, as if casually.

'What is?' asked Duncan, afraid. 'What do you mean?'

'I told you, didn't I? I'd rather be dead than do what they want me to do. I'd rather die than have them put a gun in my hand and make me shoot some German boy who feels just like I do. I'm getting out. I'm going to do it, before they do it to me.'

'But, do what?' Duncan asked him, stupidly.

Alec made the theatrical gesture again-as if to say, it was nothing to him, one way or the other. 'I'm going to kill myself,' he said.

Duncan stared at him. 'You can't!'

'Why not?'

'You just can't. It's not fair. What- What will your mother think?'

Alec coloured. 'That's her hard luck, isn't it? She shouldn't have married my oaf of a father. He'll be pleased, anyway. He wants to see me dead.'

Duncan wasn't listening. He was thinking it through and growing tearful. He said, 'But, what about me?' His voice sounded strangled. 'It'll be harder on me than on any of them, you know it will! You're my best friend. You can't kill yourself and leave me here.'

'Do it too, then,' said Alec.

He said it quietly. Duncan was wiping his nose on his sleeve, and wasn't sure he'd heard him properly. He said, 'What?'

'Do it too,' said Alec again.

They looked at each other. Alec's face had flushed pinker than ever; he'd drawn back his lips, unguardedly, in a nervous smile, and his crooked teeth were showing. He moved closer to Duncan and put his hands on his shoulders, so that he was facing Duncan squarely, only the length of a curved arm away. He gripped Duncan hard, almost shook him. He looked right into his eyes and said excitedly, 'It'll show them, won't it? Think how it'll look! We can leave a letter, saying why we've done it! We'll be two young people, giving up our lives. It'll get into the papers. It'll get everywhere! It might bloody well stop the war!'

'Do you think it would?' asked Duncan-excited too, suddenly; impressed and flattered; wanting to believe it, but still afraid.

'Why wouldn't it?'

'I don't know. Young people are dying all the time. That hasn't changed anything. Why should it be different with us?'

'You chump,' said Alec, curling his lip, drawing off his hands and moving away. 'If you can't see- If you're not up to it- If you're windy-'

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