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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'I didn't say that.'

'-I'll do it on my own.'

'I won't let you do it on your own!' said Duncan. 'I told you, you're not going to leave me.'

Alec came back. 'Help me write the letter, then,' he said, excited again. 'We can write it- Look.' He stooped and picked up one of the torn-off halves of the call-up paper. 'We can write it on the back of this. It'll be symbolic. Give me a pen, will you?'

Duncan 's leather writing-case was on the floor, beside the bed. Automatically, Duncan took a step towards it; then checked himself. He went instead, as if casually, to the mantelpiece, picked up a pencil, and held it out. But Alec wouldn't take it. 'Not that,' he said. 'They'll think a bloody kid wrote it, if I use that! Let me have your fountain pen.'

Duncan blinked and looked away. 'It isn't in here.'

'You bloody liar, I know it is!'

'It's just,' said Duncan, 'if a pen's any good, you're not suppose to let other people use it.'

'You always say that! It doesn't matter now, does it?'

'I don't want you to, that's all. Use the pencil. My sister bought me that pen.'

'She'll be proud of you, then,' said Alec. 'They'll probably put that pen in some sort of frame, after they find us! Think of it like that. Come on, Duncan.'

Duncan hesitated a little longer, then reluctantly unzipped the writing-case and drew out his pen. Alec was always badgering him for a go with this pen, and he took it from Duncan now with obvious relish: making a business of unscrewing the lid, examining the nib, testing the weight of the pen in his hand. He took the writing-case too, then sat down on the edge of the bed with the case on his knee, and he smoothed out the paper, trying to press the creases from it. When he'd got it as flat as he could, he started to write.

' To whom it may concern …' He looked at Duncan. 'Shall I put that? Or shall I put, To Mr Winston Churchill ?'

Duncan thought it over. ' To whom it may concern sounds better,' he said. 'And it might be to Hitler and Goering and Mussolini then, too.'

'That's true,' said Alec, liking the idea. He thought for a second, sucking at his lip, tapping with the pen against his mouth; and then wrote more. He wrote swiftly, stylishly-like Keats or like Mozart, Duncan thought-dashing the nib with little flourishes across the paper, pausing to frown over what he had put, then writing stylishly again…

When he'd finished, he passed the letter over to Duncan, and gnawed at his knuckle while Duncan read.

To whom it may concern . If you are reading this, it means that we, Alec J . C . Planer and Duncan W . Pearce, of Streatham, London, England, have succeeded in our intentions and are no more . We do not undertake this deed lightly . We know that the country we are about to enter is that “dark, undiscovered one” from which “no traveller returns” . But we do what we are about to do on behalf of the Youth of England, and in the name of Liberty, Honestyand Truth . We would rather take our own lives freely, than have them stolen from us by the Pedlars of War . We ask for one epitaph only, and it is this: that, like the great T . E . Lawrence , we “drew the tides of men into our hands, and wrote our will across the sky in stars .

Duncan gazed at Alec in amazement. He said, 'That's bloody wizard!'

Alec flushed. He said, as if shyly, 'D'you really think so? I thought of some of it, you know, on my way here.'

'You're a genius!'

Alec started to laugh. The laugh came out as a sort of giggle, like a girl's. 'It is all right, isn't it? It'll bloody well show them, anyway!' He held out his hand. 'Give it back, though, for me to sign. Then you sign it, too.'

They added their names, and then the date. Alec raised the page up and looked it over, tilting his head. 'This date,' he said, 'will become like the ones we learned in school. Isn't that a funny thought? Isn't it funny to think of kids being made to remember it, in a hundred years' time?'

'Yes,' said Duncan, vaguely… He'd thought of something else, and was only half listening. As Alec smoothed out the paper again he asked diffidently, 'Can't we put something in it for our families, too, Alec?'

Alec curled his lip. 'Our families! Of course we can't, don't be stupid.'

'I'm thinking of Viv. She'll be bloody upset by all this.'

'I told you,' said Alec, 'she'll be proud of you. They all will. Even my father will. He calls me a bloody coward. I'd like to see his face when this gets into the papers! We'll be like-like martyrs!' He grew thoughtful. 'All we need to do now is decide on how we're going to do it… I suppose we could gas ourselves.'

'Gas!' said Duncan in horror. 'That'll take too long, won't it? That'll take ages. And anyway, the gas will get out, we might end up gassing my father. He's an old sod but, you know, that wouldn't be very fair.'

'It wouldn't be sporting,' said Alec.

'It wouldn't be cricket, old chap.'

They began to laugh. They laughed so hard, they had to cover their mouths with their hands. Alec fell back on to the bed and buried his face in Duncan's pillow. He said, still laughing, 'We could poison ourselves. We could eat arsenic. Like that old tart, Madame Bovary.'

'An admirable plan, Mr Holmes,' said Duncan in a silly voice, 'but one with one substantial flaw. My father keeps no arsenic in the house.'

'No arsenic? And you call this a modern, well-appointed establishment? What about rat-poison, pray?'

'No rat-poison, either. Anyway-wouldn't poison hurt like billy-oh?'

'It's going to hurt like billy-oh, you imbecile, whatever we do. It wouldn't be a gesture if it didn't hurt.'

'Even so-'

Alec had stopped laughing. He lay thinking for a second, then sat up. 'How about,' he said seriously, 'if we drown ourselves? We'd see our life flash before our eyes. Not that I want to see mine, my life's been lousy-'

Duncan said, 'I'd see my mother again.'

'There you are. A man should see his mother before he dies. You can ask her why the hell she married your father.'

They laughed again. 'But, how could we do it?' asked Duncan at last. 'We'd have to find a canal or something.'

'No, we wouldn't. You can drown in four inches of water; I thought everybody knew that. It's a scientific fact. Don't you keep your bath filled up in this house, against fire?'

Duncan looked at him. 'Bloody hell, you're right!'

'Let's do it, D.P.!'

They got to their feet. 'Bring the letter,' said Duncan, 'and a drawing-pin.-Wait! Let me comb my hair.'

'The man wants to comb his hair,' said Alec, 'at a time like this!'

'Shut up!'

'Go ahead, Leslie Howard.'

Duncan stood at the dressing-table mirror and quickly tidied himself up. Then, as quietly as they could, he and Alec went out of the bedroom and down the hall, through the parlour and into the kitchen. The doors were open, in case of blast; Duncan closed them, very softly. He could hear his father as he did it, snoring his head off. Alec whispered, 'Your father sounds like a Messerschmit!'-and that set them off laughing, all over again.

They put the kitchen light on. The shadeless bulb was rather weak, and made the room spring into life in flat, drab colours: the stained white of the sink, the grey and yellow of the patched linoleum floor, the brown-as-gravy of the woodwork… The bath was next to the kitchen table, against the wall; Duncan's father had boxed it in with more gravy-coloured wood, years before, and made a cover for it. The cover was used as a draining-board: it had bits of crockery on it, and some of Duncan's and his father's underwear, soaking in soda in a big zinc pail. Duncan blushed when he saw this, and quickly moved the pail aside. Alec moved the crockery, piece by piece, to the kitchen table.

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