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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Then they each took an end of the bath cover and lifted it off.

The water beneath was left over from a bath that Duncan's father had taken days before. It was cloudy, and filled with little hairs-coarse, curling hairs, more embarassing even than the underwear, so that Duncan took one look at them and had to turn away. He made fists of his hands. If his father had been before him now, he would have punched him. 'That swine!' he said.

'There's about enough, anyway,' said Alec dubiously. 'How will we do it, though? We can't both lie in it at once… I suppose we could hold each other's heads in?'

The thought of putting his face in that filthy water, that had sloshed round his father's feet, his private parts, his arse, made Duncan want to be sick. 'I don't want to,' he said.

'Well, I don't, much,' Alec answered. 'But look here, we can't afford to be choosy.'

'Let's make it gas, after all, and risk it.'

'Shall we?'

'Yes.'

'All right. Or- Crikey, I've got it!' Alec snapped his fingers. 'Let's hang ourselves!'

The idea was almost a relief. Duncan didn't mind what they did, now, so long as it didn't involve his father's bath-water. They put the draining-board cover back in place, then looked about, at the walls and ceiling, in search of hooks, something to tie ropes to. They decided at last that the pulley of the laundry-rack would take the weight of one of them; the other could hang himself, they thought, from the coat-hook on the back of the kitchen door.

'Have you got any rope?' asked Alec next.

'I've got this,' said Duncan, with a flash of inspiration. He meant the cord of his dressing-gown. He untied it, pulled it out of its loops, and tested the strength of it with his hands. 'I think it'll hold me.'

'That's you taken care of, then. What about me? You haven't got another, I suppose?'

'I've got plenty of belts and things like that. I've got plenty of ties.'

'A tie would do it.'

'Shall I go and get one? What kind do you want?'

Alec frowned. 'A black one, I suppose.-No! The one with the blue and gold stripe. That looks like a university tie.'

'What difference does that make?'

'There might be photographs. It'll make more of an impression.'

'All right,' said Duncan reluctantly-for, as it happened, he felt about that particular tie more or less as he'd felt about his fountain pen: that it was a good one, and belonged to him; and what was the point of using one like that, when an ordinary one would do? But he wouldn't argue about it now. He went quietly back through the parlour and hall, into the bedroom, and got the tie out. He could hear his father, still snoring, and he stood for a second in the darkness, with the tie in his hand-half wanting to go in and give his father a kicking, to scream and yell into his face. You bloody old fool! I'm going to kill myself! I'm going to go out to the kitchen and actually do it! Wake up, can't you?

His father snored on. Duncan went softly back out to Alec. 'My old man sounds like a bloody Hurricane now!' he said, as he closed the kitchen door.

But Alec didn't answer. He'd put the dressing-gown cord down and was standing at the sink, half-turned away. He'd picked something up from beside the taps.

' Duncan,' he said, in a queer, low voice. 'Look at this.'

He had Duncan 's father's old-fashioned razor in his hand. He'd drawn out the blade, and was gazing at it as if mesmerized-as if he had to tear his eyes away from it to look at Duncan. He said, 'I'm going to use this. That's what I'm going to do. You can hang yourself if you like. But I'm going to use this. It's better than a rope. It's quicker, and cleaner. I'm going to cut my throat.'

'Your throat?' said Duncan. He looked at Alec's slender white neck-at the cords in it, and the Adam's apple, that seemed hard, not soft like something you could slice through…

'It's sharp, isn't it?' Alec put his finger to the blade-then quickly drew the finger back and sucked it. 'God!' He laughed. 'It's sharp as anything. It won't hurt at all, if we do it quick enough.'

'Are you sure?'

'Of course I'm sure. It's how they kill animals, isn't it? I'm going to do it, right now. You'll have to go second. Will you mind? There might be a bit of mess, I'm afraid. The best thing will be, not to look too hard. If only we had two of them! Then we could do it at the same time… Look.' He gestured with the razor to the bit of paper he'd written their letter on. 'Be a good chap and pin that letter to the wall. Somewhere they'll see it.'

Duncan picked up the letter and the pin; but glanced anxiously at the razor. He said, 'Don't do it while my back's turned, will you?' He was afraid to look away… He gazed quickly about for a place, and ended up fixing the note to the door of a cupboard. 'Is that all right?'

Alec nodded. 'Yes, that's good.'

He'd begun to grow breathless. He was still holding the open razor as if simply madly admiring it; but now, as Duncan watched, he grasped its handle more firmly in his two hands, lifted the blade and put it tight against his throat. He put it just below the bend of his right jaw, where the skin was quivering because of the pulse.

Duncan took an involuntary step towards him. He said nervously, 'You're not going to do it straight away?'

Alec's eyelids fluttered. 'I'm going to do it in just a minute.'

'How does it feel?'

'It feels OK.'

'Are you scared?'

'A bit,' said Alec. 'How about you? You've gone white as a sheet! Don't faint, before it's your turn.' He changed his grip on the handle of the razor. He closed his eyes, and stood still… Then, with his eyes shut tight, and in a slightly different voice from before, he said, 'What will you miss, Duncan?'

Duncan bit his lip. 'I don't know. Nothing! No, I'll miss Viv… What about you?'

'I'll miss books,' said Alec, 'and music and art, and fine buildings'-so that Duncan wished that he'd said that too, instead of his sister. 'But those things are all gone, anyway. A year from now, people will start to forget that there ever were those things.'

He opened his eyes, and swallowed, then changed his hold again. Duncan could see that his fingers were sweating; he could see the marks they left on the razor's tortoiseshell handle. He didn't want Alec to do it, now. The whole thing had raced forward too quickly. Again he almost wished that his father would wake up, come out, and stop them. What was the point of having a father, if he let you do things like this? He said-as a way of keeping Alec talking; as a way of stringing everything out-'What do you think will happen to us, Alec, after we die?'

Alec thought about it, with the blade still close to his throat. Then, 'Nothing,' he said quietly. 'We'll just go out, like lights do. There can't be anything else. There can't be a God. A God would've stopped the war! There can't be a heaven or a hell or anything like that. This is hell, where we are… And if there is a place, then we'll be there together, anyway.' He held Duncan's gaze, with his blazing red-rimmed eyes. 'That would be the worst thing, wouldn't it?' he said simply. 'To be there on your own?'

Duncan nodded. 'Yes,' he said. 'Yes, that would be awful.'

Alec drew in his breath. The pulse in his neck began to beat more quickly, to almost jump against the blade. But when he spoke, he spoke as if casually, so that Duncan thought he was joking, and almost laughed. He said, 'See you then, Duncan.' And he tightened his grip and raised his elbows, as if about to swing a bat; and then he cut.

'It's this way,' the warden was saying. Kay and Mickey followed him, carefully, over the rubble.

The rubble, until very recently, had been a four-storey terraced Pimlico house. The house appeared, in the almost-darkness, to have been neatly plucked from its socket. A woman had been killed outright by the blast; her body had already been removed, by another driver. But a girl was still caught by her legs in the rubble; the Rescue and Demolition workers were planning to set up a hoist to lift the beams that were pinning her. They couldn't do that, however, until they'd brought out another woman and a boy who were thought to be trapped in the basement.

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