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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'They think you're lunch,' Viv called back. 'They'll have one of your fingers if you're not careful.'

He leered. 'That's like a girl, too.'

'The sort of girls you know, maybe.'

He rose and shook water at her. She laughed and ran away. The water struck the lenses of her sunglasses and when she wiped them, the lenses smeared.

'Now look what you've done!'

They went back to the car for their picnic, leaving the car's doors open. Reggie got out a tartan rug from the boot and they spread it on the grass. He brought out a bottle of gin and orange, too, and a couple of beakers-one pink, one green. The beakers were meant for children, Viv knew: they were rough against the lip where they'd been bitten and thrown about. But she was used to that sort of thing; there was simply no point minding. The gin and orange had become warm in the car: she swallowed, and felt the glow of it almost once, loosening her up. She unwrapped the sandwiches. Reggie ate his in great, quick bites, swallowing the bread before he'd chewed it, then biting again; talking with the food still on his tongue.

'This is that Canadian ham, isn't it? It's not too bad after all.'

He'd pulled at his tie, undone the button of his shirt. The sun was on him, making him frown, showing up the creases in his forehead and beside his nose. He was thirty-six, but had recently, Viv thought, begun to look a little older. His face was sallow-that was the Italian blood in him-and his hazel eyes were still very handsome, but he was losing his hair-losing it not neatly, in a round little patch; it was thinning all over, his scalp here and there showing luminously through. His teeth, which were straight and very even, and which Viv remembered as having once been dazzlingly white, were turning yellow. The flesh of his throat was getting loose; there were folds in the skin in front of ears… He looks like his father , she thought, watching him chew. He'd shown her a picture once. He could be forty, at least .

But he caught her eye, and gave her a wink; and something of her old, pure affection for him flared up in her heart. When they'd finished their sandwiches he drew her to him and they lay on the rug, he on his back with his arm around her, she with her cheek in the firm, warm hollow between his shoulder and his chest. Now and then she raised herself a little to sip, awkwardly, at her drink; finally she swallowed it all in a gulp and let the empty beaker fall. He rubbed his face against her head, his rough chin plucking at her hair.

She looked into the sky. Her view of it was framed by branches, by the restless tips of trees. The branches were thick with leaves still, but the leaves were ruddy, or golden, or the greenish-yellow of army uniforms. The sky itself was perfectly cloudless: blue as the bluest skies of summer.

'What bird is that?' she asked, pointing.

'That? That's a vulture.'

She gave him a nudge. 'What is it, really?'

He shaded his eyes. 'It's a kestrel. See how it hovers? It's waiting to dive. It's after a mouse.'

'Poor mouse.'

'There he goes!' He lifted his head, the muscles in his chest and throat growing tight beneath her cheek. The bird had swooped, but now rose again with empty claws. He lay back down. 'He's lost it.'

'Good.'

'It's only another sort of lunch. He's entitled to his bit of lunch, isn't he?'

'It's cruel.'

He laughed. 'I'd no idea you were so tender-hearted.-Look, now he's trying again.'

They watched the bird for a minute, marvelling together at the buoyancy of it, its graceful swoops and soars. Then Viv took off her sunglasses, to see it more clearly; and Reggie looked, not at the kestrel, but at her.

'That's better,' he said. 'It was like talking to a blind girl, before.'

She settled back on the rug and closed her eyes. 'You're used to them, of course.'

'Ha-ha.'

He was still for a moment, then reached across her and picked something up. After a second she felt a tickling on her face, and brushed her cheek, thinking a fly had settled on it. But it was him: he had a long blade of grass and was stroking her with the tip of it. She frowned, but closed her eyes again and let him do it. He followed the lines of her brow and her nose, the curve above her mouth; he worked the grass across her temples.

'You've changed your hair, haven't you?' he said.

'I got it cut, ages ago.-You're tickling me.'

He moved the blade of grass more firmly. 'How's that?'

'That's better.'

'I like it.'

'Like what?'

'Your hair.'

'Do you? It's all right.'

'It suits you… Open your eyes, Viv.'

She opened them, briefly, then screwed them up again. 'The sun's too bright.'

He raised his hand-held it a foot away from her face, to make a shade. 'Open them now,' he said.

'What for?'

'I want to look into your eyes.'

She laughed. 'Why?'

'I just do.'

'They're the same as they were the last time you looked into them.'

'That's what you think. Women's eyes are never the same. You're like cats, the lot of you.'

He tickled her face until she did as he asked and opened her eyes again. But she opened them wide, being silly.

'Not like that,' he said. So she looked at him properly… 'That's better.' His expression was soft. 'You've got lovely eyes. You've got beautiful eyes. Your eyes were the first thing I noticed about you.'

'I thought it was my legs you noticed first.'

'Your legs, too.'

He held her gaze, then threw the blade of grass away and leaned and kissed her. He did it slowly, parting her lips with his own, pushing gently into her mouth. He tasted of the ham, still; the ham and the gin and orange. She supposed she must taste of it too. As the kiss went on, a speck of something-meat, or bread-came between their tongues, and he broke away to pick it from his mouth. But when he came back to her, he kissed her harder; and began to lean more heavily against her. He ran his hand down her body, from her cheek to her hip; then he stroked upwards again and cupped her breast. His hand was hot, and gripped her hard, almost painfully. When he drew it away and began to pluck instead at the buttons at the front of her dress, she stopped his fingers and lifted her head.

'Someone might come, Reg.'

'There's nobody about,' he said, 'for miles!'

She looked at his hand, still tugging at the buttons. 'Don't. You'll crease it.'

'Undo it for me, then.'

'All right. Wait.'

She looked around, conscious that anyone could be watching, hidden in the shadows of the trees. The sun was bright as a spotlight, the piece of ground they were lying on flat and quite unobscured. But the only sounds, still, were those of the stream, the birds, the restless leaves. She unfastened two of the buttons on her dress; then, after a moment, two more. Reggie drew the bodice back, exposing her bra; he put his mouth to the silk of it, feeling for her nipple, drawing at her breast. She moved about under his touch… But the queer thing was, she'd wanted him more, before, in the car in the middle of Stepney; she'd wanted him more while they were standing on that bridge. He kept his mouth fixed hard to her breast, and moved his hand back down her body to her thigh. When he caught hold of her skirt and began to push it up, she stopped his fingers again, and again said, 'Someone might see.'

He moved away, wiped his mouth. He tugged at the rug. 'I'll put this over us.'

'They could still see.'

'Jesus, Viv, I'm at that point where a troupe of girl-guides could go past and it wouldn't put me off! I swear, I'm bursting. I've been bursting for you all day.'

She didn't think he had been. For all his talk, for all his nonsense-here, and in the car-she didn't think he had been; and she wanted it less than ever now. He pulled up the rug and tucked it around her, then put his arm beneath it and tried to reach between her legs again. But she kept her thighs closed; and when he looked at her she shook her head-let him think what he liked. She said, 'Let me-' and moved her own hand to the buttons of his trousers, easing them open one by one, then sliding inside.

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