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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She moved forward and picked up her tea. She found, to her horror, that her hands were shaking. She didn't want to put the mug back down and draw attention to the tremor; she lifted it higher, and tried to meet it with her mouth. But the tremor grew worse. Tea spilled; she saw it stain one of Mickey's cushions. Abruptly, she set the mug down again and tried to mop up the worst of it with her handkerchief.

She caught Mickey's eye as she was doing it; and her shoulders sank. She leaned forward, putting her elbows on her knees, her face in her hands.

'Look at me, Mickey!' she said. 'Look at the creature I've become! Did we really do those things we did?-you and I, when the war was on? Sometimes I can't bring myself to get out of bed in the mornings. We carried stretchers, for God's sake! I remember lifting-' She spread her hands. 'I remember lifting the torso of a child… What the hell happened to me, Mickey?'

'You know what happened,' Mickey said softly.

Kay sat back and turned away, in disgust at herself. 'It's no more than happened to thousands of us. Who didn't lose someone, or something? I could walk on any street in London, stretch out my arm, touch a woman or a man who lost a lover, a child, a friend… But I- I can't get over it, Mickey. I can't get over it.' She laughed, unhappily. ' Get over it . What a funny phrase that is! As if one's grief is a fallen house, and one has to pick one's way over the rubble to the ground on the other side… I've got lost in my rubble, Mickey. I can't seem to find my way across it. I don't think I want to cross it, that's the thing. The rubble has all my life in it still-'

For a second she couldn't go on. She looked around the cabin of the boat; then spoke more quietly.

'Do you remember that night, when we all sat here? That night just before-? Sometimes I think about times like that. I bloody torture myself with thinking about times like that! Do you remember it?'

Mickey nodded. 'I remember it.'

'I'd been to that place in Bethnal Green. You made gin slings.'

'Gin gimlets.'

Kay looked up. 'Gin gimlets? Are you sure?' Mickey nodded. 'Weren't there lemons?'

'Lemons? Where the hell would we have got lemons? We had lime juice, remember, in a bottle of Binkie's?'

Kay did remember it, now. The fact that she'd misremembered before-misremembered to the extent that she'd been able to picture Mickey actually cutting up the lemons, squeezing out the juice-made her uneasy.

'Lime juice,' she said, frowning, 'in a bottle. Why should I have forgotten that?'

'Don't think about it, Kay.'

'I don't want to think about it! But I don't want to forget it, either. Sometimes I can think of nothing else but things like that. My mind has hooks in it. Little hooks-'

But now she sounded almost crazy. She turned her head again, and looked out of the window. The sunlight made patterns on the water. A slick of oil had colours in, silver and blue… She turned back into the cabin, and found Mickey checking her watch.

'Kay,' said Mickey, embarassed. 'I'm sorry, mate. I've got to get back to Sandy 's.'

'Of course you have.'

'Why don't you stay here till I get home?'

'Don't be silly. I'm all right, really. It's a bore, that's all.'

She finished her tea. Her hand was quite steady now. She brushed crumbs from her lap, got to her feet, and helped clear away the plates.

'What'll you do now?' Mickey asked her, as they made their way down the Harrow Road.

Kay became a debutante again. She made a flighty gesture. 'Oh, I've heaps of things.'

'Have you, really?'

'Yes, of course.'

'I don't believe you. Have a think about what I said-about coming to live with me. Will you? Or come out, some time! We could go for a drink. We could go to Chelsea. There's no-one there these days, the crowd's all changed-'

'All right,' said Kay.

She got out her cigarettes again, took one for herself, gave one to Mickey; and tucked another behind one of Mickey's boyish little ears. Mickey caught hold of her hand when she had done it, and gave it a squeeze; they stood for a second, smiling into each other's eyes.

They had kissed once, Kay remembered-years ago, and without success. They'd both been drunk. They'd ended up laughing. That's what happened, of course, when you were both, as it were, on the same side…

Mickey moved away. 'Ta-ta, Kay,' she said. Kay watched her running back to the garage. She saw her turn, once, to wave. Kay raised her hand, then started to walk, back in the direction of Bayswater.

She walked briskly, for as long as she thought that Mickey might be watching; but as soon as she'd turned a corner, she slowed her step. And when she got to Westbourne Grove and the street grew busy, she found a doorstep in the shadow of a broken wall, and sat down. She thought of what she'd said to Mickey, about standing in a crowd, stretching out her hand… And she studied the faces of the people as they passed, thinking, What did you lose? How about you? How do you bear it? What do you do?

'I knew that girl from Enfield was trouble the second she walked in,' Viv was saying, as she sprinkled Vim on the cloth. 'They always are, that brassy type.'

She and Helen had just been about to take their lunches out to the fire-escape when they'd spotted pencil-marks on the lavatory wall.

A long and thin goes right in

But a short and thick does the trick!

somebody had written, on the paint above the roller-towel. Helen had not, for a second, known where to look. Viv seemed hardly less embarassed. 'This is what comes,' she said now, rubbing madly, 'of advertising in those local magazines.'

She stepped back, flushed and blinking. The wall was pale where she had cleaned it, but the words thick and does the trick! still showed, scored faintly into the paint. She rubbed again, then she and Helen moved about, narrowing their eyes, holding their heads at different angles to the light… They became aware, all at once, of what they were doing. They looked at each other and started to laugh.

'Dear me,' said Helen, biting her lip.

Viv rinsed out the cloth and put away the Vim, her shoulders shaking. She dried her hands, then lifted her knuckles to her eyes, afraid for her mascara. 'Don't!' she said.

Still laughing, they opened the window and clambered out. They sat and unwrapped their sandwiches, sipped their tea and grew calmer at last; then caught one another's gaze and started laughing all over again.

Viv set down her spilling cup. 'Oh, what would the clients think?'

Her mascara had run after all. She got out a handkerchief, made a twist of it, put the twist to the tip of her tongue, then held up a mirror and widened her eyes, rubbing beneath them almost as savagely, Helen thought, as she'd rubbed at the marks on the lavatory wall. The blood, in rushing into her face, had made her seem youthful. Her hair was disarranged by laughter; she looked tousled, full of life.

But she tucked the handkerchief into her sleeve and picked up her sandwich; and her laughter faded into sighs. She put back a corner of the bread, and the sight of the vivid meat inside it-and the taste of it, when she'd bitten-seemed for some reason to subdue her. Her face lost its flush. Her eyes dried. She chewed very slowly, and finally put the sandwich down. She was wearing a cardigan over her dress, and began fastening up its buttons.

It was almost two weeks since that warm Saturday, when Helen had lain with Julia in Regent's Park. That had been the last warm day of the summer, though they hadn't known it then. The season had turned. The sun was moving in and out of clouds. Viv put back her head to look at the sky.

'Not quite so warm today,' she said.

'No, not quite,' said Helen.

'I suppose we'll all be complaining, soon, about the cold.'

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