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 let her head sink, until her brow met the varnished glass. How easy it was, she thought unhappily as she did it, for men and women. They could stand in a street and argue, flirt-they could kiss, make love, do anything at all-and the world indulged them. Whereas she and Julia-

She thought of what she'd been meaning to do, out on the fire-escape. I'm in love with Julia , she'd been going to say. And my love is almost killing me!

She couldn't imagine saying it now. It seemed an absurd thing to say, now! She stood at the window, looking down, until she saw Fraser step forward to shake Viv's hand, as if in farewell; then she moved quickly back to her desk and took up a folder of papers.

She heard the click of the latch being fastened on the street door, and the sound of footsteps. Viv came slowly up the stairs and through the waiting-room. She stood in the doorway of Helen's office. Helen didn't raise her head. Viv was silent for a moment, then said awkwardly, 'I'm sorry about that.'

'You've nothing to be sorry for,' said Helen, looking up at last and making herself smile. 'He frightened the life out of me, though! Was the door really unlocked?'

'Yes, it was.'

'Well, then I suppose we can't blame him for coming up.'

'He just thought it would be all right to call in,' said Viv. 'I don't know him at all, really. He turned up at my brother's when I was there last week. We only talked for a little while. He knew my brother, ages ago. I don't know why he should have come here…'

She'd started biting at one of her fingers, at the skin beside a nail. Her head was bowed, and her thick dark hair had slightly fallen across her face. Helen watched her for a second, then went back to picking through the papers in the folder.

At last Viv said, rather thinly, 'Do you want to come back out, Helen?'

Helen looked up again. 'Back outside? Do we have time?' She looked at the clock. 'Only ten minutes… I don't know. Shall we?'

'Well,' said Viv. 'Not if you don't want to.'

They gazed at each other, as if meaning to speak; but the moment for confidences had passed. Helen shuffled the papers. 'I ought to look these over, I suppose,' she said.

And, 'Yes,' said Viv, at once. 'Yes, all right.'

She stood in Helen's doorway a little longer, as if she might say more; then she went out to the waiting-room. Soon there came the sound of her straightening up the magazines on the table, shaking out the sofa cushions.

Everyone has their secrets, after all , Helen thought. The thought depressed her, horribly. It made her think of Julia. She put the papers down and sat at her desk, with her head in her hands, her eyes closed. If only Julia was here, right now! She began to long for the sound of Julia's voice, for the comforting touch of her hand… What would she be doing, at this sort of hour? Helen tried to visualise her. She pressed her hands into the sockets of her eyes and sent her thoughts across the streets of Marylebone until she had a sense of Julia's presence, fantastically vivid and real. She saw her sitting in her study at home: silent, solitary, perhaps bored or restless, perhaps thinking of Helen herself. She began to miss Julia so badly, the missing felt like an ache or a sickness. She opened her eyes, and saw the telephone… But she oughtn't to call, in a mood like this. She wouldn't do it, anyway, with Viv so close, able to overhear every word; and she couldn't bring herself to go tiptoeing across the floor and silently close her office door.

If Viv goes down to the lavatory , she thought, I'll do it . Only then .

She sat tensely, listening as Viv brushed dust from the carpet and rearranged chairs. Then she heard heels on the staircase, fading. Viv must have taken the teapot down to the basin to rinse out the leaves.

At once, she picked up the telephone and dialled.

There was a tinny electric burr. She imagined the telephone on Julia's desk, beginning to ring; imagined Julia giving a start, putting down her pen, lifting her hand-holding it, perhaps, for a moment or two, above the receiver, because of course everyone preferred to let a telephone ring a little than answer it at once… But the ringing went on. Perhaps Julia was downstairs in the kitchen; or down on the floor below that, in the lavatory. Now Helen saw her running up the narrow stairs to her study, in her flapping espadrille slippers; she saw her tucking back a lock of hair that had come bouncing out from behind her ear, reaching breathlessly for the phone…

Still the ringing went on. Maybe Julia, after all, had decided not to answer. Helen had known her do that, when she was in the middle of writing a scene. But if she guessed it was Helen calling, then surely she'd pick the receiver up? If Helen would only let the thing ring for long enough, Julia would realise, Julia would answer…

Burr, burr . Burr, burr . The hateful noise went on and on. At last, after almost a minute, Helen put the receiver down-unable to bear the image of the telephone shrieking, forlorn and abandoned, in her own empty house.

'I haven't got long,' said Viv, looking up and down Oxford Street.

'It's very kind of you,' answered Fraser, 'to spare me any time at all.'

It was just after six. She had told him, at lunch-time, to come back; and had met him here, in front of the wrecked John Lewis building. She was anxious that Helen might still be about, and might see them; but when he saw her glancing nervously around, he misunderstood. The pavement was filled with people going briskly home from work or queueing for buses, and he thought she was bothered by the crowd. He said, 'No, we can't talk here, can we? Let me take you to a café, somewhere quiet-' He touched her arm.

But she said she didn't have time for that; that she was meeting someone, in forty-five minutes, in another part of town. So they walked, instead, around the corner to one of the benches in Cavendish Square. The bench was covered with fallen leaves, golden and glossy as scraps of yellow mackintosh. He swept them away so that she could sit.

She sat rather rigidly, with her hands in her pockets and her coat buttoned up. When he offered her a cigarette she shook her head. He put the cigarettes away and took out a pipe.

She watched him thumbing in the tobacco. He was like a kid, she thought, mucking about. She said, without smiling, 'I wish you hadn't come to my office today, Mr Fraser. I don't know what Miss Giniver thought.'

'She looked as though she thought I was going to fling her to the floor and ravish her, to tell you the truth!' he said. And then, when Viv wouldn't smile: 'I'm sorry. It just seemed the most straightforward way to see you.'

'I still don't know why you felt you needed to see me at all. Has my brother done something to you?'

'It's nothing like that.'

'He didn't ask you to come?'

'It's just as I told you earlier on. Your brother had nothing to do with it. He doesn't even know I'm here. He only mentioned to me, in passing, where you work. But he speaks so warmly of you. It's clear-' He held a flame to the pipe, sucking on the stem of it. 'It's clear you mean a great deal to him. It was the just the same, I remember, when we were in prison.'

He made no attempt to muffle the word, and Viv flinched. He saw, and lowered his voice. 'It was the same, I should have said, when I first knew him. He used to look forward to your visits more than to anything else in the world.'

She looked away. At the words 'your visits' she'd had a very clear and unpleasant memory of herself, her father and Duncan at one of the tables in the visiting-room at Wormwood Scrubs. She remembered the press of other visitors, the look of the men, the awful babble, the sour, airless feel of the room. She remembered Fraser himself from those days, too-for she'd seen him, more than once. She recalled his brash public-schoolboy's laugh; she remembered one of the other visitors saying, 'Isn't it a shame?' and a man actually calling out to him: ' Can't you take it, conchy? ' She'd felt rather sorry for him, then. She'd thought him brave-but brave in a pointless kind of way. He hadn't changed anything, after all… She'd felt more sympathy for his parents. She could still picture his mother, at the scratched prison table: a smart, kind, softly-spoken woman, dreadfully wounded-looking and pale.

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