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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Duncan, of course, even then, had thought Fraser marvellous. He thought anyone marvellous, who could talk cleverly, in a well-bred voice. Viv had arrived at Mr Mundy's on Tuesday night, and he had come to let her in, his dark eyes flashing with excitement. 'Guess who I met! You never will! He's coming round here, later on.' He'd sat listening out for Fraser, all evening; and when, a little later, Fraser had actually turned up, he'd leapt to his feet and gone rushing to the door…

It had all filled Viv with dismay. She and Mr Mundy had sat, uncomfortable, embarassed-hardly knowing where to look.

Now she watched Fraser fiddling about with the pipe, and said, 'I still don't know what it is you want me to do.'

He laughed. 'To be perfectly honest with you, neither do I.'

'You said you're a writing for a newspaper or something like that. You're not going to write about Duncan, are you?'

He looked as if the idea hadn't occurred to him. 'No,' he said. 'Of course not.'

'Because if that's what all this is about-'

'It's not “about” anything at all. How suspicious you are!' He began to laugh again. But when she still looked grave, he put back his hair, and changed his tone.

'Look,' he said. 'I know it's queer, my coming along out of the blue like this. I suppose it seems odd to you, my taking an interest in your brother after so long. I don't quite know myself why I should feel so strongly about it. It was just, coming across him so suddenly at the candle-works that time; thinking of somebody like him having to work in a place like that! And then-my God! Seeing him with Mr Mundy! I couldn't believe it. He'd told me where he was living and I thought he was joking! I can't tell you the start it gave me, the first time he took me to the house. I've been back there since, two or three times, and it still unnerves me. Has your brother really been there ever since his release? Right from the day he got out? It seems incredible.'

'It's what he wanted,' said Viv. She added: 'Mr Mundy's been very kind.'

It sounded feeble, even to her. Fraser raised his eyebrows. 'He's certainly got things nice and cosy… I'm just thinking back, to when we were inside. He was plain Mr Mundy then, of course. There was none of this “Uncle Horace” business. I thought I was hearing things, the first time I heard that!'

'It doesn't matter, does it?'

'Don't your family mind?'

'Why should they?'

'I don't know. It seems an odd sort of life, that's all, for a boy like Duncan. He's not even a boy any more, is he? And yet it's impossible to think of him as anything else. He might have got stuck. I think he has got stuck. I think he's made himself be stuck, as a way of-of punishing himself, for all that happened, years ago, all that he did and didn't do… I think Mr Mundy is taking very good care to keep him stuck; and-if you don't mind my saying so-after seeing the way you were with him on Tuesday night, I don't think anyone else is doing anything to, as it were, unstick him… All that fascination of his with things from the past, for instance.'

'That's just a hobby,' said Viv.

'It's a pretty morbid one, don't you think? For a boy like him?'

She lost her patience suddenly. '“A boy like him,”' she said. '“A boy like him.” People have always said that about Duncan, ever since he was little. “A boy like him shouldn't be at a school like this, he's too sensitive for it.” “A boy like him should go to college.”'

Fraser frowned at her. 'Did it occur to you that those people might have been saying it, because it was true?'

'Of course it was true! But what was the point of it? And look where it got him! We had to deal with all that, Mr Fraser-my family and I, not you. Four years, going back and forth to that awful place. Four years, and more, fretting about it. It nearly killed my father! Perhaps if Duncan had been like you when he was young-had the things you had, I mean, the same sort of people around him, the same sort of start-perhaps things would have been different. He went to Mr Mundy's when he came out because he felt he'd nowhere else. Where were you, then? If you're so big a friend of his, where were you?'

Fraser looked away, lowered the pipe, turned it in his fingers; and didn't answer. She went on more quietly, 'Anyway, it doesn't matter now. But I can't help thinking your coming along like this- Well, what's it going to do? When Duncan told me he'd met you, I'll be quite honest with you, I wished he hadn't. What's the good of it? It's not going to get him anywhere. It's just going to give him ideas again; it's just going to stir things up and upset him.'

He was fishing for matches, and spoke stiffly. 'You could let him decide that for himself, of course.'

'But you know what he's like. You said, just now. He's got a sort of-a sort of wisdom about some things; but in so many ways he's still more or less a boy. He can be pushed into things, like a boy can. He can be-'

She stopped, embarassed. Fraser had the box of matches in his hand but had turned, and was looking at her. 'What do you think,' he asked her slowly, 'I'm going to push him into?'

She swallowed, and dropped her gaze. 'I don't know.'

He went on, 'You're thinking of that boy, aren't you? The boy who died? Alec?' And then, when she looked up, he nodded. 'Yes. You see, I know all about him… You don't think I'm like him, though, surely?' She didn't answer. He coloured, as if angry. 'Is that what you think? Because if you do- Well, I could give you a list of girls, you know, who could put you straight on that!'

He said it seriously; but then must have caught the earnestness in his own voice. He blushed harder, put his hand again to his hair, and ducked his head. The gesture, unstudied and a little gauche, was the most appealing thing he'd done. She let herself see, for the first time, how nice-looking he was, how smooth and unmarked. He was young, after all: younger than her.

He still had the pipe and the matches in his hand, but was sitting still, with his hands slackly in his lap. He said, 'I'm sorry. I only wanted to see you as a way of helping your brother.'

'Well, I think you might help him best just by leaving him alone.'

'But, is that really what you'd like? To just leave him there, living with Mr Mundy in that peculiar way?'

'There's nothing peculiar about it!'

'Are you quite sure?' He held her gaze; and when she looked away he said slowly, 'No, you're not, are you? I saw it in your face, last week… And what about that job, that factory? You want to see him working at it for the rest of his life? Making night lights, for nurseries?'

'People work in factories, it doesn't matter what they make. My father's worked in a factory for thirty years!'

'Is that any reason your brother should?'

'So long as he's happy,' she said. 'That's what you don't seem to understand. I just want Duncan to be happy. We all do.'

But her words, as before, sounded weak. And she knew, in her heart, that he was right. She knew that part of the reason she'd been so dismayed to see him arrive at Mr Mundy's last week was that she'd looked at the house with him in it, and seen it all as if through his eyes… But, she was tired. She said to herself-as she always ended up saying to herself, about Duncan - It's not my fault . I did my best . I've got my own problems to think about .

And even as these words glided familiarly into her mind, she heard the quarter hour struck out on a nearby clock; and remembered the time.

'Mr Fraser-'

'Oh, call me Robert, will you?' he said, beginning to smile again. 'I'm sure your brother would want you to. I certainly do.'

So she said, 'Robert-'

'And may I call you Vivien? Or-what Duncan calls you-Viv?'

'If you like,' she said, feeling herself blush. 'I really don't care. It's kind of you to try and help Duncan like this. But the fact is, I can't talk about it now. I haven't got time.'

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