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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He looked at Mr Mundy. Soon after the start of the treatment he had closed his eyes; now, as the whispers went on, he began, very gently, to cry. The tears flowed thinly down his cheeks, they gathered at his throat and wet his collar. He made no attempt to catch them, but sat with his hands loosely in his lap, his neat, blunt fingers now and then twitching; and every so often he drew in his breath and let it out again in a great shuddering sigh.

'Dear Horace,' Mr Leonard was insisting, 'no mind has any power over you. I deny the power of thoughts of disorder over you. Disorder does not exist. I affirm the power of harmony over you, over every organ of you: the arms of you, the legs of you; the eyes and ears of you; the liver and kidneys of you; the heart and brain and stomach and loins of you. Those organs are perfect. Horace, hear me…'

He kept it up for forty-five minutes; then sat back, quite untired. Mr Mundy got out his handkerchief at last and blew his nose and wiped his face. But his tears had already dried; he stood without help, and seemed to walk a little easier, and be a little lighter in his mind. Duncan took him his jacket. Mr Leonard rose and stretched, had a sip of water from a glass. When Mr Mundy paid him, he took the money with an air of great apology.

'And tonight, of course,' he said, 'I shall include you in my evening benediction. You'll be ready for that? Shall we say, half-past nine?' For he had many patients, Duncan knew, whom he never saw: patients who sent him money, and whom he worked on from a distance, or by letter and telephone.

He shook Duncan 's hand. His palm was dry, his fingers soft and smooth as a girl's. He smiled, but his look was inward-seeming, like a mole's. He might, at that moment, have been blind.

And how awkward for him, Duncan thought suddenly, if he were!

The idea made him want to laugh again. When he and Mr Mundy were back on the path in front of the house, he did laugh; and Mr Mundy picked up his hilarity and began to laugh too. It was a sort of nervous reaction, to the room, the stillness, the barrage of gentle words. They caught one another's eye, as they left the shadow of the crooked house and walked towards Lavender Hill, and laughed like children.

'I shan't want a flighty sort of woman,' the man was saying. 'I had enough of that sort of thing with my last girl, I don't mind telling you.'

Helen said, 'We always advise our clients to keep as open a mind as possible, at this stage of things.'

The man said, 'Hmm. And an open wallet, too, I dare say.'

He wore a dark blue demob suit, already shiny at the elbows and the cuffs, and his face was sallow with a tired tropical tan. His hair was combed with fantastic neatness, the parting straight and white as a scar; but the oil had little crumbs of scurf caught in it, that kept drawing Helen's eye.

'I dated a WAAF once,' he was saying bitterly now. 'Every time we passed a jeweller's she'd just happen to turn her ankle-'

Helen drew out another sheet. 'What about this lady here? Let's see. Enjoys dressmaking and trips to the cinema.'

The man leaned to look at the photograph and at once sat back, shaking his head. 'I don't care for girls in spectacles.'

'Now, remember my advice about the open mind?'

'I don't want to sound harsh,' he said, giving a quick glance at Helen's own rather sensible brown outfit. 'But a girl in spectacles-well, she's let herself down already. You've got to ask yourself what's going to go next…'

They went on like this for another twenty minutes; eventually, from the file of fifteen women that Helen had initially drawn up, they'd put together a list of five.

The man was disappointed, but hid his dismay in a show of aggression. 'So, what happens now?' he asked, pulling at his shiny cuffs. 'This lot are shown my ugly face, I suppose, and have to say whether or not they like the look of it. I can see already how that will turn out. Perhaps I should have had myself photographed with a five-pound note behind my ear.'

Helen imagined him at home that morning, choosing a tie, sponging his jacket, straightening and restraightening the parting in his hair.

She saw him down the stairs to the street. When she went back up to the waiting-room she looked at Viv, her colleague, and blew out her cheeks.

Viv said, 'Like that, was he? I did wonder. He wouldn't do for our lady from Forest Hill, I suppose?'

'He's after someone younger.'

'Aren't they all?' Viv stifled a yawn. On the desk before her was a diary. She patted her mouth, looking over the page. 'We've no-one, now,' she said, 'for nearly half an hour. Let's have a cup of tea, shall we?'

'Oh, let's,' said Helen.

They moved about more briskly, suddenly, than they ever did when dealing with clients. Viv opened the lowest drawer of a filing cabinet and brought out a neat little electric kettle and a tea-pot. Helen took the kettle down to the lavatory on the landing, and filled it at the sink. She set it on the floor, plugged it into a socket in the skirting-board, then stood waiting. It took about three minutes to boil. The paper above the socket was rising, where steam had struck it in the past. She smoothed it down, as she did every day; it lay flat for a moment, then slowly curled back up.

The bureau was in two rooms above a wig-makers, in a street behind Bond Street Station. Helen saw the clients, individually, in the room at the front; Viv sat at her desk in the waiting-room, greeting them as they came in. There was a mismatched sofa and chairs, where people could sit when they came early. A Christmas cactus in a pot sent out occasional startling blooms. A low table held nearly-current copies of Lilliput and Reader's Digest .

Helen had worked here since just after the end of the war; she'd taken it on as a temporary thing-something light-hearted, a contrast to her old job in a Damage Assistance department in Marylebone Town Hall. The routines were straightforward enough; she tried to do her best for the clients, and genuinely wished them well; but it was sometimes hard to remain encouraging. People came to look for new loves, but often-or so it seemed to her-only really wanted to talk about the loves that they had lost. Recently, of course, business had been booming. Servicemen, returning from overseas, found wives and girlfriends transformed out of all recognition. They came into the bureau still looking stunned. Women complained about their ex-husbands. 'He wanted me to stay in all the time.' 'He told me he didn't care for my friends.' 'We went back to the hotel we spent our honeymoon in, but it wasn't the same.'

The water boiled. Helen made the tea and took the cups into the lavatory; Viv was in there already, and had raised the window. At the back of their building there was a fire-escape: if they climbed out they could reach a rusting metal platform with a low rail. The platform shuddered as they moved about on it, the ladder heaving against its bolts; but the spot was a sun-trap, and they made straight for it whenever they had the chance. They could hear the ring of the street-door and telephone from there; and, like hurdlers, had perfected a way of getting over the sill of the window with great speed and efficiency.

At this time of day the sun fell rather obliquely; but the bricks and metal it had been striking all morning still held its heat. The air was pearly with petrol fumes. From Oxford Street there came the steady grumble of traffic, and the tap-tap of workmen fixing roofs.

Viv and Helen sat down and carefully eased off their shoes, stretching out their legs-tucking in their skirts, in case the men from the wigmaker's should happen to come out and glance upwards-and working and turning their stockinged feet. Their stockings were darned at the toes and the heels. Their shoes were scuffed; everybody's were. Helen got out a packet of cigarettes and Viv said, 'It's my turn.'

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