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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Julia turned away. She said lightly, 'I've been with Ursula, that's all. She invited me over for afternoon tea. Somehow, you know how it is, the tea turned into supper-'

'Afternoon tea?'

'Yes,' said Julia. She was heading back into the hall, taking off her coat and hat.

'That's not like you, to cut into your working day like that.'

'Well, I'd got heaps done earlier on. I worked like a demon, from nine until four! When Ursula rang, I thought-'

'I called you at ten to two. Were you working then?'

Julia didn't answer for a moment. She said at last, from out in the hall, 'Ten to two? How very precise. I suppose I must have been.'

'You don't remember the phone ringing?'

'Probably I was downstairs.'

Helen went out to her. 'You heard Ursula Waring's ring, though.'

Julia was tidying her hair at the hall mirror. She said, as if patiently, 'Helen, don't do this.' She turned and looked, frowning, into Helen's face. 'What's the matter with your forehead? It's all red. Look, here.'

She came to Helen, her hand outstretched. Helen hit the hand away. 'I had no idea where the hell you were! Couldn't you have left me a note, even?'

'I didn't think to leave a note. One doesn't suppose, when one goes out to lunch-'

Helen pounced. 'To lunch? Not afternoon tea, then, after all?'

Julia's flushed cheeks grew pinker. She put down her head and moved past Helen into the bedroom. 'I just said lunch as an example. For God's sake!'

'I don't believe you,' said Helen, following her in. 'I think you've been out with Ursula Waring all day.' No reply. 'Well, have you?'

Julia had gone to the dressing-table and was getting herself a cigarette. Catching Helen's bullying tone, she paused with the cigarette at her lips, and narrowed her eyes, and shook her head, as if in distaste and disbelief. She said, 'Did this sort of thing seem flattering, once? Did it, ever?' She turned, struck a match and coolly lit the cigarette. When she turned back, her face had changed, become set, as if carved from coloured marble or a length of blemishless wood. She took the cigarette from her mouth and said, in a level, warning tone: ' Don't , Helen.'

'Don't what?' asked Helen, as if amazed. But a part of her, too, was cringing from the words, utterly shamed by the monster she was making of herself. 'Don't what, Julia?'

'Don't start on all this- Christ! I'm not hanging around in here to listen to this.' She pushed her way past Helen and went back into the kitchen.

Helen went after her. 'You're not hanging around, you mean, to let me catch you out in a lie. There's a supper for you, but I don't suppose you'll need it. I suppose Ursula Waring took you to some chic restaurant. Full of BBC types, I expect. How jolly for you. I had to have dinner all on my own. I stood right here, at the bloody oven, and ate it with my apron on.'

The look of distaste reappeared on Julia's face; but she laughed, too. She said, 'Well, why for God's sake did you do that?'

Helen didn't know. It seemed absurd to her, now. If only she could laugh along with Julia. If only she could say, Oh Julia, what a fool I'm being! She felt like a person fallen overboard from a ship. She looked at Julia smoking her cigarette, putting the kettle on to boil: it was like seeing people doing ordinary things, strolling, sipping drinks, on the ship's deck. There was still time, she thought, to put up her hand, to call out, Help! There was still time, and the ship would turn for her and she would be saved…

But she didn't call; and in another moment there was no time at all, the ship had accelerated away and she was alone and helpless in a flat grey disc of sea. She started to thrash. She started to bluster. She spoke in a mad sort of hiss. It was all right for Julia, she said. Julia did just as she pleased. If Julia supposed Helen didn't know what she got up to, behind Helen's back, while Helen was at work- If Julia thought she could make a fool of her- Helen had known, from the moment she'd got home, that Julia was out with Ursula Waring! Did Julia imagine-? And so on. She'd pushed away that grubby, grinning jack-in-the-box, earlier on. Now it had sprung up again and its voice had become her own.

Julia, meanwhile, moved stonily around the kitchen, making tea. 'No, Helen,' she said, wearily, from time to time, 'that's not how it was,' and, 'Don't be ridiculous, Helen.'

'When was it arranged, anyway?' Helen asked now.

'God! What?'

'This tryst of yours, with Ursula Waring.'

' Tryst -! She called me up, some time this morning. Does it matter?'

'Apparently it does matter, if you have to go creeping and sneaking about. If you have to lie to me-'

'Well, what do you expect?' cried Julia, losing her temper at last, putting down her cup so that the tea spilled. 'It's because I know you'll behave like this! You twist everything so. You expect me to be guilty. It makes me appear to be guilty, even- Christ! Even to myself!' She lowered her voice, mindful, even in her anger, of the couple downstairs. She went on, 'If every time I meet some woman, make a friend- God! I got a call, the other day, from Daphne Rees. She asked me to have lunch with her-just an ordinary lunch!-and I said no, I was too busy; because I knew what you 'd imagine. Phyllis Langdale wrote to me a month ago. No, you didn't know that, did you? She said how nice it had been to meet us both, at Caroline's supper-party. I thought of writing back and telling her what hell you'd given me over it in the taxi home! What a letter that would have made! “Dear Phyllis, I'd love to have drinks with you some time, but you see the thing is my girlfriend's what they call a jealous type. If you were married, or extremely ugly, or some sort of cripple, I dare say things would be different. But a single even vaguely attractive woman-my dear, I couldn't risk it! Never mind if the girl's not queer; apparently I'm so irrestistible that if she's not a raving Lesbian when she sits down with me for a gin and French, she will be when she stands up again!”'

'Shut up,' said Helen. 'You're making me out to be a fool! I'm not a fool. I know what you're like, how you are. I've seen you, with women-'

'You think I'm interested in other women?' Julia laughed. 'Christ, if only!'

Helen looked at her. 'What does that mean?'

Julia turned her head. 'Nothing. Nothing, Helen… It always amazes me, that's all, that it should be you who has this fucking-this fucking fixation. Is there something about affairs? Is it like-I don't know-Catholicism? One only spots the other Romans when one's practised it oneself?'

She met Helen's gaze, and looked away again. They stood in silence for a moment. Then, 'Work it up your arse,' said Helen. She turned, and went back downstairs to the sitting-room.

She spoke quietly, and walked calmly; but the violence of her feelings appalled her. She couldn't sit, she couldn't be still. She drank the rest of her gin and water, and poured herself another glassful. She lit herself a cigarette-but put it out almost at once. She stood at the mantelpiece, trembling; she was afraid that, at any second, she might go shrieking and whirling about the house, pulling books from their shelves, ripping up cushions. She thought she could easily take hold of the hair on her own head and start tearing it out. If someone had handed her a knife, she would have jabbed it into herself.

After a minute she heard Julia going up to her study and closing its door. Then there was silence. What was she doing? What could she be doing, that she needed to close the door on it like that? She might be using the telephone… The more Helen thought about it, the more certain she began to feel that that was what Julia was doing. She was calling up Ursula Waring-calling her up to complain, to laugh, to make some fresh arrangement to meet… It was terrible, thought Helen, not to know! She couldn't bear it. She went with diabolical stealth to the bottom of the stairs, and held her breath, trying to hear…

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