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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'It's a lady-friend, actually.' She sounded prim.

'Well, my mistake.-Oh, now don't be like that!' For she'd folded the paper, begun to screw together the pen. 'Don't leave on my account, will you?'

She said, 'It's nothing to do with you. I've got an appointment.'

He rolled his eyes, then winked at the barman. 'Why do girls always say something like that when I appear?'

He loved all this. He could spin it out for hours. It only put her on edge: she thought they must be like a pair of painful amateur actors. She was always afraid she'd start laughing. Once, in another hotel, she had started laughing; and that had made him laugh; they'd sat there, giggling like kids… She finished her drink. This was the worst part. She picked up her paper, her pen, her bag, and-

'Don't forget this, miss,' he said, touching her arm and taking up her key. He held it out to her by its flat wooden tag.

She blushed again. 'Thank you.'

'Don't mention it.' He straightened his tie. 'That's my lucky number, as it happens.'

Perhaps he winked at the barman again, she didn't know. She went out of the bar and up to her room-so excited now, she was practically breathless. She put on the lamp. She looked in the mirror and re-combed her hair. She began to shiver. She'd got chilled from sitting in the bar in her dress: she put her coat over her shoulders and stood at the tepid radiator, hoping to warm up, feeling the goose-pimples rising on her bare arms and trying to rub them away. She watched the tethered alarm clock, and waited.

After fifteen minutes there was a gentle tapping at the door. She ran to open it, throwing off the coat as she went; and Reggie darted inside.

'Jesus!' he whispered. 'This place is crawling! I had to stand about for ages on the stairs, pretending to tie my shoelaces. A chamber-maid passed me, twice, and gave me the hell of a funny look. I think she thought I was peeping through key-holes.' He put his arms around her and kissed her. 'God! You glorious girl, you.'

It was so wonderful to stand in his arms, she felt suddenly almost light-headed. She even thought, for an awful moment, that she might cry. She kept her cheek against his collar, so that he shouldn't see her face; and when she could speak again what she said was: 'You need a shave.'

'I know,' he answered, rubbing his chin against her forehead. 'Does it hurt?'

'Yes.'

'Do you mind?'

'No.'

'Good girl. To have to start messing about with razors, now, would just about kill me. God! I had a bloody awful time of it getting down here.'

'Are you sorry you came?'

He kissed her again. 'Sorry? I've been thinking of this all day.'

'Only all day?'

'All week. All month. For ever. Oh, Viv.' He kissed her harder. 'I've missed you like hell.'

'Wait,' she whispered, pulling away.

'I can't. I can't! All right. Let me look at you. You look beautiful, you fabulous girl. I saw you downstairs and, I swear to God, it was all I could do to keep my hands off you, it was like torture.'

They moved further into the room, hand-in-hand. He stood rubbing his eyes, looking about. The bulb in the lamp was dim; even so, he saw enough, and made a face.

'This joint is a bit of a hole, isn't it? Morrison said it was OK. I think it's worse than the Paddington one.'

'It's all right,' she said.

'It's not all right. It breaks my heart. You wait till after the war, when I'm back on a proper man's pay. It'll be the Ritz and the Savoy then, every time.'

'I won't care where it is,' she said.

'You wait, though.'

'I won't care where it is, so long as you're there.'

She said it almost shyly. They looked at each other-just looked at each other, getting used to the sight of one another's faces. She hadn't seen him for a month. He was stationed near Worcester, and got to London every four or five weeks. That was nothing, she knew, in wartime. She knew girls with boyfriends in North Africa and Burma, on ships in the Atlantic, in POW camps… But she must be selfish, because she hated time, for keeping him from her even for a month. She hated it for making them strangers to each other, when they ought to be closest. She hated it for taking him away from her again, when she'd just got used to him.

Perhaps he saw all this in her face. He pulled her to him, to kiss her again. But when he felt the press of her against him he moved back, remembering something.

'Hang on,' he said, unbuttoning the flap of his jacket pocket. 'I've got a present for you. Here.'

It was a paper case of hair-grips. She'd been complaining, when she saw him last, about how she had run out. He said, 'One of the boys at the base was selling them. It's not much, but-'

'They're just the thing,' she said shyly. She was touched by his having remembered.

'Are they? I thought they would be. And look, don't laugh.' He'd coloured slightly. 'I brought you these, too.'

She thought he was going to give her cigarettes. He'd produced a bashed-up packet. But he opened it very carefully, then took hold of her hand and gently tipped the contents out into her palm.

They turned out to be three wilting snowdrops. They fell in a tangle of fine green stems.

He said, 'They're not broken, are they?'

'They're beautiful!' said Viv, touching the tight bud-like white flowers, the little ballerina skirts. 'Where did you get them?'

'The train stopped for forty-five minutes, and half of us blokes got out for a smoke. I looked down and there they were. I thought- Well, they made me think of you.'

She could see he was embarassed. She pictured him stooping to pick the flowers, then putting them into that cigarette packet-doing it quickly, so that his friends wouldn't see… Her heart seemed too big, suddenly, for her breast. Again she was afraid that she might cry. But she mustn't do that. Crying was stupid, was pointless!-such a dreadful waste of time. She lifted a snowdrop and gently shook it, then looked at the basin.

'I should put them in water.'

'They're too far gone. Pin them to your dress.'

'I haven't got a pin.'

He took up the hair-grips. 'Use one of these. Or- Here, I've a better idea.'

He fixed the flowers to her hair. He did it rather fumblingly; she felt the point of the grip cut slightly into her scalp. But then he held her face in his swarthy hands, and looked her over.

'There,' he said. 'I swear to God, you get more beautiful every time I see you.'

She went to the mirror. She didn't look beautiful at all. Her face was flushed, her lipstick smeared by his kisses. The stems of the flowers had got crushed by the grip and hung rather limply. But the white of them was vivid, lovely, against the black-brown of her hair.

She turned back to the room. She oughtn't to have moved away from his arms. They seemed to feel the distance, suddenly; and grew shy with each other again. He went to the armchair and sat down, unfastening the top two buttons of his jacket and loosening the collar and tie beneath. After a little silence he cleared his throat and said, 'So. What do you want to do tonight, glamour girl?'

She lifted a shoulder. 'I don't know. I don't mind. Whatever you like.' She just wanted to stay here with him.

'Are you hungry?'

'Not really.'

'We could go out.'

'If you want to.'

'I wish we had some drink.'

'You've just had one!'

'Some whisky, I mean…'

Another silence. She felt herself getting chilly again. She moved to the radiator, and rubbed her arms, as she had before.

He didn't notice. He'd gone back to looking around the room. He asked, as if politely, 'You didn't have any trouble finding this place?'

'No,' she said. 'No, it was easy.'

'Were you working today, or what?'

She hesitated. 'I went to see Duncan,' she said, looking away, 'with Dad.'

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