Sarah Waters - The Night Watch

Здесь есть возможность читать онлайн «Sarah Waters - The Night Watch» весь текст электронной книги совершенно бесплатно (целиком полную версию без сокращений). В некоторых случаях можно слушать аудио, скачать через торрент в формате fb2 и присутствует краткое содержание. Жанр: Современная проза, на английском языке. Описание произведения, (предисловие) а так же отзывы посетителей доступны на портале библиотеки ЛибКат.

The Night Watch: краткое содержание, описание и аннотация

Предлагаем к чтению аннотацию, описание, краткое содержание или предисловие (зависит от того, что написал сам автор книги «The Night Watch»). Если вы не нашли необходимую информацию о книге — напишите в комментариях, мы постараемся отыскать её.

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.

The Night Watch — читать онлайн бесплатно полную книгу (весь текст) целиком

Ниже представлен текст книги, разбитый по страницам. Система сохранения места последней прочитанной страницы, позволяет с удобством читать онлайн бесплатно книгу «The Night Watch», без необходимости каждый раз заново искать на чём Вы остановились. Поставьте закладку, и сможете в любой момент перейти на страницу, на которой закончили чтение.

Тёмная тема
Сбросить

Интервал:

Закладка:

Сделать

Watling looked prim. 'Well, I don't know about that.'

'He's not so different, anyway, from you,' said Duncan.

Fraser was still smiling. 'What do you mean?'

'It's like Watling said. You both think the world can be perfect, don't you? But at least he's doing something to make it perfect, by willing bad things away. Instead of just- Well, instead of just sitting in here, I mean.'

Fraser's smile faded. He looked at Duncan, then looked away. There was an awkward little silence… Then Watling moved forward again. 'Let me ask you this, Fraser,' he said, with an air of continuing a conversation in which Duncan had no part. 'If at your Tribunal they had told you…'

Fraser folded his arms and listened, and gradually started smiling again-his good humour, apparently, quite restored.

Duncan waited, then turned away. The men on the other side of him had just finished a game. Two of them were lightly clapping. 'Well played,' said one, politely. He and his neighbour passed over the tiny twists of tobacco they were using as wagers; then the three of them began to flip the dominoes over and mix them up, to start again. 'Care to join us?' they asked, seeing Duncan sitting more or less alone; but Duncan shook his head. He had the impression that he'd hurt Fraser's feelings, and was sorry. He was going to wait another minute, to see if Fraser might give up the argument with Watling and turn back to him…

But Fraser didn't turn; and soon the stink of the blocked recess grew too much to bear. Duncan put his knife and fork together and, 'See you later,' he said to the domino players.

'Yes, see you later Pearce. Don't-'

Their words were interrupted by a cry: ' Yoo hoo! Miss Tragedy! Yoo hoo! '

It was Auntie Vi, and a couple of her friends-two boys a few years older than Duncan, called Monica and Stella. They were mincing down the hall between the tables, smoking, and waving their hands. They must have noticed Duncan getting to his feet. Now they called again: 'Yoo hoo! What's the matter, Miss Tragedy? Don't you like us?'

Duncan pushed in his chair. Fraser, he saw, had looked up as if irritated. Watling was making another prim, repressive sort of face… Auntie Vi, and Monica and Stella, minced closer. Duncan took up his plate and moved off with it just as they drew level with his table.

'Off she trips, look!' he heard Monica say, behind his back. 'Where's she going in such a hurry? Do you think she has a husband, up in that flowery of hers?'

'Not her, my dears,' said Aunti Vi, puffing on her roll-up. 'Not while she's still in black for the last one. Why, she's sitting like Patience on a Monument, positively grinning at Grief! You know her story, don't you? Haven't you ever seen her in Mailbags One? Stitch, stitch, stitch she goes, with her little white hand; and at night, my dears I swear she creeps back over there and pulls all the stitches out…'

Their voices faded as they moved on. But Duncan felt himself blushing at their words-blushing horribly, guiltily, from his throat to his scalp. And, what was worse, he glanced back to his table and saw Fraser's face; and Fraser's expression was such an unpleasant one-such a mixture of awkwardness and anger and distaste-he grew almost sick.

He scraped the uneaten food from his plate, then swilled the plate and his knife and fork in the tub of soapless cold water that was provided for them to wash their dinner-things in. He went across the hall to the staircase and began to climb it, as quickly as he could.

He grew breathless almost at once. Any sort of exercise left them all winded. At the Threes he had to pause to catch his breath. At his own landing he leaned on the rail outside his cell, waiting for his heart to slow. He folded his arms and rested on his elbows and looked back down into the hall.

The din of quarrelling voices, of laughter and shouts, was milder up here. The view was horribly impressive. For the hall was as long as a small city street, with a roof of blacked-out glass. Strung right across it, at the level of the first landing, was a net: Duncan saw the men through a haze of wire and cigarette smoke and sickly, artificial light; it was like gazing at creatures in a cage or under water; they were like strange, pallid things that never saw daylight. And what you noticed most, he thought, from this height, was the drabness of it all: the concrete floor, the lustreless paint upon the walls, the shapeless grey uniforms with their single spots of red, the spew-coloured oilcloths on the tables… Only Fraser, it still seemed to him, stood out as a single point of brightness: for his cropped hair was fair, where most of the other men's was dark or dull brown; and he moved animatedly, where others slouched; and when he laughed-as he did again now-he laughed with a shout, that carried even to here.

He was talking to Watling, still; he was listening hard to something Watling was saying, and occasionally nodding his head. He didn't like Watling much, Duncan knew; but the fact was he'd talk to anyone, for hours at a time, just for the sake of it: it didn't mean anything when he looked at you, spoke passionately to you, he was passionate about everything…

'That boy Fraser oughtn't to be here,' Mr Mundy had said to Duncan, privately. 'Coming from a family like that, with all the advantages he's had!' He took Fraser's being here as a sort of insult to the other men. He said he was playing at being in prison. He didn't like the fact that Duncan had to share a cell with him; he said that he'd end up giving Duncan queer ideas. If he could have found a way to do it, he would have got Duncan a cell all to himself.

Perhaps Mr Mundy was right, Duncan thought, looking again at Fraser's smooth fair head. Perhaps Fraser was only playing at being in prison-like a prince, dressing up as a pauper. But then, what was the difference, in a place like this, between playing at something and doing it for real? It was like playing at being tortured, or being killed! It was like going into the army and saying you were only doing it for fun: the soldiers shooting at you from the other side wouldn't know you were only pretending…

Fraser stretched right back in his chair again, raising his arms, putting out his long legs. But he kept his back to Duncan; and Duncan suddenly found himself wishing that he would turn and look up. He stared at the back of Fraser's head and tried to will him to turn around. He concentrated all his mind on it-sent out the words as a sort of ray. Look, Fraser! he thought. Look, Robert Fraser! He even used Fraser's prison number. Look, 1755 Fraser! 1755 Robert Fraser, look at me!

But Fraser didn't look. He kept on talking with Watling, and laughing; and at last Duncan gave it up. He blinked, and rubbed his eyes. And when he looked again, it was Mr Mundy's gaze he met: for Mr Mundy must have spotted him leaning there, and been watching him. He gave Duncan a nod, and then moved on slowly between the tables. Duncan turned and went into his cell and lay down, exhausted.

'You're late,' said Viv's friend Betty, as Viv ran down the stairs to the cloakroom at Portman Court.

'I know,' said Viv breathlessly. 'Has Gibson noticed?'

'She's in with Mr Archer. They sent me all the way to the basement, for these.' Betty held up files. 'If you hurry you'll be OK. Where've you been, anyway?'

Viv shook her head, smiling. 'Nowhere.'

She ran on, pulling off her gloves and her hat as she went; throwing back the locker door when she got to it and bundling her coat inside. Miss Gibson let them keep their handbags at their desks, so she held on to that; but before she closed the locker door she quickly opened the handbag up and looked inside it, to be sure she had, what she thought she might need-because her period was due, and her breasts and stomach were sore-a sanitary towel and a box of aspirin. She'd have liked to go to the lavatory and put the towel in place right now, but there wasn't the time. She took an aspirin, anyway, as she started back up the stairs-chewing it up without any water and swallowing it down, making a face against the bitter chalky taste of it.

Читать дальше
Тёмная тема
Сбросить

Интервал:

Закладка:

Сделать

Похожие книги на «The Night Watch»

Представляем Вашему вниманию похожие книги на «The Night Watch» списком для выбора. Мы отобрали схожую по названию и смыслу литературу в надежде предоставить читателям больше вариантов отыскать новые, интересные, ещё непрочитанные произведения.


Отзывы о книге «The Night Watch»

Обсуждение, отзывы о книге «The Night Watch» и просто собственные мнения читателей. Оставьте ваши комментарии, напишите, что Вы думаете о произведении, его смысле или главных героях. Укажите что конкретно понравилось, а что нет, и почему Вы так считаете.