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 began to lift himself up, as if about to start physical jerks. 'I'm training her.'

'What for?'

'The circus.'

'She'll snag your shirt.'

'I don't mind. Watch.'

The cat worked on as if demented while Duncan raised himself higher. He began to straighten up. He tried to do it in such a way that the cat could keep her place on his back-even, could walk right up his body. All the time he tried it, he kept laughing. Mr Mundy called encouragement… At last though, the cat had had enough, and sprang to the floor. Duncan brushed at his trousers.

'Sometimes,' he said to Viv, 'she gets on my shoulders. I walk about-don't I, Uncle Horace?-with her draped around my neck. Quite like your collar, in fact.'

Viv had a little false-fur collar on her coat. He came and touched it. She said, 'She's snagged your shirt after all.'

He twisted to look. 'It's only a shirt. I don't have to be smart like you. Doesn't Viv look smart, Uncle Horace? A smart lady secretary.'

He gave her one of his charming smiles, then let her hug him and kiss his cheek. His clothes had a faintly perfumed smell-that, she knew, was from the candle factory-but beneath the scent he smelt like a boy; and when she lifted her hands to him his shoulders seemed ridiculously narrow and full of slender bones. She thought of the story she'd told Helen that afternoon, about the box of magic tricks; and remembered him vividly, again, when he was little-how he'd used to come into her and Pamela's bed, and lie between them. She could still feel his thin arms and legs, and his forehead, that would get hot, the dark hair sticking to it, fine as silk… She wished for a moment that they were all children again. It still seemed extraordinary to her, that everything had turned out the way it had.

She took off her coat and her hat, and they sat down. Mr Mundy had gone back out to the kitchen. There came the sounds of him, after a minute, preparing tea.

'I ought to go and give a hand,' she said. She said this every time she came. And Duncan always answered, as he did now, 'He prefers it on his own. He'll start up singing in a minute. He had his treatment this afternoon; he's a little bit better. Anyway, I'll do the washing up. Tell me how you are.'

They exchanged their little pieces of news.

'Dad sends his love,' she said.

'Does he?' He wasn't interested. He'd only been seated for a moment, but now he got up excitedly and brought something down to her from a shelf. 'Look at this,' he said. It was a little copperish jug, with a dent in its side. 'I got it on Sunday, for three and six. The man asked seven shillings, and I knocked him down. I think it must be eighteenth-century. Imagine ladies, V, taking tea, pouring cream from this! It would have been silvered then, of course. Do you see where the plating's come off?' He showed her the traces of silver, at the join of the handle. 'Isn't it lovely? Three and six! That bit of damage is nothing. I could knock that out if I wanted.'

He turned the jug in his hands, delighted with it. It looked like a piece of rubbish to Viv. But he had some new object to show her every time she came: a broken cup, a chipped enamel box, a cushion of napless velvet. She could never help thinking of the mouths that had touched the china, the grubby hands and sweating heads that had rubbed the cushions bald. Mr Mundy's house, itself, rather gave her the creeps: an old person's house, it was, its little rooms crowded with great dark furniture, its walls swarming with pictures. On the mantelpiece were flowers of wax, and pieces of coral, under spotted glass domes. The lamps were gas ones still, with fish-tail flames. There were yellow, exhausted photographs: of Mr Mundy as a slim young man; another of him as a boy, with his sister and mother, his mother in a stiff black dress like Queen Victoria. It was all dead, dead, dead; and yet here was Duncan, with his quick dark eyes, his clear boy's laugh, quite at home amongst it all.

She picked up her bag. 'I've brought you something.'

It was a tin of ham. He saw it and said, 'I say!' He said it in the affectionate, faintly teasing way he'd said smart lady secretary , before; and when Mr Mundy came limping in with the tea-tray, he held the tin up extravagantly.

'Look here, Uncle Horace! Look what Viv has brought us.'

There was corned beef on the tray, already. She had brought that last time. Mr Mundy said, 'By golly, we are well set up now, aren't we?'

They pulled out the leaves of the table and put out the plates and cups, the tomato sandwiches, the lettuce-hearts and cream crackers. They drew up their chairs, shook out their napkins, and began to help themselves to the food.

'How is your father, Vivien?' Mr Mundy asked politely. 'And your sister? How's that fat little chap?' He meant Pamela's baby, Graham. 'Such a fat little chap, isn't he? Fat as butter! Quite like the kids you used to see about when I was a boy. Seemed to go out of fashion.'

He was opening the tin of ham as he spoke: turning its key over and over with his great, blunt fingers, producing a line of exposed meat like a thin pink wound. Viv saw Duncan watching; she saw him blink and look away. He said, as if with a show of brightness, 'Are there fashions in babies, then, like in skirts?'

'I'll tell you one thing,' said Mr Mundy, shaking out the ham, scooping out the jelly. 'What you never used to see, that was wheeled perambulators. You saw a wheeled perambulator round here, that was something marvellous. That was what you used to call, top-drawer. We used to cart my cousins about in a wagon meant for coal. Kids walked sooner then, though. Kids earned their living in those days.'

'Were you ever sent up a chimney, Uncle Horace?' asked Duncan.

'A chimney?' Mr Mundy blinked.

'By a great big brute of a man, setting fire to your toes to make you go faster?'

'Get away with you!'

They laughed. The empty ham tin was set aside. Mr Mundy took out his handkerchief and blew his nose-blew it short and hard like a trumpet-then shook the handkerchief back into its folds and put it neatly back in his pocket. His sandwiches and lettuce-hearts he cut into fussy little pieces before he ate them. When Viv left the lid of the mustard-pot up, he tipped it down. But the slivers of meat and jelly that were left on his plate at the end of the meal he held to the cat: he let her lick them from his hand-lick all about his knuckles and nails.

When the cat had finished, she mewed for more. Her mew was thin, high-pitched.

'She sounds like pins,' said Duncan.

'Pins?'

'I feel as though she's pricking me.'

Mr Mundy didn't understand. He reached to touch the cat's head. 'She'll scratch you, mind, when her dander's up. Won't you Catty?'

There was cake to be eaten, after that; but as soon as the cake was finished, Mr Mundy and Duncan got up and cleared the cups and plates away. Viv sat there rather tensely, watching them carrying things about; soon they went out to the kitchen together and left her alone. The doors in the house were heavy and cut off sound; the room seemed quiet and dreadfully airless, the gas-lamps hissing, a grandfather clock in the corner giving a steady tick-tick . It sounded laboured, she thought-as though its works had got stiff, like Mr Mundy's; or else, as if it felt weighted down by the old-fashioned atmosphere, like her. She checked the face of it against her wristwatch. Twenty to eight… How slowly the time ran here. As slowly as at work. How unfair it was! For she knew that later-when she would want it-it would seem to rush.

Tonight, at least, there was a distraction. Mr Mundy came in and sat down in his armchair beside the fire, as he always did after dinner; Duncan, however, wanted Viv to cut his hair. They went out to the kitchen. He put down newspaper on the floor, and set a chair in the middle. He filled a bowl with warm water, and tucked a towel into the collar of his shirt.

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