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 stood chatting with them for another few moments; then, 'Jolly good,' he said. 'I'm off down to the basement, to take a quick look at those plans. If you'll excuse me, Miss-?'

He stepped around them and headed downstairs. As he moved out of the thickest of the shadows Helen saw that what she'd taken to be dirt, or freckles, on his face, were really the scars of old blisters, from fire or gas.

'Isn't he a darling?' said Julia, when he'd gone. 'Really, he's the most awful rogue.' She opened the door, and she and Helen stood together on the step. She shivered again. 'It looks like rain. You'll have to be quick! You know your way back all right? I'd come with you, only- Oh, hang on.'

She'd put her hand, suddenly, on Helen's shoulder, to keep her from moving on to the pavement, and Helen turned back to her, alarmed-thinking, almost, that Julia meant to kiss her, embrace her, something like that. But all she was doing was brushing dust from Helen's arm…

'There,' she said, smiling. 'Now, turn around and let me see the back of you. Yes, here's another bit… Now, the other way. How biddable you are! But we mustn't give Miss Chisholm any grounds for complaint.' She raised an eyebrow. 'Nor Kay, for that matter… There. That's splendid.'

They said goodbye. 'Come and find me some other lunchtime!' Julia called, as Helen moved off. 'I'll be here for two more weeks. We could go to a pub. You can buy me that drink!'

Helen said she would.

She began to walk. Once the door was closed she looked at her wristwatch, and started to run. She got back to her office at a minute past two. 'Your first appointment's waiting, Miss Giniver,' Miss Chisholm told her, with a glance at the clock; so she didn't have time, even, to visit the lavatory or comb her hair…

She worked very steadily, for an hour and a half. The job was tiring in times like these. The sort of people she'd been interviewing in the past few weeks were like the people she'd got used to seeing during the big blitz, three years before. Some of them came fresh from the wreckage of their homes, with dirty hands, cut about and bandaged. One woman had been bombed out, she said, three times; she sat on the other side of Helen's desk and wept.

'It's not the house having gone,' she said. 'It's the moving about. I feel like a bit of tinder, miss. I haven't slept since all this happened. My little boy's got delicate health. My husband's in Burma, I'm all on my own.'

'It's awfully hard,' said Helen. She gave the woman a form, and patiently showed her where to fill it. The woman looked at it, not understanding.

'All this?'

'I'm afraid so.'

'But, if I could just have a pound or two-'

'I can't give you money, I'm afraid. You see, it's a rather lengthy process. We must send a valuer to assess the damage before we can make an advance. We must have someone from our own department see your old home and make a report. I'll try to get them to the site as quickly as I can, but with all the new raids…'

The woman was gazing, still, at the pieces of paper in her hand. 'I feel like tinder,' she said again, passing her hand across her eyes. 'Just like tinder.'

Helen watched her for a second; then took the form back. She filled in the woman's details herself, back-dating it all to the month before; and in the space that requested the date and serial number of the valuer's report, she wrote some likely but vaguely illegible inky figures. She put the form in a tray marked Approved , ready to be sent up to Miss Steadman on the first floor; and she clipped on a note, to say it was urgent.

But she didn't do anything like that for the next person, or for the people after him. She'd been struck by the woman's describing herself as being like tinder, that was all. 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 ended up thinking only of yourself.

For at the back of her mind, all afternoon, was the idea of Julia. She was thinking of Julia even as she was comforting the crying woman-even as she was saying, 'It's awfully hard.' She was remembering the feel of Julia's arm as it brushed against hers; the closeness of Julia, in that small attic room.

Then, at a quarter to four, her telephone rang.

'Miss Giniver?' said the girl on reception. 'An outside call. A Miss Hepburn. Shall I put her through?'

Miss Hepburn? thought Helen, distractedly… Then she understood, and her stomach fluttered with anxiety and guilt. 'Just a second,' she said. 'Ask the caller to hold, will you?' She put the receiver down, and went to her door and called out: 'Miss Chisholm? No more applicants, please, just for a minute! I've got the Camden Town office on the line.' She sat back at her desk, and willed herself steady. 'Hello, Miss Hepburn,' she said quietly, when the call had been put through.

'Hello, you.' It was Kay. They had a sort of game, with names, like that. 'This is just a nuisance call, I'm afraid.' Her voice sounded deep, and rather lazy. She was smoking a cigarette: she moved the receiver, to blow out smoke… 'How's life in Assistance?'

'Pretty hectic, actually,' said Helen, glancing at the door. 'I can't talk long.'

'Can't you? I oughtn't to have rung, ought I?'

'Not really.'

'I've been kicking my heels at home. I- Just a minute.'

There was a little puff of air, and then a sense of deadness: Kay had put her palm over the receiver and started to cough. The cough went on. Helen pictured her as she'd often seen her-doubled over, her eyes watering, her face scarlet, her lungs filled up with smoke and brick-dust. She said, 'Kay? Are you all right?'

'Still here,' said Kay, coming back. 'It's not so bad.'

'You oughtn't to be smoking.'

'The smoking helps… Hearing your voice helps.'

Helen didn't answer. She was thinking of the switchboard girl. A friend of Mickey's had lost her job, when a girl had listened in on a private call between her and her lover.

'I wish you were here, at home,' Kay went on. 'Can't they get along without you?'

'You know they can't.'

'You have to go, don't you?'

'I do, really.'

Kay was smiling: Helen could hear it in her voice. 'All right… Nothing else to report, though? No-one tried to storm the office? Mr Holmes still giving you the eye?'

'No,' said Helen, smiling too. Then her stomach fluttered again, and she drew in her breath. 'Actually-'

'Hang on,' said Kay. She moved the receiver, and began to cough again. Helen heard her wiping her mouth… 'I must let you go,' she said, when she came back.

'Yes,' said Helen leadenly.

'I'll see you later. You're coming straight home? Come quickly, won't you?'

'Yes, of course.'

'Good girl… Goodbye, Miss Giniver.'

'Goodbye, Kay.'

Helen put the receiver down and sat very still. She had a clear image of Kay, getting up, finishing her cigarette, wandering restlessly around the flat, perhaps coughing again. She might stand at the window with her hands in her pockets. She might whistle or hum-old songs from the music hall, 'Daisy, Daisy,' songs like that. She might put down paper on the sitting-room table, to polish her shoes. She might get out a funny little sailor's sewing-kit she had, and darn her socks… She didn't know that Helen, a few hours before, had been standing at a window, feeling the flesh on her arm rise up like the petals of a flower to the sun, because Julia was beside her. She didn't know that Helen, in a little attic room, had had to turn away from Julia's gaze, because the quickening of her own blood had made her afraid…

Helen snatched up the telephone again and gave the girl a number. The phone rang twice, and then, 'Hello,' said Kay, surprised by Helen's voice. 'What did you forget?'

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