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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But then she moved away from the mirror.

'Don't go,' said Kay.

'Just to start my bath off.'

'No,' said Kay. 'Not yet.'

She got off the bed and crossed the room and took Helen in her arms. She ran her fingers over her face, and kissed her lips. She slid her hands beneath the satin jacket to touch the smooth, warm flesh of her back and waist. Then she moved behind her and held her breasts, taking the weight of them against her palms. She felt the swell of Helen's buttocks, the sliding of the skin of her plump thighs inside the satin. She put her cheek against Helen's ear.

'You're beautiful.'

'No,' said Helen.

Kay turned her to face the mirror. 'Can't you see yourself? You're lovely. I knew you were, the first time I saw you. I held your face in my hand. You were smooth, like a pearl.'

Helen closed her eyes. 'I know,' she said.

They kissed again. The kiss went on. But then Helen drew away. 'I have to pee again,' she said. 'I'm sorry, Kay. And I really should bathe.'

The satin made her slippery: she moved from Kay's grasp, turning her head and laughing-playful but determined, like a nymph eluding a satyr. She went back to the bathroom and closed the door. There was the rush of the faucets, the whoosh of flame in the water-heater; and then, in a minute or so, the rub of her heels against the enamel of the tub.

Kay took the coffee-pot to the sitting-room fire and put it close to the grate. She went back to the bedroom, cleared away the tray, made up the bed, folded the torn tissue paper. The flowers she set, in their vase, on the sitting-room table, beside the cards that Helen had already received, by yesterday's post, from her family in Worthing. She moved a chair. Where the chair had stood she saw a sprinkling of crumbs. She got a brush and a pan from the kitchen, and swept them up.

Kay had lived in this flat for almost seven years. She'd got it from a woman she'd once been lovers with, a woman who'd worked here, more or less-though Kay had never told Helen this-as a prostitute. Kay's life had been rather chaotic in those days. She'd had too much money; she'd drunk too much; she'd careered from one unhappy love-affair to another… The woman had taken up with a businessman in the end, and moved to Mayfair; but she'd given Kay the flat as a parting gift.

Kay liked it here more than anywhere she'd ever lived. The flat's rooms were L-shaped; she liked those. She liked, too, the funny little mews or yard that the flat overlooked. The warehouse next door served some of the furniture stores on the Tottenham Court Road; before the war, Kay had been able to stand at her window and watch young men and women in the workshops painting swags and cupids on lovely old tables and chairs. Now the workshops had been closed down. The warehouse was used for holding utility furniture for the Board of Trade. The fact of there being so much wood there, and so much varnish and paint, made the mews a dreadfully unsafe place. But when Kay thought of moving, her heart sank. She felt about the flat rather as she felt about Helen: that it was secret, special, hers.

She checked the warmth of the coffee in its pot. On the mantelpiece was a box of cigarettes; that made her think of the case in her pocket. She took it out, and started to fill it. Presently she heard Helen come out of the bathroom and begin the business of getting dressed. She called to her, across the hall. 'What shall we do today, Helen? What would you like to do?'

'I don't know,' answered Helen.

'I might take you to a smart restaurant for lunch. How about that?'

'You've spent too much on me already!'

'Oh, balls to that!-as Binkie might say. Wouldn't you like a fancy luncheon?'

There was no reply. Kay shut the cigarette case and put it back in her pocket. She poured more coffee into Helen's cup and took it through to the bedroom. Helen was dressed in her bra, her petticoat and stockings. She was combing her hair-combing it carefully, trying to turn the curls into waves. The pyjama-suit lay on the bed, very neatly folded.

Kay set the cup down on the dressing-table. 'Helen,' she said.

'Yes, darling?'

'You seem awfully distracted. Isn't there anywhere you'd like to go? Not Windsor Castle, somewhere like that? The Zoo?'

'The Zoo?' said Helen, laughing, but also frowning. 'My goodness, I feel like a child being offered a day out by its aunt.'

'Well, that's how one's supposed to feel on one's birthday. And you did, you know, mention Windsor Castle -and the Zoo-when we talked about this last week.'

'I know I did,' said Helen. 'I'm sorry, Kay. But Windsor-oh, won't it take an age to get there? Won't the trains be awful?' She had gone to the wardrobe and was looking through her dresses. 'You'll have to be home for work at seven.'

'We have ages till seven,' said Kay. Then she saw the dress that Helen was taking from its hanger. 'That one?' she said.

'Don't you like it?'

'It's your birthday. Wear the Cedric Allen one. I like that one more.'

Helen looked doubtful. 'It's awfully smart.' But she put the first dress back and drew out another-a dark blue dress with cream lapels. It had cost £2 11s, two years before; Kay had bought it, of course. Kay had bought most of Helen's things, especially in those days. A section of the hem was slightly puckered, where it had got worn and had to be darned; but apart from that, it looked almost new. Helen shook it open and stepped inside it.

Kay held out her hands. 'Come here,' she said, 'and I'll hook you up.'

So Helen came to her and turned her back, and lifted up her hair. Kay settled the dress more smoothly on her shoulders, drew close its panels and, starting at the bottom, began to fasten together its hooks. She did it slowly. She'd always liked the sight and the feel of a woman's back. She liked, for example, the look of an evening dress on naked shoulders-the tautness of it-the way, when the shoulder-blades were drawn together, it gaped, giving you a glimpse of the underclothes or the pink, pressed flesh behind… Helen's back was firm-not muscular, but plump, resilient. Her neck was handsome, with a down of fair hair. When Kay had closed the final hook and eye she bent her head and kissed it. Then she put her arms around Helen's waist, laid her hands upon her stomach and pulled her closer.

Helen moved her cheek against Kay's jaw. 'I thought you wanted to go out.'

'But you look so lovely in your dress.'

'Perhaps I ought to take it off, if you feel like that about it.'

'Perhaps I ought to take it off for you.'

Helen pulled away. 'Be sensible, Kay.'

Kay laughed and let her go. 'All right… Now, how about the Zoo?'

Helen had gone back to the dressing-table and was screwing on earrings. 'The Zoo,' she said, frowning again. 'Well, perhaps. But won't it look funny? Two women, our age?'

'Does that matter?'

'No,' said Helen, after a moment, 'I suppose not.'

She sat and drew on her shoes-bending her head, so that her hair fell before her face. 'You don't,' she added lightly, as Kay was turning from the room, 'want to ask other people?'

'Other people?' asked Kay, surprised, turning back. 'You mean, like Mickey?'

'Yes,' said Helen, after a second. Then, 'No, it was just a thought.'

'Would you like to call in on Mickey, on the way?'

'No. It's all right, really.' She straightened up, laughing at herself-her face quite pink, from the effort of leaning forward and reaching to tie her laces.

They didn't go to the Zoo, in the end. Helen said she didn't, after all, like the idea of looking at so many poor little creatures in their cages and pens. They began to walk, and saw a bus marked up for Hampstead; and ran to catch that, instead. They got off at the High Street, and had a lunch of sardines and chips in a little café; they looked in a couple of second-hand bookshops, then made their way, through the handsome, higgledy-piggledy, red-brick streets, to the Heath. They walked arm-in-arm-Helen not minding the fact that they were two women, now, for one expected to see women, she said, on a Saturday afternoon on Hampstead Heath; it was a place for plain, brisk women, spinsters, and dogs.

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