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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'Helen,' said Kay, appalled. 'What's the matter?'

'I just- I don't know. I wish you could stay with me, that's all.'

'I can't. I can't. I have to go in. You know I do.'

'You're always there.'

'I can't, Helen… God, don't look at me like that! If I have to think of you, at home, unhappy, I'll-'

They had drawn closer together. But now, as before, a man and a girl came strolling along the path, beside their bench, and Helen drew away. She took out a handkerchief and wiped her eyes. Kay watched the couple-who had paused to look at the view, like everyone else-and wanted to kill them. The urge to take Helen in her arms-and the consciousness that she must not do it-was making her twitch, making her ill.

When the couple moved on, she looked at Helen again and said, 'Tell me you won't be unhappy tonight.'

'I'll be ecstatic tonight,' said Helen unhappily.

'Tell me you won't be lonely. Tell me- Tell me you'll go to the pub and get canned, and pick up some boy, some soldier-'

'Would you like me to?'

'I'd love it,' said Kay… 'I'd hate it, you know I would. I'd jump in the river. You're the only thing that makes this bloody war bearable.'

'Kay-'

'Tell me you love me,' said Kay, in a whisper.

'I do love you,' said Helen. She closed her eyes, as if the better to feel it or show it; and her voice grew earnest again. 'I do love you, Kay.'

'Well, son,' said Duncan 's father, as he and Viv sat down, 'how are you? Been treating you all right, have they?'

'Yes,' Duncan answered, 'I suppose so.'

'Eh?'

Duncan cleared his throat. 'I said, Yes, they have.'

His father nodded, grimacing awfully as he tried to follow the words. This was the worst sort of setting for him, Duncan knew. The room had six tables in it, and theirs was the last; but every table had two prisoners at one end, and the prisoners' visitors at the other; and everyone was shouting. Duncan 's neighbour was a man named Leddy, a post-office clerk, in for forging money orders. Sitting next to Viv was Leddy's wife. Duncan had seen her before. She gave Leddy hell, every time she came. 'If you think I'm happy,' she was saying now, 'about having a woman like that come into my home-' At the table next to her was a girl with a baby. She was jiggling the baby up and down, trying to get it to smile at its father. But the baby was crying: shrieking open-mouthed like a siren, then pulling in great shuddering breaths and shrieking again… The room was just an ordinary small prison room, with ordinary closed prison windows. It smelt of ordinary prison smells-unwashed feet, sour mops, bad food, bad breath. But above the regular smells were other ones, too, much more disturbing: perfume, make-up, permanent waves; the smells of children; the smells of traffic, dogs, pavements, open air.

Viv was taking off her coat. She was wearing a lavender-coloured blouse done up with little pearl buttons, and the buttons caught Duncan 's eye. He'd forgotten about buttons like that. He'd forgotten what they felt like. He wished he could reach across the table, now, and take one, just for a second, between his finger and his thumb.

She saw him looking, and moved about as if self-conscious. She folded her coat across her lap. 'How are you, really?' she asked, when she'd done it. 'Are you all right?'

'Yes, I'm OK.'

'You look awfully pale.'

'Do I? You said that last time, though.'

'I always forget.'

'How've you liked this past month, son?' said his father loudly. 'Made you jump, has it? I said to Mrs Christie, Jerry's got us on the hop, he's caught us with our feet up. What a time of it we had, though, a night or two ago! Bangs so loud, they woke me up! That'll give you an idea how bad it was.'

'Yes,' said Duncan, trying to smile.

'Mr Wilson's place lost its roof.'

'Mr Wilson's place?'

'You know the one.'

'Where we used to go,' said Viv, seeing Duncan struggle, 'when we were little. That man and his sister, who used to give us sweets. Don't you remember? They had a little bird, in a cage. You used to ask to feed it.'

'-a great big lump of a girl,' Leddy's wife was saying now, 'with habits like that! It turned my stomach-'

'I don't remember,' said Duncan.

His father was shaking his head-a beat behind, because of his hearing. 'No,' he said, 'you hardly credit it when it all dies down. You'd think from the racket that the world had been smashed to nothing. It gives you a turn to see so many houses still standing up. Puts you right back in the blitz.-Well, they're calling it the Little Blitz, aren't they?' He said this last to Viv; then turned to Duncan again. 'You won't feel it so much, I suppose,' he said, 'in here?'

Duncan thought of the darkness, Giggs calling out, the officers going down to their shelter. He moved in his chair. 'It depends what you mean,' he said, 'by “feel it”.'

But he must have mumbled. His father tilted his head, grimaced again. 'What's that?'

'It depends what you- God! No, we don't feel it so much.'

'No,' answered his father mildly. 'No, I shouldn't have thought you would…'

Mr Daniels walked up and down behind the prisoners, scuffing his shoes. The baby still cried: Duncan 's father started trying to catch its eye, making faces at it. A few tables on, Fraser was sitting; his mother and father had come to see him. Duncan could just make them out. His mother was dressed in black, with a hat with a veil, as if for a funeral. His father's face was brick-red. Duncan couldn't hear what they were saying. But he could see Fraser's hands where they rested on the table, the blistered fingers moving restlessly about.

Viv said, 'Dad's been moved to another shop at Warner's, Duncan.'

He looked back at her, blinking, and she touched their father's arm, spoke into his ear. 'I was just telling Duncan, Dad, that you've been moved to another shop.'

Duncan 's father nodded. 'That's right.'

'Oh yes?' said Duncan. 'Is it all right?'

'It's not too bad. I'm working with Bernie Lawson now.'

'Bernie Lawson?'

'And Mrs Gifford's daughter, June.' Duncan 's father smiled. He started to tell Duncan some story… Duncan lost the thread of it almost at once. His father never realised. He spoke of all the little factory jokes and intrigues as if Duncan was still at home. 'Stanley Hibbert,' he was saying, and, 'Muriel and Phil. You should have seen their faces! I told Miss Ogilvy-' Duncan recognised some of the names, but the people were like ghosts to him. He watched the words being formed on his father's lips, and took his cue from his father's expressions and nodded and smiled, as if he were deaf himself…

'They said to give you their best, anyway,' his father finished. 'They always ask after you. And Pamela sends her love, of course. She said to tell you, she's sorry she can't get in to see you more.'

Duncan nodded again-forgetting, for a moment, who Pamela was. Then, with a little jolt, he remembered that she was his other sister… She'd come to see him about three times, in the three years he'd been in here. He didn't much mind; Viv and his father, however, always looked embarassed about it.

Viv said awkwardly, 'It's hard, when there are babies.'

'Oh yes,' said their father, seizing on this, 'that makes things hard. No, you don't want to be hauling kids about with you, when you come here. Unless you're bringing them in to see their dads; that's a different thing, of course. Mind you-' he glanced at the girl with the crying baby, and tried, and failed, to lower his voice-'I shouldn't have cared to have any of you kids see me in a place like this, if it'd been me. Well, it's not nice. It doesn't give you nice things to think back on. I hardly liked to have you see your mother, up at the hospital that time.'

'It's nice for the fathers, though,' said Viv. 'It was nice for Mother, I expect.'

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