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

'I do. It's just-' He couldn't explain it. He said instead, 'Are you really not well?'

She looked away. 'I'm all right. I'm just tired, that's all.'

'Because of the raids?'

'Yes, I expect so.'

He watched her stand and shrug on her coat. Her lavender blouse, with its little pearl buttons, got covered over. Her hair fell forward as she dipped her head, and she tucked it back, behind her ear. He saw again how pale she was beneath her powder.

They weren't allowed to kiss or embrace, but before she moved off she reached her arm across the table and just touched her hand to his.

'Look after yourself, all right?' she said, without smiling, as she drew the hand back.

'I will. Look after yourself, too.'

'I'll try,' she said.

He nodded to his father-wanting to catch his father's eye, but afraid of it, too. He said, 'Goodbye, Dad. I'm sorry, for the silly things I said.'

But perhaps he didn't say it clearly enough. His father turned away while he was still speaking, dipping his head, looking for Viv's arm so that he could link his own with it.

Ten minutes earlier Duncan had almost wanted to strike his face; now he stood with his thighs pressed hard against the table, watching Viv and his father find a place in the crowd of visitors; not wanting to leave the room until his father had left it, in case his father should look back.

But only Viv looked back-just once, very briefly. And a second later Mr Daniels came to Duncan and gave him a push.

'Into the line with you, Pearce. And you, Leddy… All right, you buggers, let's go.'

He took them out of the visiting-room, back to the junction of passages which led to the workshops, and handed them over to Mr Chase. Mr Chase looked wearily at his watch. It was twenty to five. The men from the Basket Shop, he said, could make their way back to it by themselves; one of them was a Redband. As for the others-well, he was fucked if he was going to escort them all the way over to Mailbags One and Two, just for the sake of twenty minutes; he led them back to the hall instead. They walked without speaking: depressed, subdued; all of them, like Duncan, with neatly combed hair and creaseless trousers and clean hands… The hall looked vast with no-one in it. There were so few of them-eight men, only-that when they trudged up the staircases the landings made that chilly, shivering sound that Duncan listened for at night.

Each man went straight into his own cell, as if glad to get in there. Duncan sat on his bunk and put his head in his hands.

He stayed like that for three or four minutes. Then he heard firm, soft footsteps on the landing outside his door, and quickly tried to dry his eyes. But he couldn't do it quickly enough.

'Now, then,' said Mr Mundy gently. 'What's all this?'

That made Duncan cry properly. He covered his face and sobbed into his fingers, his shoulders shaking, making the bed-frame jump. Mr Mundy didn't try to stop him; he didn't come to him, put an arm on his shoulder, anything like that. He simply stood, and waited for the worst of the tears to be over; and then he said, 'There. Had a visit from your dad, haven't you? That's right, I saw the Order. Shook you up a bit, has it?'

Duncan nodded, wiping his face on his coarse prison handkerchief. 'A bit.'

'It always shakes a fellow up, seeing faces from home. Well, put it this way, it's hard to be natural. You go on and cry some more, if that's what you want. It won't trouble me. I've seen harder men than you cry, I can tell you.'

Duncan shook his head. His face felt hot, felt bruised and pulled about, from the contortions of his sobs. 'I'm all right, now,' he said unsteadily.

''Course you are.'

'I just- I make such a mess of things, Mr Mundy. I make such a mess of things, every time.'

His voice was rising. He bit his mouth, drew in his arms and clenched his fists, to keep himself from crying again. When the fit passed and he let himself relax, he felt exhausted. He groaned and rubbed his face.

Mr Mundy stood watching for another moment; then he caught hold of Duncan 's chair and turned it and, slightly awkwardly, with a little sigh of discomfort, sat down. 'Tell you what,' he said, as he did it. 'Have a smoke. Look what I've got here.'

He brought out a packet of Player's cigarettes. He opened it up, and leaned to offer it to Duncan. 'Go on,' he said, giving the cigarettes a shake.

Duncan drew a cigarette out. It seemed as fat as a small cigar compared to the usual prison roll-ups. The tobacco was tight inside its smooth, cool sheath of paper-so nice in his hand, he turned it in his fingers and began to feel better.

'All right, isn't it?' said Mr Mundy, watching him.

'It's lovely,' said Duncan.

'Aren't you going to smoke it?'

'I don't know. I ought to keep it, to take the tobacco out. I could get four or five smokes from this.'

Mr Mundy smiled. He started to sing, in a tuneful old man's voice. ' Five little fags in a dainty little packet …' He wrinkled up his nose. 'Smoke it now.'

'Shall I?'

'Go on. I'll keep you company. We can be two chaps, smoking together.'

Duncan laughed. But the laughter came too soon on top of his tears: it caught in his chest and made him tremble. Mr Mundy pretended not to notice. He got out a cigarette for himself, and a box of matches. He held the flame to Duncan first, then drew on it himself. They smoked, for half a minute, in silence. Then Duncan held the cigarette off and said, 'It's making my eyes sting. It's making me giddy! I'm going to faint!'

'Get away with you!' said Mr Mundy, chuckling.

'I am!' said Duncan. He sat back, pretending to swoon. He became like a boy, sometimes, with Mr Mundy… But then he grew serious again. 'God,' he said, 'what a state to be in! Knocked down by one little cigarette!'

He kept his feet on the floor but let himself fall right back, supporting himself on one of his elbows. He wondered where Viv and his father were, now. He tried to picture his father's journey back to Streatham; he couldn't do it. Then he tried to visualise the various rooms of his father's flat. He had, instead, a sudden, violent, vivid image of his father's kitchen on the day he'd last seen it, with the spreading mess of darkening scarlet on the walls and floor-

He sat up again, quickly. Ash fell from his cigarette. He brushed it away, then rubbed his still-aching face and, after a moment, without looking up, said quietly, 'Do you think I'll do all right, Mr Mundy, when I get out?'

Mr Mundy took another puff of his own cigarette. 'Of course you will,' he said comfortably. 'You'll just need time to-well, to find your feet.'

'To find my feet?' Duncan frowned. 'You mean, like a sailor?' He saw himself staggering about on a tilting pavement.

'Like a sailor!' Mr Mundy laughed, tickled by the idea.

'But what will I do, say, for work?'

'You'll be all right.'

'But why should I be?'

'There'll always be jobs for clever young fellows like you. You mark my words.'

It was the sort of thing that Duncan 's father said, that made Duncan want to kill him. But now he bit at one of his fingernails and looked at Mr Mundy across his knuckles and said, 'Do you think so?'

Mr Mundy nodded. 'I've seen all sorts of fellows come through here. They all felt like you, at one time or another. They did just fine.'

'But the sorts of fellows you've seen,' persisted Duncan, 'didn't they probably have wives and children, things like that, to go back home to? Were any of them-frightened, do you think?'

'Frightened?'

'Frightened of what was going to happen to them-how they were going to be-?'

'Now then,' said Mr Mundy again, but more sternly. 'What sort of talk is that? You know what sort it is, don't you?'

Duncan looked away. 'Yes,' he said, after a moment. 'It's letting Error in.'

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.