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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'Your flat's charming,' she said, conventionally.

'You think so?' Julia closed the cupboard door and straightened up. She had a bottle, a corkscrew, glasses. 'It's mostly my cousin Olga's stuff, not mine.'

'Your cousin Olga's?'

'The flat's my aunt's. I'm living here to keep it from being requisitioned. One of those genteel dodges at which the upper-middle classes so excel. There's only this room and the kitchen; the kitchen serves as a bathroom, too. The loo's down the hall… Really, it's in a dreadful sort of mess. There's no glass in the windows at all: they got broken so often, Olga just gave up. Last summer I had sheets of gauze put in: it was lovely, like living in a tent. Now it's too cold for gauze, I've put in talc boards instead. It's all right at night, with the curtains drawn. But in the daytime, it does tend to get me down. Makes me feel like a tart or something.'

She was screwing the corkscrew into the bottle as she spoke and now, with a little effort, she brought out the cork. She glanced at Helen as she poured the wine, and smiled. 'Aren't you going to take your things off?'

Rather reluctantly, Helen unwound her scarf, took off her hat, and started to unfasten the buttons of her coat. Her dress was the one she'd put on that morning-the Cedric Allen one with the cream lapels, that Kay admired so much. She'd kept it on, she realised now, with the idea of impressing Julia with it; but the sight of Julia herself, with her newly-washed hair and crumpled trousers, her socks and slippers and colourless mouth-and, worse, the air of easy glamour with which she carried all this off-was disconcerting. She drew her arms from the coat clumsily, as if she'd never taken a coat off before in her life. Julia glanced her way again and said, 'I say, what a swell you look! What's the occasion?'

Helen hesitated. Then, 'It's my birthday,' she said.

Julia thought she was joking, and laughed. When she saw that she was serious, her expression softened. 'Helen! Why didn't you tell me? If I'd known-'

'It's nothing,' said Helen. 'Really. It's silly, how like a child the whole thing makes one feel. Everyone conspires in it… Kay gave me an orange,' she added miserably. 'She picked out Happy Birthday in the peel.'

Julia handed her a glass of red wine. 'I'm glad she did,' she said. 'I'm glad you feel like a child about it.'

'I wish she hadn't,' said Helen. 'I was awful, today. I was worse than a child. I was-' She couldn't finish. She made some gesture, as if to brush away the memory of her own behaviour.

'Never mind,' said Julia gently. She lifted her glass. 'Here's how. Bung-ho. Cheerio.-And all those other idiotic things people say, that always make me feel I'm about to go off on my last mission… Touch top and bottom, for luck.' They clinked glasses, twice; then drank. The wine was rough, and made them grimace.

They moved apart. Helen cleared a space for herself among the cushions on the divan. Julia perched on the arm of the pink velvet chair, stretching out her legs. Her legs seemed impossibly slender and long, in the flannel trousers; her hips had a fragile, vulnerable look-as if, Helen thought, you could place your two hands upon them and, with a pressing motion, make them snap. She'd picked up the ashtray, and now reached to the mantelpiece for cigarettes and matches. Her sweater rose up as she did it, and her shirt was unbuttoned at the bottom; the tails of it parted, exposing her tense, sallow stomach, her neat navel. Helen looked, then at once looked quickly away.

One of the cushions fell from the divan to the floor. Helen leaned and picked it up again-and realised, as she did it, that it wasn't a cushion but a pillow; that the divan must serve, in this two-roomed flat, as Julia's bed; that every night Julia must stand here, lay down sheets and blankets, take off her clothes… The image was not exactly erotic, for one saw beds, pillows, nightclothes, everywhere, they'd long ago lost their charge of intimacy, of sex. Instead she found it poignant, faintly troubling. She looked again at Julia's handsome, fragile figure and thought, What is it about Julia? Why is she always so alone?

They were sitting in silence. Helen found she had nothing to say. She gulped down more of her wine, then became aware of noises on the floor above: irregular steps, and creaking boards. She put back her head and looked up.

Julia looked up too. 'My neighbour's a Polish man,' she murmured. 'He's only in London by some sort of fluke. He walks about, like that, for hours. Every piece of news he gets from Warsaw, he says, is worse than the last…'

'God,' said Helen. 'This wretched war. Do you really think it's true, what everyone says? That it'll be over soon?'

'Who knows? If the Second Front kicks off, then perhaps. But I'd say we were in it for another year at least.'

'Another year… So I'll be thirty.'

'And I'll be thirty-two.'

'The worst sort of ages, don't you think? If we were twenty, we'd get over it, we'd still be almost young. And if we were forty, we'd be old enough not to mind being older still. But thirty… I'll have gone from youth to middle age. What will I have to look forward to? The Change of Life, I suppose. They say it's worse for childless women… Don't laugh! At least you'll have achieved something, Julia. Your books, I mean.'

Julia drew in her chin, still smiling. 'Them! They're like so many crossword puzzles. I only wrote the first one, you know, as a sort of joke. Then I discovered I was rather good at them. What that reveals about me, I can't imagine. Kay's always said that it's a queer thing to do-writing about murder, just now, while so many people are being murdered all around us.'

This was the second or third time that they had mentioned Kay's name; but they both seemed struck by it, now, in a way they hadn't been before. They sat in silence again. Julia swirled the wine in her glass, gazing fixedly into it like a fortune-teller. Without looking up, and in a different sort of voice, she said, 'I never asked you. What did Kay make of our running into each other like that, that day?'

'She was glad,' said Helen, after a second.

'And she didn't mind us meeting up again? She won't mind your coming round here, tonight?'

Helen sipped her drink and didn't answer. When Julia looked up and caught her gaze, she must have coloured or seemed guilty. Julia frowned. She said, 'You haven't told her?'

Helen shook her head.

'Why not?'

'I don't know.'

'You didn't think it worth mentioning? That's fair enough, I suppose.'

'No, Julia, it wasn't that. Don't be silly.'

Julia laughed. 'What, then? Do you mind my asking? I'm curious. But I'll shut up about it, if you'd rather. If it's something, you know, between you and Kay-'

'It's nothing like that,' said Helen quickly. 'I told you, Kay was pleased to hear we'd met up. She'd be pleased, too, to think we've gone on meeting.'

'Are you sure?'

'Of course I'm sure! She's so very fond of you; and that makes her want me to like you, too. It always has.'

'How big of her. Do you like me, Helen?'

'Well, naturally I do.'

'There's no naturally about it.'

'Unnaturally, then,' said Helen, making a face.

'Yet you won't tell Kay?'

Helen moved uncomfortably. She said, 'I ought to have, I know. I wish I had. It's just, sometimes, with Kay-' She stopped. 'It sounds childish, ungracious. It's just, the way Kay is with me-taking such care of me. It makes me long, now and then, to keep things from her, even commonplace, trifling things. Just so that those things can be wholly mine…'

Her heart was fluttering as she spoke: she was afraid that Julia would hear the flutter in her voice. For even as she said all this, and meant it, she knew that it wasn't quite the truth. She was trying to make the whole thing be about something else. She was playing it down, using words like commonplace and childish . She was trying to pretend that there wasn't that fine, invisible, vibrating thread telling her when Julia moved, when Julia breathed…

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