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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Perhaps it worked. Julia smoked her cigarette for a time, looking thoughtful, but without speaking; then she ground the cigarette out and got to her feet. 'Kay wants a wife,' she said. She smiled. 'That sounds like a children's game, doesn't it? Kay wants a wife. She always has. One must be the wife with Kay, or nothing…'

She yawned, as if bored by the idea; then went to the window and drew back the curtain. There were little chinks, Helen could see, in the grey talc boards, and she put her eye to one of these and peered out. 'Don't you hate these evenings?' she said. 'Not knowing if the Warning will sound, and so on? It's like waiting for an execution that might or might not take place.'

'Would you rather I went?' Helen asked.

'God, no! I'm glad you're here. It's much worse when one's alone, don't you think?'

'Yes, much worse. But bad in the shelters, too. Kay always wants me to go over to the one in Rathbone Place; but I can't stand it, it makes me feel trapped. I'd always rather sit and be petrified on my own, than have strangers see me being frightened.'

'Me, too,' said Julia. 'Sometimes I go out, you know. I like it better in the open space.'

'You just go strolling,' Helen asked her, 'in the black-out? Isn't it dangerous?'

Julia shrugged. 'Probably. But then everything's dangerous, just now.' She let the curtain fall and turned back into the room, and reached for her glass.

Helen felt her heart begin to flutter again. It occurred to her that she'd far rather be with Julia outside, in darkness, than in here, in the soft, exposing, intimate light. She said, 'Why don't we go out now, Julia?'

Julia looked at her. 'Now? You mean, for a walk? Would you like to?'

'Yes,' said Helen. She felt the wine inside her suddenly, and started to laugh.

Julia laughed too. Her dark eyes were shining, with excitement and mischief. She began to move more quickly-putting back her head to drink off her wine, then carelessly setting down the glass on the mantelpiece, so that it rang against the painted marble. She looked at the fire, then squatted in front of it and began to shovel ash on

the coke. She did it with the cigarette clamped at the side of her mouth, and with an expression of tremendous concentration and distaste: screwing up her eyes, holding her graceful head at an awkward angle away from the rising grey cloud-like a debutante, Helen thought, on the maid's night off… Then she got up, and dusted off her knees; went back through the curtained doorway for her coat and shoes. She reappeared after a moment in a black double-breasted jacket with polished brass buttons, like a sailor's coat. She stood at the mirror, put on lipstick, powdered her face, turned up her collar. She ran her hands, critically, over her damp head, then drew a soft black corduroy cap from out of a heap of gloves and scarves: pulled it on, and tucked up her hair.

'I shall regret this, later,' she said, 'when my hair has dried at odd angles.' She caught Helen's eye. 'I don't look like Mickey, do I?'

Helen laughed, guiltily. 'Not at all like Mickey.'

'Not like a male impersonator on the stage?'

'More like an actress in a spy-film.'

Julia adjusted the angle of the cap. 'Well, so long as I don't get us arrested for espionage… I tell you what, let's take the rest of that wine.' There was half a bottle left. 'I shan't want it tomorrow, and we've hardly touched it.'

'That really might get us arrested.'

'Don't worry, I've a plan for that.'

She went back to the cupboard, moved things around, and brought out the nightwatchman's bottle that they'd had tea from, in Bryanston Square. She pulled the cork from it, and sniffed it; then carefully filled it up with wine. There was just enough. She stoppered it up again, and put it into her jacket pocket. In her other pocket she put a torch.

'Now you look like a house-breaker,' said Helen, as she buttoned on her own coat.

'But you're forgetting,' said Julia; 'I am a house-breaker, by day. Now, there's just one more thing.' She opened a drawer and took out a sheaf of papers. The papers were thin, the 'flimsy' kind that Helen was issued with at work. They were covered all over with close black handwriting…

'That's not your manuscript?' asked Helen, impressed.

Julia nodded. 'It's a bore, but the bombs make me afraid for it.' She smiled. 'I suppose the wretched thing must be rather more to me than a sort of crossword puzzle, after all. I find I have to carry it about with me wherever I go.' She rolled the papers up and stuffed them into the inside pocket of her coat. She patted the bulge they made. 'Now I feel safe.'

'But, if you get hit?'

'Then I shan't care one way or the other.' She drew on gloves. 'Are you ready?'

She led the way downstairs. As she opened the door she said, 'I hate this bit. Let's close our eyes and count, as we're supposed to'-and so they stood on the step with their faces screwed up, saying, ' One, two, three …'

'When do we stop?' asked Helen.

'… twelve, thirteen, fourteen, fifteen -now!'

They opened their eyes, and blinked.

'Has that made a difference?'

'I don't think so. It's still dark as hell.'

They switched on their torches and went down the steps. Julia's face showed palely, strangely, framed by the lines and angles of her turned-up collar and her cap. She said, 'Which way shall we go?'

'I don't know. You're the veteran at this sort of thing. You choose.'

'All right,' said Julia, suddenly deciding. She took Helen's arm. 'This way.'

They went left into Doughty Street; then left again, into the Gray's Inn Road; and then right, towards Holborn. The roads, even in the short space of time in which Helen had been at Julia's flat, had grown almost empty. There was only the occasional cab or lorry-like creeping black insects, they seemed in the darkness, with gleaming, brittle-looking bodies and louvred, infernal eyes. The pavements, too, were almost clear, and Julia went quickly because of the cold. Helen could feel-as if with disturbing new senses, born of the dark-the weight and pressure of her arm and hand, the nearness of her face, her shoulder, her hip, her thigh, the roll and rhythm of her step…

At what must have been the junction with Clerkenwell Road they turned left. After a little while Julia made them turn again-right, this time. Helen looked around, suddenly confused.

'Where are we?'

' Hatton Garden, I think. Yes, it must be.'

They spoke quietly, for the street seemed deserted.

'Do you know for sure? We won't get lost?'

'How can we get lost?' asked Julia. 'We don't know where we're going… Anyway, you can't get lost in London, even in the black-out and with all the street-signs gone. If you can, you don't deserve to live here. They should make it a kind of exam.'

'If you fail, you get booted out?'

'Exactly. And then,' Julia laughed, 'you must go and live in Brighton.' They turned to the left, went down a short hill. 'Look, this must be the Farringdon Road.'

There were cabs again here, other pedestrians, a feeling of space-but a dreary feel, too, for half of the buildings which lined the street had been damaged and boarded up. Julia led Helen south, towards the river. At a warden's post in one of the arches underneath Holborn Viaduct, a man heard their voices and blew his whistle.

'Those two ladies! They must get themselves a white scarf or a paper, please!'

'All right,' called Helen meekly in reply.

But Julia murmured: 'Suppose we want to be invisible?'

They crossed Ludgate Circus and went on towards the start of the bridge. They saw people going down into the Underground with bags and blankets and pillows, and paused to watch them.

'It gives one a shock, doesn't it,' said Helen quietly, 'to see people doing this, after all this time? I hear the queues still start at four and five o'clock at some of the stations. I couldn't bear to do it, could you?'

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