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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'Take my hand again,' said Julia. 'That's right.' Her voice was steady. Her grip was firm-not wild, as it had been before. She said, 'It was stupid of me to make you come, Helen. I ought to have thought-'

'I'm all right,' said Helen. 'I'm all right.'

They started off again, going quickly. 'We must just pass St Clement's,' said Julia, as they walked. 'St Clement's ought to be just here.' She shone her torch about, and hesitated; made Helen stop, then start again. They walked on, sometimes stumbling over broken paving-stones, sometimes groping with their feet for kerbs that weren't there; for the plunging about of the searchlights, the sudden appearance and disappearance of shadows, was disorientating. Finally they picked out the whited steps of a church.

The church, however, was not St Clement's but another. St Edmund, King and Martyr , its notice said.

Julia stood before it, utterly perplexed. 'We've got onto Lombard Street somehow.' She took off her cap, tugged back her hair. 'How the hell did we do that?'

'Which way is the Underground?' asked Helen.

'I'm not sure.'

Then they both gave a jump. A car had appeared, going too fast around a corner, weaving about; it went hurtling past them, then disappeared into the dark. They went on, and a moment later heard voices: men's voices, like the voices of ghosts from the blitz, floating about, echoing queerly. It was two firewatchers, up on roofs, calling to each other across the street; one was giving a commentary of what he could see-incendiaries, he thought, on Woolwich and Bow. ' There's another packetful! ' they heard him say.

They were standing there, listening, hand in hand, when a warden came running out of the darkness and almost knocked them down.

'Where the bloody hell,' he said, panting, 'did you two spring from? Turn those torches off, and get yourselves under cover, can't you?'

Julia had pulled her fingers from Helen's the moment he'd appeared, and stepped away. She said, almost irritably, 'What does it look like we're trying to do? Where's the nearest shelter?'

The man caught her tone-or, what was more likely, Helen thought, took note of her accent-and his manner slightly changed. 'Bank Underground, miss,' he said. 'Fifty yards back there.' He jerked his thumb over his shoulder, and then ran on.

Perhaps it was the relative ordinariness of the exchange; perhaps it was the fact of seeing someone more agitated than herself; but Helen's anxiety seemed suddenly, magically, to disperse-as though drawn off by a needle. She put her arm through Julia's and they walked at quite a leisurely pace up towards what they could now easily see was a corrugated metal arch piled about with sandbags: the entrance to the station. A man and a girl went hurrying into it as they drew closer; a stout woman whose legs were sore or stiff was easing herself down the steps as quickly as she could. A schoolboy was hopping about, looking up, in great excitement, at the sky.

Julia slowed her step. 'Here it is, then,' she said, without enthusiasm.

Here's the return to company , Helen took her to mean, to chatter and bustle and ordinariness and light … She pulled Julia's arm. 'Wait,' she said. What were they doing? I've fallen in love with you! she'd cried, in the darkness, fifteen minutes before. She remembered the fluttering of Julia's breath against her mouth. She remembered the feel of Julia's hand, clutching fiercely at hers. 'I don't want to go down,' she said quietly. 'I- I don't want to share you, Julia, with other people. I don't want to lose you.'

Perhaps Julia opened her mouth to answer, Helen wasn't sure. For in the next instant they were lit by a flash: a flash, like lightning, brief but unnaturally lurid, so that a thousand little details-the stitches in Julia's collar, the anchors on the buttons of her coat-seemed to spring from her body into the air, to leap into Helen's eyes and blind her. Two seconds later, the explosion came-fantastically loud, not terribly close, perhaps even as far away as Liverpool Street or Moorgate; but close enough for them to feel the shock of it, the freakish beating against them of a gust of airless wind. The schoolboy capering about the station steps gave a whoop of absolute pleasure; some adult darted out to scoop him up and carry him inside. Helen put out her hand, and Julia gripped it. They began to run-not into the station, but away from it, back down Lombard Street. They were laughing like idiots. When the next explosion came-further off, this time-they laughed more wildly, and quickened their pace.

Then, 'In here!' said Julia, tugging Helen's hand. She had seen, lit up by the second flash, a sort of baffle-wall that had been built across the entrance to an office or a bank. The space it made was deep, jute-scented, impossibly dark: she moved into it, as if passing through a curtain of ink, and drew Helen in after her.

They stood without speaking, catching their breaths; their breaths sounded louder, in that muffled space, than all the sounds of the chaos in the street. Only when they heard footsteps did they look out: they saw the warden they had spoken to-still running, but running back, in the opposite direction. He went straight past and didn't see them.

'Now we're invisible again,' whispered Julia.

They had drawn close to one another, to look out. Helen was aware, as she had been before, of the movement of Julia's breath, against her ear and cheek; she knew that all she had to do was move her head-just turn it, just tilt it, that was all-for her lips to find out Julia's in the darkness… But she stood quite still, unable to act; and it was Julia, in the end, who started the kiss. She put up her hand and touched Helen's face, and guided their two blind mouths together; and as the kiss, like a fire, drew, took hold, she slid her hand to the back of Helen's head and pressed her even closer.

But after a moment, she drew away. She loosened the knot of Helen's scarf, began slowly to tug at the buttons of her coat. When the coat was unfastened, she started on her own: the panels of the jacket parted, she moved forward again, and the two opened coats came together to make what seemed to Helen to be a second baffle-wall, darker even than the first. Inside it, her own and Julia's bodies felt quick, hard, astoundingly warm. They kissed again, and fitted themselves against one another-Julia's thigh coming snugly between Helen's legs, Helen's thigh sliding tightly between Julia's; and they stood hardly moving, just nudging, nudging with their hips.

At last, Helen turned her head. She said, in a whisper, 'This is what Kay wanted, isn't it? I know why she did, Julia! God! I feel like- I feel like I'm her! I want to touch you, Julia. I want to touch you, like she would-'

Julia moved back. She caught hold of Helen's hand, pulled the glove from her fingers and let it drop. She took the hand to the buttons of her trousers, opened them up, and, almost roughly, slid it inside.

'Do it, then,' she said.

When the Warning sounded at John Adam House a girl would go up and down the stairs and along the corridors, knocking on every door. 'Raiders Overhead! Raiders Overhead, girls!' After that, each boarder was supposed to make her way down to the basement, in a calm and orderly way. But the basement was like shelters everywhere: too cold, too airless and too dim; and sometimes the heartier girls of the house-the girls with whom Viv had least in common, the girls for whom this sort of life was only another kind of boarding-school-would attempt to start off games, or rounds of jolly singing. Lately, too, the various smells of the place had begun to make Viv afraid of being sick.

So for the past few weeks she'd taken to staying in her room when the sirens went, with Betty and the other girl they shared with, a girl called Anne. Betty and Anne could sleep through anything-Anne dosing herself with veramon, Betty putting an eye-mask on and sticking pink wax plugs in her ears. Only Viv would lie fretful, wincing at the blasts and the ack-ack fire; thinking of Reggie, Duncan, her father, her sister; pressing with her hands at her stomach and wondering what the hell she was going to do about the thing that was growing inside it, that must be got out.

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