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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'It's not her, it's me,' said Viv, very quickly. 'Don't say my name, in case the operator's listening.'

But he said her name, anyway. 'Viv?' He sounded amazed. 'The boys told me-'

'I know. They were mucking about, and I didn't know what else to say.'

'Christ.' She heard him rubbing his bristly chin and cheeks with his hand. 'Where are you? How did you get hold of me?' He turned his mouth away. 'Woods, I swear to God, one more crack like that, and - '

'I just called the Exchange,' she said.

'What?'

'I called the Exchange.'

'Are you all right?'

'Yes. No.'

'I can't hear you. Just a minute-' He put the phone down and went off; there was more cheering, and more laughter. When he came back, he was breathless again. 'Those buggers,' he said. He had moved, or closed a door. 'Where are you? You sound like you're in the bucket at the bottom of well.'

'I'm in a cupboard,' she whispered, 'at home. I mean, at John Adam House.'

'A cupboard?'

'Where the girls make calls. It doesn't matter. It's just- Something's happened, Reggie.'

'What? Not your bloody brother?'

'Don't call him that. No, not that. Nothing like that.'

'What, then?'

'I- It's just-' She tried to see out into the hall again; then turned her head, and spoke more quietly than ever. 'My friend hasn't come,' she said.

'Your what? Your friend?' He didn't understand. 'Which friend?'

'My friend .'

There was a silence. Then, 'Christ,' he said softly. 'Christ, Viv.'

'Don't say my name!'

'No. No. How much? I mean, how long?'

'About eight weeks, I think.'

'Eight weeks?' He was turning it over in his mind. 'So you mean, you must have been, already, when I saw you last-?'

'Yes, I must have been. But I didn't know.'

'And, you're absolutely sure? You couldn't just have-have missed?'

'I don't think so. I never have before.'

'But, we've been careful, haven't we? I've been careful, every fucking time. What's the point of being careful, if this happens?'

'I don't know. It's bad luck.'

'Bad luck? Jesus.'

He sounded disgusted. He moved the phone again; she imagined him tugging at his hair. She said, 'Don't be like that. It's been hell, for me. I've been worrying myself to death. I've tried all sorts of things. I- I took something.'

He couldn't hear her. 'What?'

She covered her mouth again, but tried to speak more clearly. 'I took something. You know… But it didn't work, it just made me sick.'

'Did you get the right thing?'

'I don't know. Are there different kinds of things? I got it from a chemist's. The man said it would work, but it didn't. It was awful.'

'Can't you try again?'

'I don't want to, Reggie.'

'But it might be worth just trying again.'

'It made me feel so awful.'

'But don't you just think-?'

'It'll make me sick again. Oh Reggie, I don't think I can! I don't know what to do!'

Her voice had been trembling, all this time; now, with a rush, it tightened and rose. She'd started to panic, and was almost crying.

Reggie said, 'OK. All right. Listen to me. It's all right, baby. Listen to me. This is the hell of a shock, that's all. I just need to think about it. There's a bloke here. I think his girl- I just need some time.'

She moved the receiver, and blew her nose. 'I didn't want to tell you,' she said miserably. 'I wanted to sort it out by myself. I just- I felt so awful. If my dad found out-'

'It's OK, baby.'

'It'd break his heart. It'd-'

Pip pip pip , went the line; and the operator spoke. ' One minute, Caller .'

It was the girl who'd connected Viv right at the start; or another girl, with the same bright, glass-like voice… Viv and Reggie fell silent.

'Do you suppose she heard?' whispered Reggie at last.

'I don't know.'

'They don't listen really, do they?'

'I don't know.'

'How can they, with so many calls?'

'No. I expect they don't.'

Silence again… Then, 'Shit,' said Reggie, as if wearily. 'What luck. What lousy rotten luck. And I was so careful, every time!'

'I know,' said Viv.

'I'll ask this bloke, about his girl, about what she did. OK?'

Viv nodded.

'OK?'

'Yes.'

'You're not to worry any more.'

'No. I won't.'

'Promise me?'

'Yes.'

'We'll be all right. OK? Good girl.'

They stayed on the line, not speaking, until the operator's voice came again, asking if they'd like to extend the call. Viv said they wouldn't, and the line went dead.

'Hello,' said Kay very softly, an hour or two later. She was stroking Helen's hair.

'Hello,' said Helen, opening her eyes.

'Did I wake you?'

'I'm not sure… What time is it?'

Kay got in beside her. 'Just past your birthday, I'm afraid. Just two o'clock.'

'Are you all right?'

'Not a scratch on me. We didn't go out. Bethnal Green and Shoreditch got it all.'

Helen took her hand and squeezed her fingers. 'I'm glad,' she said.

Kay yawned. 'I'd rather have gone out. I spent the night doing puzzles with Mickey and Hughes.' She kissed Helen's cheek, then fitted herself about her. 'You smell soapy.'

Helen stiffened. 'Do I?'

'Yes. Just like a kid. Did you have another bath? You must be clean as anything… Were you lonely?'

'No, not really.'

'I thought of sneaking back to you.'

'Did you?'

Kay smiled. 'Well, not really. It seemed an awful waste, that's all, to be there, doing nothing, while you were here.'

'Yes,' said Helen. She still held Kay's hand; now she drew Kay's arm around her-tight, as if wanting comfort or warmth. Her legs were bare against Kay's; her cotton nightdress had risen, almost to her bottom. Her breasts felt loose and warm beneath Kay's arm.

Kay kissed her head, stroked back her hair. She said, in a murmur, 'I suppose you're awfully sleepy, darling?'

'I am, rather.'

'Too sleepy to kiss?'

Helen didn't answer. Kay drew free her arm. She caught hold of the collar of Helen's nightgown and, very gently, pulled it down. She put her lips to the bend of Helen's neck, moved her mouth against the hot, smooth flesh. But she became aware, as she was doing it, of the feel of the threadbare fabric in her hand. She lifted her head from her pillow and said, in surprise, 'You're not wearing your new pyjamas?'

'Hmm?' said Helen, as if from the edge of sleep.

'Your pyjamas,' said Kay softly.

'Oh,' said Helen, reaching for Kay's hand again; drawing Kay's arm about her and pulling her close. 'I forgot,' she said.

5

The moon was so full and so bright that night, they didn't need their torches. Surfaces were lit up, white against black. Everything looked depthless, the fronts of houses flat as scenery on a stage, the trees like trees of papier maché touched up with glitter and silver paint… Nobody liked it. It made you feel vulnerable, exposed. People got off the train and turned up the collars of their coats, put down their heads, darted away to darker places. A hundred yards from Cricklewood Station, the streets were silent. Only Reggie and Viv, uncertain of their route, went slowly. When Reggie took out a piece of paper to check the directions on it, Viv looked fearfully up at the sky: the paper shone in his hand as if luminous.

The house, when they found it at last, was an ordinary one; but there was a name-plate screwed to the door-frame, beneath the bell. The plate looked solid, professional-reassuring, but frightening too. Viv had her arm through Reggie's and now slightly pulled him back. He caught hold of her hand and squeezed her fingers. Her fingers felt odd, because he'd got her a gold-coloured ring, that was slightly too large and kept slipping.

'All right?' he asked her. His voice was thin. He hated doctors, hospitals, things like that. She knew he wished she had come with Betty, her sister-anyone but him.

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