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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She would never again, she thought, cross a floor, never switch on a wireless, never put a poker to the fire-never do anything at all-without thinking of the lovers who might be embracing in rooms close by.

She moved her hand to Julia's collarbone-not to the skin itself, but to a place in the air about an inch above it.

'What are you doing?' asked Julia, without opening her eyes.

'I'm divining you,' said Helen. 'I can feel the heat of you, rising up. I can feel the life of you. I can tell where your skin is pale, and where it's sallower. I can tell where it's clear and where there are freckles.'

Julia caught hold of her fingers. 'You're unhinged,' she said.

'Unhinged,' said Helen, 'by love.'

'That sounds like a book. One by Elinor Glyn or Ethel M. Dell.'

'Don't you feel a little crazy, Julia?'

Julia thought about it. 'I feel shot at by an arrow,' she said.

'Only by an arrow? I feel harpooned. Or- No, a harpoon's too brutal. I feel as if a small sort of hook had been plunged into my breast-'

'A small sort of hook?'

'A crochet hook, or something even finer.'

'A button hook?'

'A button hook, exactly.' Helen laughed. For at Julia's words a very clear image had sprung into her mind-something from her childhood, probably-a tarnished silver button hook with a slightly chipped mother-of-pearl handle. She put her hand across the place where she imagined her heart to sit. 'I feel,' she said, 'exactly as though a button hook had been plunged into my breast, and my heart were being drawn from me, fibre by fibre.'

'That sounds frightful,' said Julia. 'What a morbid girl you are.' She took Helen's fingers to her mouth and kissed them, then held them to examine their tips. 'And what little nails you have,' she said vaguely. 'Little nails, and little teeth.'

Helen grew self-conscious, though the light was so dim. 'Don't look at me,' she said, pulling her hand away.

'Why not?'

'I- I'm not worth it.'

Julia laughed. 'You mutt,' she said.

They closed their eyes, after that; and Helen, in time, must have fallen into a light sort of sleep. She was vaguely aware of Julia getting up again, putting on a dressing-gown and going down the hall to the lavatory; but she was in the midst of some absurd dream, and only came properly awake at the closing of the door, on Julia's return.

'What time is it?' she asked. She picked up Julia's alarm clock. 'God, it's quarter to one! I have to go.' She rubbed her face, then lay back down.

'Stay until one,' said Julia.

'Fifteen minutes. What's the good of that?'

'Let me come with you, then. I'll walk you to the flat.'

Helen shook her head.

'Let me,' said Julia. 'I'd rather walk than be left here, you know I would.'

She began to dress. Her clothes lay tangled on the floor: she stooped and caught up a bra and knickers, stepped into trousers and drew on a blouse-tucking in her chin and frowning while she fastened up its buttons. She stood at the mirror and smoothed her face.

Helen lay and watched her, as she had before. It seemed extraordinary, that she should be able to-incredible, that Julia should offer up her own beauty like this, to Helen's gaze. It was marvellous and almost frightening that, an hour before, Julia had lain in her arms, had opened her mouth, parted her legs, to Helen's lips and tongue and fingers. It seemed an impossible thing that she would, if Helen rose and went to her now, let herself be kissed…

Julia caught her eye, and smiled in pretend exasperation.

'Don't you get tired of looking at me?'

Helen lowered her gaze. 'I wasn't looking, really.'

'If you were a man, I'd say you ought to leave the room while I dressed. I'd want to stay a mystery to you.'

'I don't want you to be a mystery,' said Helen. 'I want to know every part of you.' Then she grew slightly sick. 'Why did you say that, Julia? You wouldn't rather a man, would you?'

Julia shook her head. She was leaning closer to the mirror, pushing out her mouth, putting lipstick on. 'It's no good for me, with men,' she said absently. She worked her lips together. 'It doesn't work for me, with men.'

'Only with women?' asked Helen.

Only with you , she wanted Julia to say. But Julia said nothing: she was tugging a comb through her hair now, looking critically at her own face… Helen turned away. She thought, What the hell's the matter with me? For she found she was jealous of Julia's reflection. She was jealous of Julia's clothes. She was jealous of the powder on Julia's face!

Then she thought of something else. She thought: Is this how Kay feels, about me?

The thought must have shown in her expression. When she turned back to Julia she saw that Julia was watching her, through the mirror. She'd stopped the comb in her hair, but her hands were still raised. She said, 'OK?'

Helen nodded; then shook her head. Julia put the comb down, came to her, and put an arm across her shoulders.

Helen closed her eyes. She said quietly, 'This is dreadfully wrong, isn't it?'

'Everything's dreadfully wrong, just now,' Julia answered, after a moment.

'But this is worse, because we might put it right.'

'Might we?'

'We might-stop. We might-go back.'

'Could you stop?'

'Perhaps,' said Helen, with an effort. 'For Kay's sake.'

'But then,' said Julia, 'the dreadfully wrong thing would still have been done. It was done, before this. It was done, almost, before we did anything at all. It was done- When was it done?'

Helen looked up. 'It was done the day you took me to that house in Bryanston Square,' she said. 'Or even, the time before that, when you bought me tea. We stood in the sun, and you closed your eyes and I looked at your face… I think it was done then, Julia.'

They held each other's gaze, in silence; then moved together and kissed. Helen was still not quite used to the difference between Julia's kisses, and Kay's-to the relative strangeness of Julia's mouth, the softness of it, the dry pull of her lipstick, the tentative pressures of her tongue. But the strangeness was exciting. The kiss, being inexact, quickly became wet. They moved closer together. Julia put her fingers to Helen's bare breast-touched, then drew the fingers back; touched again, drew back again-and again-until Helen felt her flesh seem to rise, to strain after Julia's hand.

They let themselves sink back, awkwardly, on to the bunched-up blankets. Julia moved her hand between Helen's legs and, 'Christ!' she said softly. 'You're so wet. I can't- I can't feel you.'

'Put your fingers inside me!' whispered Helen. 'Push inside me, Julia!'

Julia pushed. Helen lifted her hips, to meet the movement with a movement of her own. Her breath caught. 'Do you feel me now?'

'Yes, now I feel you,' said Julia. 'I can feel you gripping me. It's amazing-'

She had what must have been her four fingers inside Helen, up to the knuckle; but her thumb, outside, was rubbing at Helen's swollen flesh. Helen raised and lowered her hips, to keep pushing against her. The blankets were rough against her bare back, and as well as the pressure between her legs she could feel Julia's dry, trousered thigh bearing down on her own naked, damp one; she could make out separate points of discomfort-the chafing against her of the buckle of Julia's belt, the buttons on her blouse, the strap of her wristwatch… She stretched out her hands behind her head, wishing with some part of herself that Julia had bound her, fastened her down: she wanted to give herself up to Julia, have Julia cover her with bruises and marks. Julia began to push almost painfully inside her, and she liked it. She was aware of herself growing rigid, as if really pulled by tightening ropes.

She lifted her head and put her mouth to Julia's again, and when she started to cry out, she cried into Julia's mouth and against her lips and cheek.

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