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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'Who told you that?' asked Duncan thickly.

'It doesn't matter. Forget it.'

'Was it Wainwright? Or Binns?'

'No.'

'Who was it, then?'

Fraser looked away. 'It was that little queer Stella, of course.'

' Her! ' said Duncan. 'She makes me sick. They all do, all that crowd. They don't want to go to bed with girls, but they make themselves like girls. They make themselves worse than girls! They need doctors! I hate them.'

'All right,' said Fraser mildly. 'So do I.'

'You think I'm like them!'

'That's not what I said.'

'You think I used to be like them; or that Alec was-'

He stopped. He had never said Alec's name here, aloud, to anyone but Mr Mundy; and now he'd spat it out as if it were a curse.

Fraser was watching him through the gloom. 'Alec,' he said, carefully. 'Was that- Was that your boyfriend?'

'He wasn't my boyfriend!' said Duncan. Why did everybody have to think of it like that? 'He was only my friend. Don't you have friends? Doesn't everyone?'

'Of course. I'm sorry.'

'He was only my friend. If you'd grown up where I grew up, feeling like me, you'd know what that meant.'

'Yes. I expect so…'

The worst of the bombing seemed, for the moment, to have passed on. Fraser blew into his hands, worked his fingers, to get the cold out. Then he got up, reached under his pillow and brought out cigarettes. Almost shyly, he offered one to Duncan. Duncan shook his head.

But Fraser kept the cigarettes held out. 'I should like you to,' he said quietly. 'Go on. Please.'

'It'll be one less for you.'

'I don't care… Better let me light it, though.'

He put two cigarettes to his mouth, then took up the pot that he and Duncan kept their dinner-salt in, and a needle. You could make a flame, by sparking the metal against the stone: it took him a moment or two, but at last the paper caught and the tobacco started to glow. The cigarette he handed over was damp from his lips: collapsed, like a sucked-on straw. A strand or two of tobacco came loose upon Duncan's tongue.

They smoked without speaking. The cigarettes only lasted a minute. And when Fraser's was finished he opened it up, to keep what he could for the next one…

As he did it he said quietly, 'I envy you your friend, Pearce. Truly I do. I don't think I've ever cared so much for a man-or a woman either, come to that-as much as you must have cared for him… Yes, I envy you.'

'You're the only one who does, then,' said Duncan moodily. 'My own father's ashamed of me.'

'Well, so is mine of me, if it comes to that. He thinks my sort ought to be handed over to Germany, since we're all so keen on helping the Nazis along. A man ought to be a source of embarassment to his father, don't you think? If I ever have a son, I hope he makes my life hell. How, otherwise, will there ever be any progress?'

But Duncan wouldn't smile. 'You make a joke of things,' he said. 'It's different for people like you, for people in your world.'

'Have things really been so bad for you?'

'I dare say they wouldn't seem bad, to someone looking in from outside. My father never- He never hit me, or anything like that. It was just-' He struggled, searching for the words. 'I don't know. It was liking things you weren't supposed to like; and feeling things you weren't supposed to feel. Never being able to say the thing that people expected. And Alec felt like I did. He hated the war. His brother had died, right at the start of it, and his father kept on at him to go and fight… And it was the blitz. It was nearly the end of the blitz, though we didn't know that then. It felt like-like the end of the bloody world! It was the worst time for everything. Alec and I never wanted to fight. He wanted to make a difference, to how people felt. Instead- Well-'

'Poor chap,' said Fraser feelingly, when Duncan wouldn't go on. 'He sounds all right. I'd like to have known him.'

'He was all right,' said Duncan. 'He was clever. Not like me. People have always said I'm clever, but that's only because I make myself talk in a certain way. But he was funny. He could never be still. He was always on to something new. He was a bit like you, I suppose; or you're like he would have been, if he'd been to a proper school, had money… He made things seem exciting. He made things-I don't know; he made them seem better than they really were. Even if afterwards, when you thought about it, you realised that some of what he'd said was silly; at the time, when you were with him, you wanted to go along with it. You felt-swept along by him.'

'I'm sorry,' said Fraser quietly. 'I can see why you- Well, why you liked him so much. How old was he?'

'He was just nineteen,' said Duncan quietly. 'He was older than me. That's why he got called up first.'

'Just nineteen. That stinks, Pearce! First his brother, and then him…' He hesitated, and lowered his voice. 'And, then?'

'And then?' repeated Duncan.

'After he died? Then, you-?'

Duncan had another, violent glimpse of the scarlet kitchen in his father's house. He looked at Fraser in the moonlight, feeling his heart begin to race; wanting to tell him what had happened; longing to tell him!-but unable, finally, to say the words. He lowered his gaze and said flatly instead, 'After he died, I didn't. I meant to, and I didn't. That's all. All right?'

Fraser must not have noticed the change in his tone. He went on, 'So they put you in here! There's British justice for you, isn't it! Two lives ruined instead of one. When all you needed, I suppose-'

'Don't let's talk about it,' said Duncan.

'Not if you don't want to. Of course not… It make me sick, that's all. If only somebody, perhaps your father, or- Shit!' He leapt from his chair. 'What the hell was that?'

A bomb had fallen, closer than ever; the blast had come so forcefully, the panes of glass in the window had been blown or sucked against their frames and one, with a sound like a pistol firing, had cracked. Duncan looked up. Fraser had darted back as far as the door and had tried to push it open. The blanket had fallen from his shoulders. 'Shit! Shit!' he said again. 'That was an oil-bomb, wasn't it? They make that whining sound, don't they?'

'I don't know,' said Duncan.

Fraser nodded. 'I've heard them come down before. That was an oil-bomb all right.-God!' Now another one had fallen. He tried the door again, then looked around, his voice rising. 'Suppose an oil-bomb hit this hall: how d'you think we'd do? We'd be roasted in our beds! Do they even have fire-watchers on the roof? I've never heard anyone talk about fire-watchers, have you? Suppose a cluster of them came down? How quickly do you think a twirl could make his way to all the landings, to open all the doors? Would they even bother to come up out of their shelter? Christ! They could at least take us down to the Firsts when the Warning goes. They could let us sleep on our mattresses in the Rec!'

His voice was high and broken as a a boy's; and Duncan understood suddenly how really upset he was, and how hard he had been trying, until now, to make light of his fear. His face was white and strained and sweating. His short hair stood up: he smoothed it back with both his hands, again and again.

Then he caught Duncan's gaze; and when Duncan, embarassed, looked away, he grew calmer. 'You think I'm funking it,' he said.

'No,' said Duncan. 'I wasn't thinking that.'

'Well, perhaps I am.' He showed his hand. He was shaking. 'Look at me!'

'What does it matter?'

'What does it matter?-Christ! You've no idea! I- Shit!'

Now men were beginning to call out. They sounded afraid, like Fraser. One man was shouting for Mr Garnish. Another was thumping with something on his cell door. The windows jumped in their frames again, as another bomb fell, closer than ever… After that bombs fell, or seemed to fall, like rain. It was like being trapped in a dustbin while someone beat on it with a bat.

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