From the operating room they are brought into the wards, these bandaged heaps from the operating tables, these heaps that once were men. The clean beds of the ward are turned back to receive them, to receive the motionless, bandaged heaps that are lifted, shoved, or rolled from the stretchers to the beds. Again and again, all day long, the procession of stretchers comes into the wards. The foremost bearer kicks open the door with his knee, and lets in ahead of him a blast of winter rain, which sets dancing the charts and papers lying on the table, and blows out the alcohol lamp over which the syringe is boiling. Someone bangs the door shut. The unconscious form is loaded on the bed. He is heavy and the bed sags beneath his weight. The brancardiers gather up their red blankets and shuffle off again, leaving cakes of mud and streaks of muddy water on the green linoleum. Outside the guns roar and inside the baracques shake, and again and again the stretcher bearers come into the ward, carrying dying men from the high tables in the operating room. They are all that stand between us and the guns, these wrecks upon the beds. Others like them are standing between us and the guns, others like them, who will reach us before morning. Wrecks like these. They are old men, most of them. The old troops, grey and bearded.
There is an attack going on. That does not mean that the Germans are advancing. It just means that the ambulances are busy, for these old troops, these old wrecks upon the beds, are holding up the Germans. Otherwise, we should be swept out of existence. Our hospital, ourselves, would be swept out of existence, were it not for these old wrecks upon the beds. These filthy, bearded, dying men upon the beds, who are holding back the Germans. More like them, in the trenches, are holding back the Germans. By tomorrow these others, too, will be with us, bleeding, dying. But there will be others like them in the trenches, to hold back the Germans.
This is the day of an attack. Yesterday was the day of an attack. The day before was the day of an attack. The guns are raising Hell, seven kilometres beyond us, and our baracques shake and tremble with their thunder. These men, grey and bearded, dying in our clean beds, wetting our clean sheets with the blood that oozes from their dressings, have been out there, moaning in the trenches. When they die, we will pull off the bloody sheets, and replace them with fresh, clean ones, and turn them back neatly, waiting for the next agonizing man. We have many beds, and many fresh, clean sheets, and so we are always ready for these old, hairy men, who are standing between us and the Germans.
They seem very weak and frail and thin. How can they do it, these old men? Last summer the young boys did it. Now it is the turn of these old men.
There are three dying in the ward today. It will be better when they die. The German shells have made them ludicrous, repulsive. We see them in this awful interval, between life and death. This interval when they are gross, absurd, fantastic. Life is clean and death is clean, but this interval between the two is gross, absurd, fantastic.
Over there, down at the end, is Rollin. He came in three days ago. A piece of shell penetrated his right eyelid, a little wound so small that it was not worth a dressing. Yet that little piece of obus lodged somewhere inside his skull, above his left ear, so the radiographist says, and he’s paralyzed. Paralyzed all down the other side, and one supine hand flops about, and one supine leg flops about, in jerks. One bleary eye stays open, and the other eyelid stays shut, over the other bleary eye. Meningitis has set in and it won’t be long now, before we’ll have another empty bed. Yellow foam flows down his nose, thick yellow foam, bubbles of it, bursting, bubbling yellow foam. It humps up under his nose, up and up, in bubbles, and the bubbles burst and run in turgid streams down upon his shaggy beard. On the wall, above his bed, hang his medals. They are hung up, high up, so he can see them. He can’t see them today, because now he is unconscious, but yesterday and the day before, before he got as bad as this, he could see them and it made him cry. He knew he had been decorated in extremis, because he was going to die, and he did not want to die. So he sobbed and sobbed all the while the General decorated him, and protested that he did not want to die. He’d saved three men from death, earning those medals, and at the time he never thought of death himself. Yet in the ward he sobbed and sobbed, and protested that he did not want to die.
Back of those red screens is Henri. He is a priest, mobilized as infirmier. A good one too, and very tender and gentle with the patients. He comes from the ward next door, Salle II., and is giving extreme unction to the man in that bed, back of the red screens. Peek through the screens and you can see Henri, in his shirt sleeves, with a little, crumpled, purple stole around his neck. No, the patient has never regained consciousness since he’s been here, but Henri says it’s all right. He may be a Catholic. Better to take chances. It can’t hurt him, anyway, if he isn’t. I am glad Henri is back of those red screens. A few minutes ago he came down the ward, in search of absorbent cotton for the Holy Oils, and then he got so interested watching the doctors doing dressings, stayed so long watching them, that I thought he would not get back again, behind the screens, in time.
See that man in the bed next? He’s dying too. They trepanned him when he came. He can’t speak, but we got his name and regiment from the medal on his wrist. He wants to write. Isn’t it funny! He has a block of paper and a pencil, and all day long he writes, writes, on the paper. Always and always, over and over again, he writes on the paper, and he gives the paper to everyone who passes. He’s got something on his mind that he wants to get across, before he dies. But no one can understand him. No one can read what he has written—it is just scrawls, scribbles, unintelligible. Day and night, for he never sleeps, he writes on that block of paper, and tears off the sheets and gives them to everyone who passes. And no one can understand, for it is just illegible, unintelligible scribbles. Once we took the paper away to see what he would do and then he wrote with his finger upon the wooden frame of the screen. The same thing, scribbles, but they made no mark on the screen, and he seemed so distressed because they made no mark that we gave him back his paper again, and now he’s happy. Or I suppose he’s happy. He seems content when we take this paper and pretend to read it. He seems happy, scribbling those words that are words to him but not to us. Careful! Don’t stand too close! He spits. Yes, all the time, at the end of every line he spits. Far too. Way across the ward. Don’t you see that his bed and the bed next are covered with rubber sheets? That’s because he spits. Big spits, too, far across the ward. And always he writes, incessantly, day and night. He writes on that block of paper and spits way across the ward at the end of every line. He’s got something on his mind that he wants to get across. Do you think he’s thinking of the Germans? He’s dying though. He can’t spit so far today as he did yesterday.
Death is dignified and life is dignified, but the intervals are awful. They are ludicrous, repulsive.
Is that Erard, calling? Calling that the Generals are coming, both of them, together? Hurry! Tidy up the ward! Rub away the froth from under Rollin’s nose! Pull his sheets straight! Take that wet towel, and clean the mackintosh upon that bed and the bed adjoining. See if Henri’s finished. Take away the screens. Pull the sheets straight. Tidy up the ward—tell the others not to budge! The Generals are coming!