Action Front — Edition Insights
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The catalog record for Action Front — Edition Insights provides practical reading context through 69,674 words, 5 hr 3 min estimated reading time, and 6 detected text sections.
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Project Gutenberg metadata also associates the work with “World War, 1914-1918,” connecting these edition facts with the source record’s subject description.
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Read the Text
There were some who complained that my last book was in parts too grim and too terrible, and no doubt the same complaint may lie against this one. To that I can only reply that I have found it impossible to write with any truth of the Front without the writing being grim, and in writing my other book I felt it would be no bad thing if Home realized the grimness a little better.
But now there are so many at Home whose nearest and dearest are in the trenches, and who require no telling of the horrors of the war, that I have tried here to show there is a lighter side to war, to let them know that we have our relaxations, and even find occasion for jests, in the course of our business.
I believe, or at least hope, that in showing both sides of the picture I am doing what the Front would wish me to do. And I don't ask for any greater satisfaction than that.
IN ENEMY HANDS A BENEVOLENT NEUTRAL DRILL A NIGHT PATROL AS OTHERS SEE THE FEAR OF FEAR ANTI-AIRCRAFT A FRAGMENT AN OPEN TOWN THE SIGNALERS CONSCRIPT COURAGE SMASHING THE COUNTER-ATTACK A GENERAL ACTION AT LAST
The last conscious thought in the mind of Private Jock Macalister as he reached the German trench was to get down into it; his next conscious thought to get out of it. Up there on the level there were uncomfortably many bullets, and even as he leaped on the low parapet one of these struck the top of his forehead, ran deflecting over the crown of his head, and away. He dropped limp as a pole-axed bullock, slid and rolled helplessly down into the trench.
When he came to his senses he found himself huddled in a corner against the traverse, his head smarting and a bruised elbow aching abominably. He lifted his head and groaned, and as the mists cleared from his dazed eyes he found himself looking into a fat and very dirty face and the ring of a rifle muzzle about a foot from his head. The German said something which Macalister could not understand, but which he rightly interpreted as a command not to move. But he could hear no sound of Scottish voices or of the uproar of hand-to-hand fighting in the trench. When he saw the Germans duck down hastily and squeeze close up against the wall of the trench, while overhead a string of shells crashed angrily and the shrapnel beat down in gusts across the trench, he diagnosed correctly that the assault had failed, and that the British gunners were again searching the German trench with shrapnel. His German guard said something to the other men, and while one of them remained at the loophole and fired an occasional shot, the others drew close to their prisoner. The first thing they did was to search him, to turn each pocket outside-in, and when they had emptied these, carefully feel all over his body for any concealed article. Macalister bore it all with great philosophy, mildly satisfied that he had no money to lose and no personal property of any value.
Their search concluded, the Germans held a short consultation, then one of them slipped round the corner of the traverse, and, returning a moment later, pointed the direction to Macalister and signed to him to go.
The trench was boxed into small compartments by the traverses, and in the next section Macalister found three Germans waiting for him. One of them asked him something in German, and on Macalister shaking his head to show that he did not understand, he was signaled to approach, and a German ran deftly through his pockets, fingering his waist, and, searching for a money-belt, made a short exclamation of disgust, and signed to the prisoner to move on round the next traverse, at the same time shouting to the Germans there, and passing Macalister on at the bayonet point. This performance was repeated exactly in all its details through the next half-dozen traverses, the only exception being that in one an excitable German, making violent motions with a bayonet as he appeared round the corner, insisted on his holding his hands over his head.
At about the sixth traverse a German spoke to him in fairly good, although strongly accented, English. He asked Macalister his rank and regiment, and Macalister, knowing that the name on his shoulder-straps would expose any attempt at deceit, gave these. Another man asked something in German, which apparently he requested the English speaker to translate.
"He say," interpreted the other, "Why you English war have made?" Macalister stared at him. "I'm no English," he returned composedly. "I'm a Scot."
Boyd Cable's Action Front (1916) opens with a foreword that explicitly frames the book as a companion to his earlier Between the Lines, adopting the same method of taking extracts from official despatches as 'texts' to illustrate what those brief messages cover. Cable acknowledges the grimness of his subject but insists on including 'the lighter side'—relaxations and jests—to show both sides of the picture. The first story, 'In Enemy Hands,' immediately demonstrates this duality: Private Jock Macalister is shot, falls into a German trench, and regains consciousness to find a rifle muzzle inches from his face, yet the narrative also records his dazed, almost matter-of-fact assessment of his situation.
From Despatch to Story: Cable's Structural Method
Cable's foreword explains that each chapter takes a line from an official despatch as its 'text,' then expands it into a fictionalized account of what that terse report might conceal. This structure gives the book a documentary feel while allowing for narrative depth. For instance, the despatch's phrase 'In Enemy Hands' becomes a story about a soldier's capture and his subsequent observations of German behavior under shellfire. The method invites readers to consider the gap between official language and lived experience—a gap Cable aims to bridge with concrete detail.
The Psychology of Fear and Its Absence
A recurring thread in the excerpts is the examination of fear. In 'In Enemy Hands,' Macalister's last conscious thought is to get into the trench, his next to get out—a split-second reversal that Cable renders without commentary. Later, in the story of the Hotwaters' assault, the protagonist Everton experiences 'no sensation of fear' during the rush across no-man's-land, even after killing a man with his bayonet. Cable traces this emotional arc from dread to a 'tremendous joy' at fearlessness, then undercuts it with the sudden death of a comrade. The narrative does not moralize; it simply records these shifts as part of the soldier's business.
Dialect, Voice, and the Rank-and-File Perspective
Cable gives considerable space to the speech of ordinary soldiers, rendered in dialect. In one excerpt, a soldier named Everton asks, 'Did you hear that!' and Halliday replies, 'A good bit.' The men discuss the effectiveness of artillery with a mix of technical observation and dark humor: 'The guns has done it for us this time.' This vernacular grounding keeps the narrative anchored in the ranks, not the command post. The soldiers' voices—colloquial, laconic, occasionally sardonic—provide a counterpoint to the official despatches and reinforce the book's claim to represent 'what the Front would wish me to do.'
The Texture of Combat: Details of Movement and Sensation
Cable's descriptions of combat emphasize physical and sensory details: the 'rush and rumble' of shells overhead, the 'stout barricade of wire,' the sight of a fallen man's head 'as he lay face down.' In the assault sequence, the advance is broken into discrete phases—leaving the trench, crossing the wire, forming line, rushing—each with its own tactile quality. The moment Everton kills a hesitant German is rendered with brutal economy: 'Everton killed him with the bayonet.' Afterwards, he looks at his 'stained bayonet' with 'awe' and 'thrill of satisfaction.' These details build a world where survival depends on mechanical action, and reflection comes only in pauses.
Cable's preface warns that some may find the book 'too grim,' but he also promises 'relaxations' and 'jests.' Readers approaching Action Front should attend to these tonal shifts—the way a moment of black humor can follow a killing, or a technical discussion of artillery can precede a charge. The book is best read as a series of vignettes rather than a continuous narrative, each story illuminating a different facet of trench life. Cable's dedication to showing both the horror and the humor makes this a valuable document of how soldiers themselves might have wanted their war remembered.
That rain fell hard against the window while I finished Action Front, struck by how those soldiers just absorbed the mud and fear, carrying on. It made me think of other men enduring long, grinding waits. Later, purely by accident, I picked up Twenty Years of Congress, Volume 2 From Lincoln to Garfield, with a Review of the Events Which Led to the Political Revolution of 1860 — Reading Companion and found that same stubborn, quiet resolve in a different kind of trench.
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