The New Book of Martyrs — A Reader’s Guide
Edition facts
For The New Book of Martyrs — A Reader’s Guide, the stored edition analysis reports 39,777 words, 2 hr 53 min estimated reading time, and 5 detected text sections.
The text analysis averages about 16.0 words per sentence, while the detected sections provide another way to judge how the source is divided.
Project Gutenberg metadata also associates the work with “World War, 1914-1918 -- Hospitals, charities, etc.,” connecting these edition facts with the source record’s subject description.
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- Description quality20 pts
- Title & short description10 pts
- Source metadata20 pts
- Text length15 pts
- Chapters / structure15 pts
- EPUB file integrity20 pts
Total of 100 points, scaled to a 2.5-5.0 range. Editions with an empty description or a missing EPUB file are not scored.
Read the Text
They did not come from the same battlefield, but they were hit almost at the same time, and they have the same wound. Each has a fractured thigh. Chance brought them together in the same distant ambulance, where their wounds festered side by side. Since then they have kept together, till now they lie enfolded by the blue radiance of the Master's gaze.
He looks at both, and shakes his head silently; truly, a bad business! He can but ask himself which of the two will die first, so great are the odds against the survival of either.
The white-bearded man considers them in silence, turning in his hand the cunning knife.
We can know nothing till after this grave debate. The soul must withdraw, for this is not its hour. Now the knife must divide the flesh, and lay the ravage bare, and do its work completely.
So the two comrades go to sleep, in that dreadful slumber wherein each man resembles his own corpse. Henceforth we enter upon the struggle. We have laid our grasp upon these two bodies; we shall not let them be snatched from us easily.
The nausea of the awakening, the sharp agony of the first hours are over, and I begin to discover my new friends.
This requires time and patience. The dressing hour is propitious. The man lies naked on the table. One sees him as a whole, as also those great gaping wounds, the objects of so many hopes and fears.
The afternoon is no less favourable to communion, but that is another matter. Calm has come to them, and these two creatures have ceased to be nothing but a tortured leg and a screaming mouth.
Carre went ahead at once. He made a veritable bound. Whereas Lerondeau seemed still wrapped in a kind of plaintive stupor, Carre was already enfolding me in a deep affectionate gaze. He said:
"You must do all that is necessary."
Lerondeau can as yet only murmur a half articulate phrase:
As soon as I could distinguish and understand the boy's words, I called him by his Christian name. I would say:
"How are you, Marie?" or "I am pleased with you, Marie."
This familiarity suits him, as does my use of "thee" and "thou" in talking to him. He very soon guessed that I speak thus only to those who suffer most, and for whom I have a special tenderness. So I say to him: "Marie, the wound looks very well today." And every one in the hospital calls him Marie as I do.
When he is not behaving well, I say:
"Come, be sensible, Lerondeau."
His eyes fill with tears at once. One day I was obliged to try "Monsieur Lerondeau," and he was so hurt that I had to retract on the spot. However, he now refrains from grumbling at his orderly, and screaming too loudly during the dressing of his wound, for he knows that the day I say to him "Be quiet, Monsiuer"--just Monsiuer--our relations will be exceedingly strained.
From the first, Carre bore himself like a man. When I entered the dressing ward, I found the two lying side by side on stretchers which had been placed on the floor. Carre's emaciated arm emerged from under his blanket, and he began to lecture Marie on the subject of hope and courage.... I listened to the quavering voice, I looked at the toothless face, lit up by a smile, and I felt a curious choking in my throat, while Lerondeau blinked like a child who is being scolded. Then I went out of the room, because this was a matter between those two lying on the ground, and had nothing to do with me, a robust person, standing on my feet.
Since then, Carre has proved that he had a right to preach courage to young Lerondeau.
While the dressing is being prepared, he lies on the ground with the others, waiting his turn, and says very little. He looks gravely round him, and smiles when his eyes meet mine. He is not proud, but he is not one of those who are ready to chatter to every one. One does not come into this ward to talk, but to suffer, and Carre is bracing himself to suffer as decently as possible.
When he is not quite sure of himself, he warns me, saying:
"I am not as strong as usual to-day."
Duhamel opens with a striking contrast: the white beds and clean bandages of the hospital wards versus the unseen wounds beneath. He insists that the wounded are not the same men they were before—suffering has given them a 'terrible intoxication' and a soul that 'does not readily reveal itself.' This tension between surface calm and inner turmoil sets the tone for a narrative that moves between clinical detachment and profound empathy.
The narrator positions himself as an interpreter of these silent men, urging readers to 'lose none of their humble words' and to note their slightest gestures. The voice is both intimate and urgent, as if the act of recording is itself a form of witness.
The Rhythm of Triage and the Body as Wreckage
Duhamel’s prose shifts dramatically when describing the pressure of mass casualties. The language becomes mechanical, almost industrial: patients arrive 'like two parcels dispatched by the same post,' and the narrator speaks of 'isolating the work of the knife' from mud and lice. The body is repeatedly compared to a derelict vessel—'letting in the water everywhere'—and the surgeons cling to these wrecks 'in the obstinate hope of bringing them into port.'
This section is marked by a change in pace: the reflective opening gives way to a staccato listing of horrors. Soldiers are known only by their wounds; the man is 'carried away, still plunged in sleep' without anyone having heard his voice. The narrative itself becomes breathless, mirroring the rush of the operating ward.
Laughter Amid the Gas and Gangrene
Despite the relentless tragedy, Duhamel notes that 'laughter was not quite quenched.' He presents this as a characteristic of the French race, but also as an 'imperative need of humanity.' The jokes are described as having a 'poignant picturesqueness,' drawing laughter that is 'closely akin to tears.' One wounded man, missing a foot and covered in wounds, asks for a cigarette with a casualness that undercuts the horror.
These moments of dark humor serve as a counterpoint to the clinical descriptions. The narrator’s voice softens here, allowing the soldiers’ own words to break through. The effect is jarring: the reader is pulled from the detached observation of wounds to the intimate, almost absurd, humanity of the men.
The Unseen War: Gas, Lice, and the Failure of Cleanliness
Duhamel repeatedly emphasizes the gap between the public’s perception of clean hospitals and the reality of vermin and poison. Lice invade dressings and wounds; the men apologize as if they were to blame. A gas-shell victim arrives with eyes swollen shut, his clothing so toxic that the staff begin coughing and weeping. The smell of garlic and citric acid lingers in the ward.
The narrative pace slows again here, dwelling on sensory details. The gas alarm forces the staff to mask even dying men, and Duhamel reflects on the absurdity of chloroformed patients needing gas masks. This section is less about action and more about the pervasive, invisible threats that transform the hospital into a space where cleanliness is a fragile illusion.
Duhamel’s account resists easy categorization: it is neither pure reportage nor elegy, but a hybrid that shifts between the surgeon’s gaze and the poet’s ear. Readers should attend to these changes in pace—from the rushed triage to the lingering on a single gesture—as clues to the narrator’s evolving relationship with suffering. The book asks not for pity, but for a kind of sustained attention to the men who are 'something more than themselves.'
I keep thinking about Duhamel's field hospitals, how those surgeons learned a terrible tenderness amid all that wreckage. Reading his words felt like holding something unbearably fragile. It reminded me of an old wartime compilation I stumbled on, New York Times Current History; The European War, Vol 2, No. 2, May, 1915 April-September, 1915 — Key Ideas to Explore, where the same raw year breathes from another angle. Some histories simply stay with you, quietly.
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