"Wrong again; it's the Governmint's!" said Smiff. But Corrigan is Irish
and doesn't like that joke.
There are times when my heart fails me; when my eyes, my ears, my
tongue, and my understanding fail me; when pain means nothing to me....
In the bus yesterday I came down from London sitting beside a Sister
from another ward, who held her hand to her ear and shifted in her seat.
She told me she had earache, and I felt sorry for her.
As she had earache we didn't talk, and I sat huddled in my corner and
watched the names of the shops, thinking, as I was more or less forced
to do by her movements, of her earache.
What struck me was her own angry bewilderment before the fact of her
pain. "But it hurts.... You've no idea how it hurts!" She was surprised.
Many times a day she hears the words, "Sister, you're hurtin' me....
Couldn't you shift my heel? It's like a toothache," and similar
sentences. I hear them in our ward all the time. One can't pass down the
ward without some such request falling on one's ears.
She is astonished at her earache; she is astonished at what pain can
be; it is unexpected. She is ready to be angry with herself, with her
pain, with her ear. It is monstrous, she thinks....
The pain of one creature cannot continue to have a meaning for another.
It is almost impossible to nurse a man well whose pain you do not
imagine. A deadlock!
One has illuminations all the time!
There is an old lady who visits in our ward, at whom, for one or two
unimportant reasons, it is the custom to laugh. The men, who fall in
with our moods with a docility which I am beginning to suspect is a
mask, admit too that she is comic.
This afternoon, when she was sitting by Corrigan's bed and talking to
him I saw where her treatment of him differed from ours. She treats him
as though he were an individual; but there is more in it than that....
She treats him as though he had a wife and children, a house and a back
garden and responsibilities: in some manner she treats him as though he
had dignity.
I thought of yesterday's injection. That is the difference: that is what
the Sisters mean when they say "the boys."...
The story of Rees is not yet ended in either of the two ways in which
stories end in a hospital. His arm does not get worse, but his courage
is ebbing. This morning I wheeled him out to the awful sleep again--for
the third time.
They will take nearly anything from each other. The only thing that
cheered Rees up as he was wheeled away was the voice of Pinker crying,
"Jer want white flowers on yer coffin? We'll see to the brass 'andles!"
From Pinker, a little boy from the Mile End Road, they will stand
anything. He is the servant of the ward (he says), partly through his
good nature and a little because he has two good arms and legs. "I ain't
no skivvy," he protests all the time, but every little odd job gets
done.
Rees, when he wakes, wakes sobbing and says, "Don' go away, nurse...."
He holds my hand in a fierce clutch, then releases it to point in the
air, crying "There's the pain!" as though the pain filled the air and
rose to the rafters. As he wakes it centralizes, until at last comes the
moment when he says, "Me arm aches cruel," and points to it. Then one
can leave him.
It was the first time I had heard a man sing at his dressing. I was
standing at the sterilizer when Rees's song began to mount over the
screen that hid him from me. ("Whatever is that?" "Rees's tubes going
in.")
It was like this: "Ah ... ee ... oo, Sister!" and again: "Sister ... oo
... ee ... ah!" Then a little scream and his song again.
I heard her voice: "Now then, Rees, I don't call that much of a song."
She called me to make his bed, and I saw his left ear was full of tears.
O visitors, who come into the ward in the calm of the long afternoon,
when the beds are neat and clean and the flowers out on the tables and
the V.A.D.'s sit sewing at splints and sandbags, when the men look like
men again and smoke and talk and read ... if you could see what lies
beneath the dressings!
When one shoots at a wooden figure it makes a hole. When one shoots at a
man it makes a hole, and the doctor must make seven others.
I heard a blackbird sing in the middle of the night last night--two
bars, and then another. I thought at first it might be a burglar
whistling to his mate in the black and rustling garden.
But it was a blackbird in a nightmare.
Those distant guns again to-night....
Now a lull and now a bombardment; again a lull, and then batter, batter,
and the windows tremble. Is the lull when _they_ go over the top?
I can only think of death to-night. I tried to think just now, "What is
it, after all! Death comes anyway; this only hastens it." But that won't
do; no philosophy helps the pain of death. It is pity, pity, pity, that
I feel, and sometimes a sort of shame that I am here to write at all.
Summer.... Can it be summer through whose hot air the guns shake and
tremble? The honeysuckle, whose little stalks twinkled and shone that
January night, has broken at each woody end into its crumbled flower.
Where is the frost, the snow?... Where are the dead?
Where is my trouble and my longing, and the other troubles, and the
happiness in other summers?
Alas, the long history of life! There is that in death that makes the
throat contract and the heart catch: everything is written in water.
We talk of tablets to the dead. There can be none but in the heart, and
the heart fades.
There are only ten men left in bed in the ward. Sometimes I think, "Will
there never be another convoy?"
And then: "Is not one man alone sufficient matter on which to reflect?"
"One can find God in a herring's head...." says a Japanese proverb.
When there is not much to do in the ward and no sound comes from behind
the screens, when there has not been a convoy for weeks, when the little
rubber tubes lie in the trolley-drawer and the syringe gives place to
the dry dressing--then they set one of us aside from the work of the
ward to sit at a table and pad splints.
It isn't supposed to be a job we care for, and I am keeping up the
delusion, but all the time I run my seams straight, pull the horsehair
out to the last fine shred, turn in my corners as the corners of a
leather book are turned, so that I may be kept at it, although out of
cunning I appear to grumble and long to be released.
One does not wash up when one makes splints, one does not change the
pillow-cases--forcing the resentful pillow down, down till the corners
of the case are filled--nor walk the ward in search of odd jobs.
But these are not the reasons....
Just as I liked the unending laying of the trays in the corridor, so
making splints appears to me a gentle work in which one has time to look
at and listen to the ward with more penetrating eyes, with wider ears--a
work varied by long conversations with Pinker about his girl and the
fountain-pen trade.
But I ought not to have asked if she were pretty.
At first he didn't answer and appeared to be thinking very seriously--of
a way out, perhaps.
"Does fer me all right," he presently said.
The defence of his girl occupied his attention, for after a few minutes
he returned to it: "Sensible sort of girl. She ain't soft. Can cook an'
all that."