Our Casualty, and Other Stories 1918 — Story, Setting & Ideas
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The source record for Our Casualty, and Other Stories 1918 — Story, Setting & Ideas measures this digital text at 64,647 words, 4 hr 42 min estimated reading time, and 8 detected text sections.
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nt. Even Haines gave way.
“With barbed wire entanglements,” said Cotter, “down to the water’s edge.”
The weather round about Christmas-time was extraordinarily severe in Ballyhaine. We came in for a series of gales, accompanied by driving rain, and the days at that time of year are so short that most of our soldiering had to be done in the dark.
I got one cold after another, and so did every other member of the corps. Poor old Cotter limped pitifully on parade, but he did not say a word about rheumatism. The spirit of the men was splendid, and not one of us showed a sign of shirking, though Haines kept us at it with ferocity.
Haines varied the digging by making us practise a horrible manoeuvre called “relieving trenches.” This was always done in the middle of the night, between twelve and one o’clock. Part of the corps went out early--about 10.30 p.m.--and manned the trenches. The rest of us marched forth at midnight and relieved them.
The worst evening we had all winter was December 8th. It was blowing terrifically from the south-east The sea was tumbling in on the beach in enormous waves, fringing the whole line of the shore with a broad stretch of white foam. The rain swept over the country pitilessly. I came out of town by the 5.10 train, and called at the club on my way home. I found a notice posted up:
“Ballyhaine Veterans’ Corps.
“Tonight, December the 8th, trenches will be relieved at 12 midnight. No. 1 and No. 2 Platoons to parade at 10.30, march to north end of the strand, and occupy trenches.”
That meant a six-mile march for those platoons--three there and three back.
“No. 3 and No. 4 Platoons to parade at 11 p.m., march to cliffs, descend rocks, and relieve trenches as soon as possible after midnight.”
I am in No. 3 Platoon, and I confess I shuddered. The rocks at the north end of the beach are abominably slippery. A year ago I should have hesitated about climbing down in broad daylight in the finest weather. My military training had done a good deal for me physically, but I still shrank from those rocks at midnight with a tempest howling round me.
When I reached home I put a good face on the matter. I was not going to admit to my wife or Janet--particularly to Janet--that I was afraid of night operations in any weather.
“Please have my uniform left out for me,” I said, “I shall put it on before dinner.”
“Surely,” said my wife, “you’re not going out to-night? I don’t think you ought to.”
“Duty, my dear,” I said.
“Just fancy,” said Janet, “if the Germans came and father wasn’t there! We might be murdered in our beds!”
I am sometimes not quite sure whether Janet means to scoff or is in serious earnest On this occasion I was inclined to think that she was poking fun at the Veterans’ Corps. I frowned at her.
“You’ll get dreadfully wet,” said my wife.
“Not the least harm in that,” I said cheerily.
“It’ll give you another cold in your head,” said Janet
This time she was certainly sneering. I frowned again.
“Of course,” said my wife, “it won’t matter to you. You’re so strong and healthy. Nothing does you any harm.”
I suspected her of attempting a subtle form of flattery, but what she said was quite true. I am, for a man of fifty-three, extremely hardy.
“I’m thinking,” she said, “of poor old Mr. Cotter. I don’t think he ought to go. Mrs. Cotter was round here this afternoon. She says he’s suffering dreadfully from rheumatism, though he won’t admit it, and if he goes out to-night... But he’s so determined, poor old dear. And she simply can’t stop him.”
“Cotter,” I said, “must stay at home.”
“But he won’t,” said my wife.
“Military ardour is very strong in him,” said Janet.
“I’ll ring up Dr. Tompkins,” I said, “and tell him to forbid Cotter to go out. Tompkins is Medical Officer of the corps, and has a right to give orders of the kind. In fact, it’s his duty to see that the company’s not weakened by ill-health.”
“I’m afraid,” said my wife, “that Dr. Tompkins can do nothing. Mrs. Cotter was with him before she came here. The fact is that Mr. Cotter won’t give in even to the doctor’s orders.”
I rang up Tompkins and put the case very strongly to him.
The opening story, 'Our Casualty,' establishes a tone of wry domestic comedy through the Ballyhaine Veterans' Corps, a unit of men over fifty who 'talk like soldiers' but whose chief concern is managing their wives' fussing. The narrator's deadpan observation that the women 'insisted on regarding us as a joke' sets up a recurring tension between masculine self-importance and feminine practicality. Birmingham's prose moves briskly between ironic summary and snatches of dialogue, as when a character recalls being called 'Methusaleers' instead of 'Fusiliers.'
Ironic Distance and Domestic Detail
The narrative voice in these stories relies on a detached, slightly amused tone that undercuts the characters' earnestness. In 'Our Casualty,' the narrator describes the corps' commander as the man who 'plays the best hand at bridge of any man in the club,' a detail that quietly deflates military pretension. This irony extends to the women's ambulance brigade, which the doctor enrolls to stop them from 'fussing about dry socks.' The effect is a comedy of manners set against wartime, where the real conflict is between domestic routines and the desire for significance.
Birmingham's sentences are often short and declarative, mimicking the clipped speech of his characters: 'We made Cotter a corporal.' This brevity contrasts with longer, more elaborate passages when the narrator reflects on social dynamics. The result is a voice that feels both intimate and critical, never fully endorsing the characters' self-image.
Dialogue as Engine of Pace
In later excerpts, the pace quickens through extended dialogue. The exchange about Sam's driving—'I don't believe I was doing anything like thirty miles an hour… twenty-seven at the outside'—reveals character through rhythm and repetition. Sam's casual bravado is conveyed in run-on sentences: 'It was rather fun seeing all the other cars and carts and things piled up upon the footpaths.' The narrator's interjections ('Very little,' 'You'd have been a fool if you had') are minimal, letting Sam's voice dominate.
This shift from descriptive irony to rapid-fire conversation marks a change in narrative strategy. The gun-running plot emerges not through exposition but through Sam's rambling account, with the narrator acting as a straight man. The effect is a more cinematic, less reflective mode that mirrors the characters' own restlessness.
Setting as Social Marker
The stories are anchored in specific Irish locales—Ballyhaine, a 'residential suburb' of villas and gardens, where neighbors discuss 'sweet peas or winter spinach' on the 9:45 train. This setting is not merely backdrop but a marker of class and aspiration. The veterans' corps is a response to the war, but its members remain defined by their civilian lives: season tickets, first class, bridge games.
Birmingham uses setting to underscore the gap between the characters' self-image and their actual circumstances. The gun-running episode, for instance, involves a 'thirty-ton yawl with a motor auxiliary,' a detail that signals wealth and leisure even as it flirts with illegality. The stories' domestic interiors—the fuss over dry socks, the umbrella on a route march—are rendered with a specificity that makes the characters' anxieties tangible.
Readers will find that Birmingham's collection rewards attention to its tonal shifts: the same narrator who dryly observes a veterans' parade can later let a character's breathless monologue carry the story. The excerpts suggest a writer more interested in the comedy of civilian life than in the war itself. Pay particular attention to how the author uses minor details—a dropped umbrella, a car's speed—to reveal larger tensions between duty and desire.
Reading these Irish stories, I remembered my grandfather’s stories of village squabbles during the war—how the grand gestures felt both silly and solemn. Something in the breezy, uncertain tone reminded me of the day I first read Bobby Burnit, that odd mix of hopeful striving and quiet doubt. Both books felt like watching people rehearse bravery in a room that smelled faintly of dust and tea. The Making of Bobby Burnit Being a Record of the Adventures of a Live American Young Man — Text and Context stirred that same ache for something more, without knowing quite what.
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