One Man's Initiation—1917 — A Reader’s Guide
Edition facts
The catalog record for One Man's Initiation—1917 — A Reader’s Guide provides practical reading context through 31,322 words, 2 hr 17 min estimated reading time, and 4 detected text sections.
The text analysis averages about 14.8 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 -- Fiction,” connecting these edition facts with the source record’s subject description.
Calculated from edition completeness, EPUB availability, text structure and catalogue metadata. Not a user rating.
How this score is calculated
- 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
verybody had on his best uniform and sweated hugely in the narrow, airless building, from the wine and the champagne and the thick stew, thickly seasoned, that made the dinner's main course.
"We are all one large family," said the General from the end of the barracks ... "to France."
That night the wail of a siren woke Martin suddenly and made him sit up in his bunk trembling, wondering where he was. Like the shriek of a woman in a nightmare, the wail of the siren rose and rose and then dropped in pitch and faded throbbingly out.
"Don't flash a light there. It's Boche planes."
Outside the night was cold, with a little light from a waned moon.
"See the shrapnel!" someone cried.
"The Boche has a Mercedes motor," said someone else. "You can tell by the sound of it."
"They say one of their planes chased an ambulance ten miles along a straight road the other day, trying to get it with a machine-gun. The man who was driving got away, but he had shell-shock afterwards."
"Oh, I'm goin' to turn in. God, these French nights are cold!"
The rain pattered hard with unfaltering determination on the roof of the little arbour. Martin lolled over the rough board table, resting his chin on his clasped hands, looking through the tinkling bead curtains of the rain towards the other end of the weed-grown garden, where, under a canvas shelter, the cooks were moving about in front of two black steaming cauldrons. Through the fresh scent of rain-beaten leaves came a greasy smell of soup. He was thinking of the jolly wedding-parties that must have drunk and danced in this garden before the war, of the lovers who must have sat in that very arbour, pressing sunburned cheek against sunburned cheek, twining hands callous with work in the fields. A man broke suddenly into the arbour behind Martin and stood flicking the water off his uniform with his cap. His sand-coloured hair was wet and was plastered in little spikes to his broad forehead, a forehead that was the entablature of a determined rock-hewn face.
"Hello," said Martin, twisting his head to look at the newcomer. "You section twenty-four?"
"Yes.... Ever read 'Alice in Wonderland'?" asked the wet man, sitting down abruptly at the table.
"Doesn't this remind you of it?"
"This war business. Why, I keep thinking I'm going to meet the rabbit who put butter in his watch round every corner."
"It was the best butter."
"That's the hell of it."
"When's your section leaving here?" asked Martin, picking up the conversation after a pause during which they'd both stared out into the rain. They could hear almost constantly the grinding roar of camions on the road behind the café and the slither of their wheels through the mud-puddles where the road turned into the village.
"How the devil should I know?"
"Somebody had dope this morning that we'd leave here for Soissons to-morrow." Martin's words tailed off into a convictionless mumble.
"It surely is different than you'd pictured it, isn't it, now?"
They sat looking at each other while the big drops from the leaky roof smacked on the table or splashed cold in their faces.
"What do you think of all this, anyway?" said the wet man suddenly, lowering his voice stealthily.
"I don't know. I never did expect it to be what we were taught to believe.... Things aren't."
"But you can't have guessed that it was like this ... like Alice in Wonderland, like an ill-intentioned Drury Lane pantomime, like all the dusty futility of Barnum and Bailey's Circus."
"No, I thought it would be hair-raising," said Martin.
"Think, man, think of all the oceans of lies through all the ages that must have been necessary to make this possible! Think of this new particular vintage of lies that has been so industriously pumped out of the press and the pulpit. Doesn't it stagger you?"
"Why, lies are like a sticky juice overspreading the world, a living, growing flypaper to catch and gum the wings of every human soul.... And the little helpless buzzings of honest, liberal, kindly people, aren't they like the thin little noise flies make when they're caught?"
"I agree with you that the little thin noise is very silly," said Martin.
Martin slammed down the hood of the car and stood upright. A cold stream of rain ran down the sleeves of his slicker and dripped from his greasy hands.
The novel opens not with a declaration but with a cacophony: a band playing a 'tinselly Hawaiian tune' in a shed crowded with crates, khaki uniforms, and farewells. John Dos Passos immediately establishes a world of competing sensations—the racket of cranes, the shrill pitch of excited voices, the flutter of white handkerchiefs. This sensory density, rather than plot exposition, becomes the primary vehicle for conveying Martin Howe's disorientation. The prose moves in short, percussive bursts, mirroring the jarring transitions from civilian life to the war zone. Later, the rhythm shifts: long, breathless sentences describe the car plunging through shell-fire, then fragment into staccato dialogue and abrupt silences. The narrative voice remains tightly focalized through Martin, recording what he sees, hears, and smells—the 'purple and yellow and red of its ripped belly'—without editorial comment. This restraint forces the reader to inhabit his raw perception.
Rhythms of Disorientation
The novel's pacing is deliberately uneven, alternating between chaotic, rapid-fire sequences and moments of eerie stillness. In the opening chapter, the departure from New York is rendered in a flurry of sensory details—'brown light,' 'yellow crates,' 'trivial lilt'—that build to the ship's whistle drowning all sound. This technique recurs in the front-line scenes: the car ride through the woods accelerates into a blur of 'alternate sun and shadow,' then abruptly halts at a shell-hole. Dos Passos uses punctuation and sentence length to control tempo. Long, comma-heavy sentences convey the relentless noise of bombardment, while short, clipped lines—'Here it is! No, that stinks too much'—capture the fragmented urgency of men trying to find shelter. The effect is a prose that mimics the nervous system under stress, jumping from hyper-alertness to exhausted lulls.
Voice Through Sensory Overload
Dos Passos limits the narrative voice almost entirely to Martin's immediate perceptions, avoiding interior monologue or retrospective commentary. The reader learns Martin's state not through his thoughts but through what he notices: the 'beating legs of a mule,' the 'smell of almonds' that Randolph likes, the 'green-black shadows' cast by star-shells. This external focus creates a documentary feel, as if the prose is a recording device. Dialogue is sparse and often functional—'Where the devil's the abri?'—but occasionally reveals character through tone, as when the boy on the ship stammers, 'I never used to think that at nineteen I'd be crossing the Atlantic to go to a war in France.' The voice of the text itself shifts between lyrical description and blunt reportage, reflecting Martin's own oscillation between aesthetic detachment and visceral horror.
Structure of Interruption
The narrative is built around interruptions—of light, of speech, of action. In the dugout scene, the three big guns go off in succession, putting out the lamp; the lieutenant swears and strikes a match, only for the light to fail again. This pattern of disruption becomes a structural principle: conversations are cut short by explosions, attempts to sleep are broken by gas alarms, and the search for the abri is a series of false leads ('No, that stinks too much. Must be the latrine'). Even the novel's chapter divisions, as indicated by the table of contents, suggest a fragmented journey rather than a continuous arc. The effect is to immerse the reader in a world where no action can be completed, no thought sustained. This formal choice reinforces the theme of initiation as a process of learning to function within constant, unpredictable rupture.
Readers should attend to how Dos Passos uses the physical environment—light, sound, smell—as a proxy for Martin's psychological state. The novel does not explain war; it immerses you in its textures. Notice the recurring contrast between the artificial order of songs and games ('God help Kaiser Bill') and the chaos of the front. The prose rewards close attention to its rhythms: where it slows, where it fragments, and where it falls silent.
Dos Passos’s One Man’s Initiation—1917 carries a particular kind of quiet ache, that moment when the world’s noise overtakes a young heart. Reading its feverish pier and muddy lanes, I sometimes recall a gentler Southern voice, another youth stepping toward an unknown shore. There is a kinship in their separate longings. A Chilhowee Lily 1911 — A Reader’s Guide holds that same tender, solitary breath, like a remembered afternoon.
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